Tag Archives: Victor Jory

Power of the Press (1943, Lew Landers)

Power of the Press runs a thin–not slim, but thin–sixty-four minutes. It’s paced better than expected (publicity stills suggest quite a few cut scenes); scenes never seem rushed, scenes never seem truncated. Instead, they’re just deliberate. Otto Kruger is a blue blood New York City newspaper publisher who dabbles in fascism. He couldn’t buy his way into politics, but Daddy already bought him a newspaper. Or some of one.

Guy Kibbee, in the closest thing the film’s got to a protagonist, is the new majority owner. He’s a small-town newspaper man from Nebraska who inherits that majority stake because he still cares about the news. About the freedom of the press. About democracy. About the ninety-nine percent (actual line, 1943–“fake news” gets repeated a whole lot too). Kibbee’s got his ethics and ace assistant Gloria Dickson on his side. But can they save a great metropolitan newspaper? Can they bring some clarity and truth to it?

On his side, Kruger’s got literal hitman Victor Jory and managing editor Lee Tracy. It’s unclear if Jory’s in it for the fascism or the money, but Tracy is definitely in it for the money. Robert Hardy Andrews’s screenplay (from a Sam Fuller story) has some rather decided thoughts on fascists and capitalists–and some, sadly, apt insight into how the two support one another.

The movie sets up Kruger and the paper, then brings in Kibbee. Those events take however long a round-trip train ride is from New York to Nebraska, plus a day. The rest of the movie, featuring Kruger using the newspaper to frame an innocent man, sabotage the Allied Powers a little, murder an immigrant, frame Kibbee, and whatever else, it all takes place in about a week. Maybe less. We don’t even get to see Kibbee’s apartment. It’s all at the newspaper.

Until it’s not in the third act, which is when Press hints at what might have been if it weren’t so short and so perfunctory. It’s a low budget, homefront jingoist newspaper thriller. There are crime aspects, there are conspiracy aspects. It’s a reasonably successful one too. Kibbee’s occasional dictated editorials (delivered as monologues) are definitely rousing. And they’ve got some teeth. The racists are traitors one is particularly awesome (and depressing given the film’s from 1943). Kruger’s a great villain. The way the script paces revelations into his backstory alongside a sort of intensifying villainy… Kruger’s dangerous, even though probably none of the main characters are in danger.

Tracy’s second-billed, but his part’s rather small for most of the film. He’s good. He can bark orders and he can stop and listen. There’s remnants of a romance (or at least hope of one) between him and Dickson. More time would be a subplot though and Power of the Press doesn’t do subplots.

Kibbee’s fine in the “lead.” Sometimes good, like during his monologues, but the movie sets him up as a cute old grandpa, then hints at giving him an actual part, then gives up on it to do the homefront newspaper thriller stuff.

Minor Watson is good in a minor (and uncredited) role.

The film’s adequately produced. Director Landers has some good shots, he has some bad ones. Mostly he just has adequate ones. Ditto the photography and editing. Neither impress or disappoint. They both help imply a greater world outside Press, which the budget doesn’t allow shown. Including street scenes. For a New York City-based newspaper thriller… Press didn’t even get the backlot.

It’s still thin, successful or not. Maybe it shouldn’t have gone out on such a fun third act either. From the first scene, Press is focused on being threatening enough to be serious. There’s no fun. Grandpa Kibbee doesn’t have any cute hobbies. But then in the third act, with the right scenes, the actors interact right and it gets fun. Too bad the whole thing isn’t fun. Charm wouldn’t hurt Press. Everyone in the picture’s got charm, they just barely get to employ it.

2

CREDITS

Directed by Lew Landers; screenplay by Robert Hardy Andrews, based on a story by Samuel Fuller; director of photography, John Stumar; edited by Mel Thorsen; music by Paul Sawtell; produced by Leon Barsha; released by Columbia Pictures.

Starring Guy Kibbee (Ulysses Bradford), Gloria Dickson (Edwina Stephens), Otto Kruger (Howard Rankin), Lee Tracy (Griff Thompson), Victor Jory (Oscar Trent), Rex Williams (Barker), Frank Yaconelli (Tony Angelo), and Minor Watson (John Cleveland Carter).


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Valley of the Kings (1954, Robert Pirosh)

Eighty-six minute movies are not supposed to be boring. Eighty-six minute sound films anyway. Valley of the Kings manages to be boring in the first twelve minutes. Even those twelve minutes are boring. It takes the film until just over the halfway point to actually get moving. Not interesting, not good, but moving. There are three action scenes back-to-back–a sandstorm, a Bedouin duel, and a fist-fight atop a giant Egyptian statue. The film tries to start with action too–a buggy chase within the first six minutes, but chases are hard enough to do in cars, much less buggies.

Valley of the Kings was filmed on location in Egypt, so I imagine those visuals were much of the prospective appeal, but the writing’s bad–in multiple ways–and the director doesn’t know how to make the visuals work for the film. They’re background instead of attraction and the film still tries to replace content with them. At eighty-six minutes, it’s hard for a film to take much responsibility–and Valley of the Kings tells the story of the archeological proof of Joseph in Egypt (something archeology has yet to prove), and it’s a deep subject. A lot has to go on… and nothing goes on in Valley of the Kings. It tries to be a few films–one about this search for evidence, another about adulterous relationship, and yet another (action-filled one) of grave-robbing intrigue. In the end, it doesn’t any of these subjects seriously and there’s little to hold together….

…except, of course, the locations–which are excellent in the second half–and Robert Taylor. Valley of the Kings is Taylor and Eleanor Parker’s second of three films together (for MGM). Their first, Above and Beyond, was great. This one manages to waste Parker by changing her character in the third act (she becomes positively unlovable in the last three scenes, then the film expects the audience to embrace her). She has a cuckold, played by Carlos Thompson (who I’ve never seen in anything else, much to my glee)… but the opening credits tell us the film stars Taylor and Parker. Taylor is getting the girl, so there aren’t many surprises once it gets going. Taylor is great in the film and would have been even better had to been serious film about archeology or adulterous affairs.

The film has a lot respect for the Muslim characters it portrays, much more respect then they get today in films–even in culturally sensitive films. It’s a reasonably important footnote in the history of American perspective of Muslims (Islamic fundamentalism hadn’t come around yet) and they’re treated with more respect then the European character, who’s a big shithead.

Valley of the Kings isn’t terrible thanks to the second half, but Robert Pirosh is a bad writer and a bad director. Of the two problems, the writing hurts the film most. With a good script and another twenty minutes, Valley of the Kings would… still not be as good as Above and Beyond, but it wouldn’t be so middling.

1/4

CREDITS

Directed by Robert Pirosh; screenplay by Pirosh and Karl Tunberg, from a book by C.W. Ceram; director of photography, Robert Surtees; edited by Harold F. Kress; music by Miklos Rozsa; released by Metro-Goldwyn-Mayer.

Starring Robert Taylor (Mark Brandon), Eleanor Parker (Ann Barclay Mercedes), Carlos Thompson (Philip Mercedes), Kurt Kasznar (Hamed Backhour), Victor Jory (Taureg Chief), Leon Askin (Valentine Arko, Antique Dealer) and Aldo Silvani (Father Anthimos).


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THIS FILM IS ALSO DISCUSSED IN SUM UP | ELEANOR PARKER, PART 2: TECHNICOLOR.