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(* - * *8y Dudity Eariy___Monsieur Vincentt* lt;I r* i*at UJ ikiD*****. Aim* p p#ia$i$r#tlMi, 0|ff^V i IfSlTFrenchThf;it*rDOliCVUUDiIKf shoC ’ * rlatt*.Offniitnti i*! f. f T-1A t«fjjrn, 1a1 new)port ed-j» are rnofhumor* there* andrama, and aiwjformsnce by I celled nothing The picture mere $210,000 wood or dinar*!mu of de:r momt 'ays there isre?may thatshort of g as produced Ian amount HiH W l VFbfitMomif! I mrnpUir Vim* FremMlfilrr.# a ft | f ;|w o r;IheSIfos beginningthe story ofpriest pI«iyeti byho.ne one concerti For his perform * a y w on t w o E y i o pea n and the picture itself r hliheH European filmB grfidelavish picture produced ifsince the |w8f||I 1§ pH 1 Thet-film lends I Ilt;p ici*n§I up t hr J i fetfiJrrsirelt; f i *(vO - hIIHIM*- f i U \/vii H ih If Hi♦or enoiby Father before hn tiate into |•l4| ' Life ♦ -r‘i* llvS V*tWtlivH f f r*will acceptlove whichncentPcmi9*.*Ifft**tells a nc iters of Char i that thrU4.J’AU(nf f InOKI Of 5Uto the hethere, Iti mon to f told. Unflt; fhiitinh no able to \lt; ther that, with tunc% ■%■ I 'Si i ffeCh it fidis in depth Utterlv tier li culltty. it m or % $tnitIffine motion picturefi#t of the story and ifeakness is all too com-eifnl film»;| ft is poorly lately, neither thr It*e French seem to brft %moot h script. Ki-they are $o concernedmtaii that t Ia superb performance. Tftii re er, however, cannot h^lp with,,that the Fiench would pay moIrattentjon to sctipting,'Mr Soft Toucfi'A C(don Dlt; NowJot ,?*n nyj ByrdoHiinre t.irr\p% in■ [one'MsI fOx iJi mX,®-■*so du-tv i, ** * i by ?i»t (*/1t*ci hv H#nry Ltfiii and Gof*•cr«#npiii|r Of Orm Jannuif«nt th^ P*ramouiit Theater *■ - . i,,,, Olfnn fori.4 - .. Evtlyn fyen. John IreUndIlook all elM« TI ‘Monsieur Vincent’ when left grasping lor the story * %ly are the time lapses dont jointed are the episodes.Yet, despite |its crudity, ernotjor^al wallop seldom foundmotion pictures. Much of this is |due |to | Fresnajjl |performance. Hi practically ciifries the whole picture on his slender shoulders. However, Ithere nre telling storyepisodes illustrating! his burning zeal I for -the |poor*| and! hispgreat compasstofipol mankind|^H^^®|Most notable of these isPthe galley lt;KN|tiMce I whefil he,I appointedKirdinMc^iIf Ittone postTake Your Choice* * luf *-1mm 1PARAMOUNT—TV i rouxn P-^; Ti}UfiK)i f H o f I T on r h m ill (11 eri A Fffd Snd E'tfyn K#ye* Jinted Adult Fentuf^' *t»rt:BTATE T hroti*i) ®Thttr*d*yAil tt*e Kin* ^ ?4en Broderlt fc Cr»«-ford and i$lon«ne|! l)ree, ftat^d Adult. rtafcUff starts 1! 25; i .32 3 .19 1 46;I3ll0 00J(|ySili - Tinou*h FfwSf—Pifsif ‘Jennnn Crain WilHam tusoifiD. Barry more Rated A VP yeatmrti110, 3 on 4 :io, n ‘io, n id, towithKth^lstart;This is one of those movie*: It'sither good nor bad There* not much to be said for or against it.ft « the story of Glenn Ford returning from the war* to find that a gambling syndicate has muscled into his nitfht club, killing his part* ner, He steals $100,000 from thtin, feeling that it \$ his own, and the* Kang goes after him. He takes ref-ige in ft JlCtlit? ment house in a rfingy part of the city, Evelyn Keyes is the settlement worker. They fall in love, as might be expected.Ii It has a.;-few good moments, but mostly it ii so average that it will be remembered no longer than it takes to get out the theater door I Ford plays another one of the |f tight-lipped characiers|he|has been [specializing in of late, He s all right,Ipvelyn|Keyes|does verylwelljwithI her role, that of the girl who finally j makes a new man of Glenn and.lineidentally. | gets| him shot,| but I un w itt i n g lyj ^ The whole thing \% brightened by i thettoolbrieffi appearance|of| Percyj Kilbride, ^; 3 M|:EFord‘s character name Is Joe Mir* lacleM lt|is| doubtless i supposed | to I be isymbolicalIol the seeming mir-a t ilte endCkPTTOL, Thl^Uih Thuratfayfnr Tlt;»ir% ' with LlUaOethDon Defore. Features atari;'Tooc nt t \ 1 4§I.ati1andIpciej of the film®?- Take it, or leave itm m
Newspaper Details
Austin American
Austin, Texas, US
Wed, Feb 15, 1950
Page 2
Full Page
Clipped by
Rotten T.
USA 19 Jun 2020
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