Word: screening
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Dates: during 1950-1950
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Betty carries the show with such riotous energy and eagerness to please that she threatens to carry it too far. She plunges into her first two numbers like a bronco out of a rodeo pen, filling the screen with so much motion that it is hard to listen for the words-and impossible to ignore the singer. She lacks Ethel Merman's craftiness with comedy, but along with her unbridled vitality, she gives the role something that brassy Ethel Merman never attempted: she kindles the love story with poignancy, makes it seem something more sincere than a musicomedy plot...
...Dorothy and Herbert Fields, takes all its music & lyrics from the original Berlin tunes. It loses a few laughs getting by the censor, as well as five of the show's lesser songs. It gains trom jettisoning a conventional romantic subplot and from the broader canvas of the screen...
Died. Frances Seymour Brokaw Fonda, 42, well-to-do estranged wife of the stage & screen's Henry Fonda (Mister Roberts); by her own hand; in Beacon...
...tale of Manrico, the troubador, and his misfortunes, is a gloomy and distressing one--especially distressing to the person who tries to untangle a plot full of bloody revenge, gypsy law, witch-burning and baby-switching. Carmine Gallone, director of this first screen version of "II Trovatore," has tried hard to make the plot understandable and has succeeded, by using English narration and subtitles. Gallone has also kept the singing on a high level. In the final account, however, this filming of "II Trovatore" cannot boast of much more than a clear plot and good voices...
Director Gallone must be credited with a good attempt to bring grand opera to the screen. Unfortunately, "II Trovatore" has none of the sensitivity and beauty of his film version of "La Traviata" ("The Lost One") last year. The basic fault lies with the story itself, which is too baldly melodramatic to be a good screen play...