The Indianapolis times. [volume] (Indianapolis [Ind.]) 1922-1965, 1935-11-15
>Ibbetson'
Film Ranks
With Best
Indiana Screen Offering Ann
Harding and Cooper
as Stars.
BY JOHN w. THOMPSON

Not in a decade has there been
produced a picture with the poetic
Imagery and symbolism OF Peter
Ibbetson,' which continues a line OF
pictures better than any previous
years output
The story is more convincing on
celluliod than it was on paper or
in music. It is in the nature of a
Gomez back vehicle for Ann Harding,
who does her best work in years as
the lovely Duchess of Towers.
The only drawback to Peter Ib-
betson" is the fact that we couldn't
help but think what Leslie Howard
could have done with the role as
signed to Gary Cooper. However. the
magnitude of the story supports M.
Cooper and he comes through with
his best tragic role to date.
Nothing 'Scary' Here
Heretofore. the pasteboard men
in Hollywood have put out no small
amount of ghost" pictures, stories
dealing with spirits and immortal
loves. But they have nearly always
attempted to sell them as "scary
stuff. designed to make your hair
stand on end Not so with Peter
Ibbetson." Here is visible example
of the strength and power OF the
mental escape from-or to-reallty.
The story is of the loves of MINI
sey and Gogo, the two children who
lived next door to each other. They
were fast companions, and their
friendship was cemented by various
uuarrels. One particular debate was
over material salvaged from pack
ing box. Mimsey wanted it for her
doll house and Gogo wanted II 1or
his wagon. Neither ever were mn
ished. Tragedy, in the form OF
Gogo's mothers death, stepped IN
and Gogo was taken to London by
his uncle, Col. Forsythe, who gave
Gogo his mothers name, 1bbetson.
The parting of the two children was
their first and deepest sorrow.
Years later, after Gogo, now Peter
Ibbetson, and MimSey, now the
Duchess of Towers, had grown up
in sadness. never reconciled to their
fates. they met again. Mr.. IboetSon
vas sent by his architecture! frm
to build some new stables Tor the
Duke and Duchess of Towers. They
discovered that each is the other S
long loved childhood playmate. Their
love was too strong and its express
cion too obvious. so the Duke at
tempted to shoot his wife. Peter
saved her but killed the duke and
was sentenced to life imprisonment.
Love Does Not Die
But their love did not die. IL
blossomed anew in their dream
world. to which each escaped under
the cover of darkness, Peter grew
old in his cell. The Duchess Mary
aged in her castle. But they were
forever young in their Economically
fabricated realm of thought.
The scenes depicting the dream
of the lovers bear no semblance OIL
artificiality. They are ably done
One is strongly moved to return 10
that youthful decision that there
is a more beautiful, a more real
place than earth, a more enchanC-
ing wealth than riches.
Miss Harding handles her role
with the finesse and reserve 1t re-
ouires. She is, if anything, more
beautiful than before and shows
signs of having recovered from the
stress OF a nervous letdoWn.
Mr.. Cooper is, as usual, reserved.
He is, we still maintain, not great
actor. Yet no one could have TIT
the part of Peter more perfectly
than the rugged, awkward Gary.
The best performance in the pic
ture is given by little Dickie Moore
as the brown-eyed Gogo. Dlckle
displays histrionic talent we hadn't
thought him capable of showing and
his emotional acting is the most
convincing of his screen efforts to
date.
Mimsey, played by tiny Virginia
Weidler, who was in indianapolis
last year, is a strong support. She
is better than in her recent films.
The photography of Charles Lang
under the direction of Henry Hatha-
way, goes far to make Peter lbbet-
son" the nearest thing to poetry
the screen has yet written. Now at
the Indiana.