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This synthetic U.S. folk tale, a triumphant Yankee version of Faust, was invented by Poet Stephen Vincent Benet (in a short story, The Demi and Daniel Webster). A ticklish job for adaptation to the screen, it has been handled with skill and good humor by Producer-Director William Dieterle (The Story of Louis Pasteur). All That Money Can Buy is definitely superior cinema...

Author: /time Magazine | Title: The New Pictures, Oct. 20, 1941 | 10/20/1941 | See Source »

...plenty of enthusiasm and not a little artistry; aided by a cleverly guided camera, she does a top-notch job with "The Last Time I Saw Paris," and in the rest of her numbers manages to do more than her share of scene-stealing. Eleanor Powell, away from the screen for too long, taps and jigs effectively, although she isn't given much to do. These two, aided considerably by some fellows named Kern, Gershwin, and Hammerstein, contribute a hearty portion of sparkling entertainment. The plot--since movies, it seems, must have plots--is bad enough to be annoying...

Author: By J. H. K., | Title: THE MOVIEGOER | 10/16/1941 | See Source »

...until the realization dawns that the acme of musical perfection in the four-beat tempo is hardly a deliciously impeccable saxophone section. But potentially there are other ways of putting jazz in a more satisfactory light with the general public, particularly through the medium of the theatre and the screen...

Author: By Harry Munroe, | Title: SWING | 10/11/1941 | See Source »

...agree they are sufficiently rounded to be hailed the modern counterparts of Lady Macbeth. We do admit they make entertaining movie-copy, and--it may be added--plenty of it. In the same vogue are "The Little Foxes," three thorough-going heels now transposed to the screen for one price of admission...

Author: NO WRITER ATTRIBUTED | Title: THE MOVIEGOER | 10/11/1941 | See Source »

...will be completely nauseated by this slow-moving story about the woman who worked to remove "illegitimate" from the birth certificates of those Texans who were. Even if you do like children, you will be somewhat nauseated after two hours of billing and cooing but the youngsters on the screen and a similar period of oohing and ahing by slobberly sentimental housewives in the seats behind you. Walter Pidgeon--hereafter to be known as the dead pigeon--does as much as can be done with a role as lifeless as King Tut. Greer Garson, with her red hair...

Author: NO WRITER ATTRIBUTED | Title: THE MOVIEGOER | 10/6/1941 | See Source »

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