Evening star. [volume] (Washington, D.C.) 1854-1972, 1947-07-19

a series of farcial observations on t
This is not to say that THE Huck-
sters," as romantic farce with
Clark Gable, Deborah Kerr and
glittering cast, is defective piece
of entertainment 1t will be pop
ular picture, deservedly in many re-
spects. 1t is not, however, the SEN
sational thing that Wakeman seems
to have had in mind when he flung
himself down to write the original
tale.
THE Hucksters" seems less the
victim of it's screen adapters than
of it's own fundamental exaggera-
tions. These were most ably pointed
out by Critic Wollcott Gibbs when
the novel was new. Gibbs, the peri
DDS most adroit parodist, found his
demonic gifts as reviewer COM
pletely frustrated by the Wakeman
work. 1t already was a parody, he
said, and the screen version now
confirms his judgment.
X
There is no questioning the felicity
of The Hucksters" as vehicle for
Actor Gable and several other ex-
pert players, the most notable OF
whom is silky soft newcomer De-
borah Kerr. AS the one refined
character on the premises, Miss Kerr
is an asset to The Hucksters" and
could well have been displayed more
prominently to the pictures added
merit.
The Palaces robustious farce is
quite definitely designed as Gables
picture. It's hero Is tailored care
fully to his measure. His Vic Nor
man Is the true diamond in the
rough. He is as persuasive In his
brusque hard-to-getness among in
dustrial tycoons and advertising
executives as he Is irresistible in his
dealings with beautiful women. He
plays completely rough in his games
with members of his own sex. just
rough enough when the competition
is furnished by the softer gender.
There is no argument that, what
ever it did to him with adventure,
Metro knew a Gable character when
it read THE Hucksters."
In broad outline, the screen
'Hucksters" follows the Wakeman
story line. 1t speaks Of Vic Norman,
advertising man, back from the war
with a courageous contempt for his
profession. He lands job with the
kimberly (Adolphe MenjoW Agency
and is at once assigned to the Beau
tee Soap account. Here he meets
Evan Llewellyn Evans, the crude,
brutal Titan who manufactures
Beautee and regards Americans as
40, 100000 saps born to buy his
product.
At once, the story becomes a duel
between fearless Vic and the ma
jestic, eccentric Evans. The latter
(Sydney GreenstreeD Is accustomed
to having his employees cover before
him and his interest is piqued when
Gable matches him glare for glare,
insult for insult. The two are more
alike in attitude than the screen
script comedies, but their similarity
is apparent to any one who takes
the trouble to look closely. Norman,
in the person of Gable, is another
man who wants what he wants and
is not TOO scrupulous in his meth
DDS of getting it.
The Hucksters" is favored with
many farcical incident which
Wakeman intended to be ironically
deadly.
This is true of those famous
staff meetings between Tycoon
Evans and his radio aides. In each
of these the lesser ones, except
Gable, are reduced to a quivering
terror. The effect Is almost invari-
ably humorous, as if every one
concerned was playing the scene
for its laughs instead of a deeper
and more significant meaning.
There is more comedy than satire,
also, in the dinner scene dominated
by Menjou as the melancholy drunk