The New Pictures

The Lady Vanishes (Gaumont British) exhibits Director Alfred Hitchcock, Eng land's portly master of melodrama, at the top of his form. The ingredients of Hitch cock pictures rarely vary much. They include a beautiful English girl, a some what bewildered hero, several international spies, a code and a journey, preferably by train.

To these, in The Lady Vanishes, is added a story which will remind admirers of Alex ander Woollcott of his famed anecdote about the young lady who, visiting Paris with her mother, was sadly disconcerted one day to find that the old lady had Disappeared and that nobody would admit that she had ever existed. For the mother, The Lady Vanishes substitutes a dowdy English governess (Dame May Whitty); for Paris, it substitutes an express train on which young Iris Henderson (Margaret Lockwood) is going back to England; and for bubonic plague, which was the reason in the Woollcott story for the old lady's complete blotting out, it substitutes an international intrigue, two British cricket fanciers and a mort of shootings and stranglings.

That the elements of a Hitchcock melo drama provoke an excitement utterly lacking when the same elements are combined by less skillful directors is due to Director Hitchcock's unique talent for cinematic story construction and his unparalleled diligence in employing it. Before a Hitch cock picture goes before the cameras, it has been written four times; by Hitchcock himself, by Hitchcock and a scenario writer, by Hitchcock and a dialogue writer and finally by Hitchcock and his wife, Alma Reville. Once work begins on the set, it progresses rapidly. Because Hitchcock considers it unnecessary to ex plain to them anything except the scene with which they are specifically concerned, his actors are often as baffled by what is going on as audiences will be later.

More popular in England than in the U. S., Hitchcock pictures like The 39 Steps, Secret Agent are often too intricately built and written to appeal to mass audiences. To connoisseurs of spy melodrama, they rate as classics, and play steady revival engagements in Manhattan and London. Hitchcock lives in a walk-up flat in London, spends his weekends gardening at his cottage in Surrey. Now 38, he has been directing English pictures for 14 years, will work in Hollywood for the first time next February when he goes there to make Titanic and Rebecca for David Selznick.

The Cowboy and the Lady (United Artists-Samuel Goldwyn) was written by Leo McCary, Frank R. Adams, Frederick Lonsdale, Dorothy Parker, Alan Campbell, Howard Estabrook, Robert Ardrey, Eddie Moran. John Emerson, Anita Loos, Frank Ryan, Gene Fowler, Robert Riskin, Richard Connell, Sonya Levien, and S. N. Behrman--in relays as their predecessors fell by the wayside.

Last week, previewed in Hollywood, critics found it notable chiefly 1) because, as might have been expected, its story, of which the title is an adequate synopsis, appears to be a composite photograph of the innumerable other pictures on the same theme and 2) because, as might not have been expected, it is first-rate entertainment. Typical product of Producer Goldwyn's 16 authors: Gary Cooper and Merle Oberon, kissing.

Hard to Get (Warner Bros.), like The Cowboy and the Lady, deals with romance between a poor but honest young working man (Dick Powell) and an opinionated but lovely young heiress (Olivia de Havilland) with a crotchety father (Charles Winninger). Product of the Hollywood minimum of five writers (Jerry Wald. Maurice Leo, Richard Macauley, Wally Klein, Joseph Schrank), it shows a few deviations from pattern which give it an unexpected and agreeable individuality. Sample: when the heiress (as in The Cowboy and the Lady) adopts the invariable ruse of impersonating her own maid, her father, instead of objecting, happily arranges for her to serve dinner.

Apparently intended chiefly as Actor Powell's parole from musical pictures, Hard to Get contains only two songs, for elaborate orchestration substitutes a use of acrophobia unsurpassed since Harold Lloyd's Safety Last. Good sequence: Arthur Housman, ablest rival to Robert Benchley in the cinematic portrayal of amiable intoxication, trying to stand up in a crowded subway car.

Also Showing Just Around the Corner (Twentieth Century-Fox). Shirley Temple. Bill Robinson, Franklin Pangborn and Charles Farrell in a gentle little comedy designed to explain the facts of the Depression to the youngest generation and to prove that for the cinema's No. i child actress, box-office oblivion is still far down the road.

Professor Mamlock (Lenfilm-Amkino).

Powerfully realistic investigation of the effects of Nazi Government upon a Jewish surgeon in Berlin.

This file is automatically generated by a robot program, so reader's discretion is required.