Evening star., 1939-06-16

nif1cance which suggests the man of
destiny. Within the limited scope Of
the script, one which deals but
casually with those people who most
deeply influenced his career, Fonda's
Lincoln Is masterpiece. His out
ward resemblance to the gentle
giant, which is triumph Of make
up, is matched by that which comes
from within.
No well-directed, well-acted pic
ture based upon Lincoln could fail
to be entertaining. This one is
very far from an exception to the
rule, even though it is concerned
with virtually the single incident
of Lincoln's first big law case. AS
the central figure in what Is more
of murder mystery than an ex-
animation of one of history's great
dramatic characters young Lincoln's
task is to champion justice for the
hot-headed sons of Widow Clay.
The cards are heavily stacked
against the lads, but their lawyer
is a man of superhuman under
standing of human nature as well
as one whose complete mastery of
drollery makes the long courtroom
scenes a pageant of ringing mirth.
1t is something to laugh with Lin
coin at this late date, and Director
John Ford and his large cast have
spent their every energy seeking
and achieving that effect upon an
audience.
A large area of Lincoln activity
is covered in the build-up to the
climactic trial scene. It Is done,
necessarily perhaps. In a rather
sketchy fashion with some omis-
sions that are rather startling. The
tragic beauty of Lincoln's romance
with Ann Rutledge is touched but
lightly, although tenderly enough,
in the opening sequences. The
tragic ugliness of his subsequent
romantic affair with Mary Todd is
even more abruptly dismissed in the
rush to get on to the murder case.
The rivalry with Stephen A. Doug
las, which contributed so much to
Lincoln's eventual recognition in the
national scene is covered more fully
than any other aspect of his early
career in New Salem. In empha-
sizing this phase of his experience
John Ford has exercised some of
his most skillful direction. putting
significance and meaning into every
instance in which Douglas flashes
on and off the scene.
X X X X
The playing of the film is at its
best in those courtroom passages.
There is complete conviction in
every characterization of which the
number is virtually amazing. The
languorous Lincoln, dispensing wit
and wisdom, turning the formality
OF the court into kind of general
store intellectual romp, is the focal
character, but the others never are
far away. Spencer Charters makes
a very sympathetic figure of the
judge, who obviously has a warm
spot in his heart for the young Lin
coin, and Ward Bond and Fred
Kohler are as effective a pair of
bullies as Hollywood has exhibited
in months. Milburn Stones Doug
las is another portrait that looms
large against the walls of that tiny,
primitive palace of justice.
The cast of Young Mr.. Lincoln"
has been decorated with some OF
the prettiest youngsters on the pay
roll of Twentieth Century-Fox.
Among them are Arlean Whelan
and Marjorie Weaver, but they rep
resent just so much garnishing. The
outstanding performance, one very
close to Fondas in it's excellence, is
that of Alice Brady in the role of
the Widow Clay.
1t is very realistic job of repro
ducing New Salem that the studio
has done, and the task of photo
graphing 1t has been done so well
that it Is a standout even in these
days of camera excellence.