Between Two Worlds has some nostalgic value for me. When I first discovered Eleanor Parker (through an article in the magazine, “Films of the Golden Age,” which I’ve had to drop for its insane right-wing, fascist values), Between Two Worlds was somehow one of the first of her films I came across. It’s early in her career, when Warner Bros. was done using her in the one-hour B films and moved her up to the two-hour ones. However, it’s not Parker who stands out in Two Worlds, it’s John Garfield.
Between Two Worlds is a play adaptation, but doesn’t feel too much like one. It does, however, have two protagonists (Garfield and Paul Henreid). Garfield isn’t the film’s intended protagonist–it doesn’t open or close with him–but his performance is so strong, he takes the lead in a few sections. Henreid is okay, I guess, playing a character somewhat like Victor Laszlo, but Parker, as his wife, doesn’t seem to know much about him. The play is from 1924 (Outward Bound) and they updated it for World War II, so some of the tripping can be attributed to that adaptation.
Regardless, the film is too long. Some sections breeze past–whenever Garfield’s running it or when Sydney Greenstreet’s there–but others, mostly the ones with Henreid, clog. Parker’s got a great scene to herself at the end and there are a lot of good performances. Faye Emerson, who appeared in at least two other films with Parker and Garfield, is particularly frustrating. Sometimes she does good work, sometimes she does bad. She leaves on a good note and so does Between Two Worlds. I had to force myself to remember its faults.
Directed by Edward A. Blatt; screenplay by Daniel Fuchs, from a play by Sutton Vane; director of photography, Carl Guthrie; edited by Rudi Fehr; music by Erich Wolfgang Korngold; produced by Mark Hellinger; released by Warner Bros.
Starring John Garfield (Tom Prior), Paul Henreid (Henry), Sydney Greenstreet (Thompson), Eleanor Parker (Ann), Edmund Gwenn (Scrubby), George Tobias (Pete Musick), George Coulouris (Lingley), Faye Emerson (Maxine) and Sara Allgood (Mrs. Midget).
THIS POST IS PART OF THE ELEANOR PARKER EMPHASIS