the Lieutenant) dictates the mood. No one could look at the set of those direct-gazing eyes and accuse them of flinching before danger—no one, that is, but the strangely obtuse French military. court which condemns his case. Then the flashback to the Lieutenant's life in the Algerian desert.
For the first time, movies give us real desert life, and we are profoundly thank
ful for it. None of Real Desert that "mystery stuff" Sands floats through Legions d'honneur, all is straight photography and beautiful because so unstagey. No poached-egg sunsets, no wailing women with goofy eyes, no Mayfair life transported by Fortnum and Magic—just an Army detachment doing its hum-drum duty , and facing occasional danger by way of relaxation. LieutenantVallin and his senior officers are invalided home after a desert skirmish. Vallin's life in the household of his captain is thoughtfully and solemnly touched with the same rare imagination shown in the s desert realism. Vallin' escape from himself, and a temptation that daily becomes too heavy for him, is put with vivid understatement, and his acquiescence before the court's false judgment gets thus explained by the need of silence for another's honour. n.neur has been worthily Legions d'ho honoured by two decorations—Grand Prix du Cinema Francais, and Grand Prix Nord Africain du Cinema.
Zauber der Boheme
TT seems that Zauber der Boheme has a 3really imaginative idea behind it. As you will guess, even without your German, this film has a connection with the opera La Boheme. That is its strength— it only has a connection and is not just plain filmed opera. Instead a modern story has been woven around the opera, keeping its music intact, but making of it something creative and essentially filmic. Martha Eggerth and Jan Kiepura give lovely singing performances and have humour to offer as well. The late Austria could have been proud of this film.
Alerte en M:diterrane
THE Berkeley has jumped into double THE Berkeley has jumped into double a feature programme, and this topical French film follows after the jolly German Opera. Alerte en Mediterranee has a message Like Kameradschaf I, it shows that in emergency the common bond of humanity will draw all peoples together in mutual help. The only weakness of the plot is the difficulty the producer has to get his three (German, French and English) representative naval officers convincingly estranged from each other in order to make a crashbang effect when only in an emergency they unite. Pierre Fresnay, Rolf Wanka and Kim Peacock make an even team as the three officers, and practically no one else in the cast matters. Although not in the highest category of French production, Alerte en Mediterranie has integrity, which is rare still in the cinema.
Lenin In October
RUSSIA is in the field again with a study of the Soviet Public Hero Number One, Lenin, which is not so much Red propaganda as Red hagiography. The wind from the Steppes has veered. At one time it blew nothing but hot incendiarism, incorporating worship of the proletariat who were always right; now it temperately fans us with warm eulogies of the Soviet "Saints "—Lenin first and Stalin afterwards. Lenin in October is probably the most adult production U.S.S.R. has ever sent out. Its lesson is that contemporary biography can make magnificent entertainment cinema without either romanticising facts or twisting them into pretty pageantry. Portraying Lenin is People's Artist B. V. The Crowd Roars
Boxing melodrama with good fellow llobert Taylor looking his " fitnessampaign " best.
(B +) Blockade
Spanish war film called neutral but strongly suggestive of the propaganda department gone into subtle metliod. Arty-craft photography and lots ofsentimentality.
(Not recommended) Kidnapped Robert Louis Stevenson would have enjoyed the gusto of this picture. Warner Baxter and Freddie Bartholomew share honours.