Monday, Oct. 21, 1946
Also Showing
Her Sister's Secret (PRO Pictures) is an unassuming new version of the reliable old tearjerker about mother love, with the mother unmarried. From a screenplay by a woman (Anne Green) out of a novel by a woman (Gina Kaus), the movie is a soggy effort to give women a good box-office boohoo.
The romantic girl (Nancy Coleman), bewitched by the carnival spirit of March' gras time in New Orleans, spends a beautiful, heedless night under the stars with a G.I. (Philip Reed), whose name she didn't quite catch. Before they have a chance to get well acquainted, he is ordered overseas. The very substantial little secret that results from their one gossamer evening of Mardi grasing is adopted by
Nancy's married sister (Margaret Lindsay). As every moviegoer knows, a movie mother who has the misfortune to get separated from her baby is a tear-drenched woman indeed.
Competent supporting players (Felix Bressart, Henry Stephenson, Regis Toomey) try hard without making this dampish, slow-moving film lifelike. But PRC Pictures, Inc., which normally manufactures unblushing B pictures and is now trying for modest As, deserves at least B-plus for ambition and effort.
Cloak and Dagger (United States-Warner) is the second postwar movie to exploit the wartime doings of the Office of Strategic Services (the first: Paramount's O.S.S.). It is a highly professional blending of all the time-tested ingredients of spy melodrama.
Professor Gary Cooper, a nuclear physicist at Midwestern University, is assigned to snoop around in Europe and learn how far the Nazis are progressing with atomic fission. The camera work and background music are suitably sinister, but the way Professor Cooper and his co-workers keep looking furtively over their shoulders ought to have made it too easy for the Gestapo. The best thing about Cloak and Dagger is the Hollywood debut of Britain's Lilli Palmer. As a young Italian underground worker who falls for the O.S.S. professor, Miss Palmer (wife of Britain's Rex Harrison) adds a poignant and realistic touch to an otherwise glossy, routine thriller.
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