Page 10, 10th March 1939

10th March 1939
Page 10
Page 10, 10th March 1939 — SILLINESS is better than MATERIALISM
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SILLINESS is better than MATERIALISM

YOU Can't Take It With You, the film that glorifies a rather phoney notion about the biggest way of living life is just getting fun out of it, is released on Monday for showing alI over

the country.

Some critics of this film have quarrelled with our view as too severe. We quote from an eminent theologian: "THE severity of your review of You I Can't Take It With You ' nearly made me shed tears. What you say is true enough; but, granting the Vanderhof solution of the problems of life to be silly, I think that the film was justified in putting it forward as better than the banker's solution. In one way, the silliness of the Vanderhof solution improved the film, It would have been a platitude if the film had shown that the Thomistic philosophy of life was better than the banker's.

"The interesting thing in the film was that even a rather silly philosophy of life was shown to be better than the banker's.

" However, I suspect that what really charmed me in Ike film was its magnificent mixture of sob-stuff end fun. 1 find sobstuff irresistible, when it is not too blatant. Hence I am not in a position coolly to criticise the film.

" Being serious about the wrong things in life is one of the chief obstacles to being serious about the right things. ' You Can't Take If With You ' did, I think, show up the futility of seriousness about the wrong things.

"Also. Vanderhof insisted more on ' having friends ' than on ' having fun. In that he was right."

Gramophone Recordings

They Hissed at Brahms

WHEN Brahms' first pianoforte Concerto was performed originally at Hanover in 1859 it was a complete " flop " ; but this was not for want of taking pains. Joachim was the conductor; the composer was at the piano and the music itself, sketched as a Symphony, re-arranged for two pianos, was eventually built up into this powerful Concerto. Yet it was hissed off the boards. These things are unaccountable, for it is a glorious work and full of heavenly tunes. Any musician to-day would be glad to possess this eet of records, where Schnabel is the soloist, the Philharmonic (London) Orchestra under Geo Szell assisting. There are six records complete in Album, with a brief analysis of this great work.

We shall never tire of Paderewski, and in the Nocturne and Waltz, both in C sharp minor, the charm of Chopin as played by this master holds us beneath its spell.

Bruno Walter conducts Haydn's " Oxford " Symphony, No. 92 in G major, and the Coriolanus Overture of Beethoven, a great favourite of Wagner's and one of the finest tragic inspirations in all orchestral music.

The Busch Quartet assisted by Rudolf Serkin give an admirable performance of Brahms' Piano Quintet in F minor, Op. 34. This music also was arranged for two pianos before It reached its final form. It Is a very curious fact how this composer loved to " try-out " his ideas in different guises before he chose their ultimate form and clothing; but that he eventually reached the desired goal, who would gainsay?

C. G. M.

with it" and very little of the Mischa Auer brand of special fantasy. Personally, I felt that I had had an overdose of the one and was missing my usual ration of the other.

Ave Maria

PURELY technically speaking, this is not a religious film—its title might lead to expectations in that direction. Since it has been made in Italy there are familiar Catholic scenes and backgrounds.

The plpt is a simple affair, not meant for serious attention. What counts for everything in Ave Maria is the glorious voice of Benjamino Gigli, which fills the whole picture, enriching its slight little theme and its not so powerful characterisation and its lovely settings, until they reflect the strength of its sound.

Pity, perhaps, that the "talking track" has been translated from Italian into

English. But the distributors tell us that the public like it better that way. So maybe we have to accept it.




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