Cinema, Also Showing Nov. 18, 1946

The Turning Point (Lenfilm-Arikino) is a Russian-made semi-documentary billed as the “inside story” of the siege of Stalingrad. The film is superb Soviet propaganda, an interesting historical footnote to one of World War II’s decisive battles—and surprisingly exciting entertainment.

In the winter of 1942-43 the world heard the heart-heightening story: that ill-equipped Red troops had trapped and smashed 22 crack Nazi divisions along the Volga. This film wrings considerable suspense from a tactical explanation of how the battle was won. War films made by capitalists usually tell their stories from the common soldier’s point of view. The Russians, concentrating on their brasshats, have managed to pump excitement into a series of scenes where most of the characters address one another as “Comrade General” and spend most of their time standing morosely around map tables discussing high strategy.

In spite of suddenly reverent expressions at mention of the word “Stalin,” the skilled actors in this picture make the generals look like nice, fallible human beings. U.S. audiences will be particularly interested in ‘ the film’s frequent tart, cynically distrustful references to a second front not yet launched by Russia’s Western allies.

Nobody Lives Forever (Warner) prompts the suspicion that Warner Bros.’ long cycle of expertly documented gangster films — now running into its 16th profitable year—may never die off.

Every shady move in this fast crook movie has been tested and approved, time & again, at the boxoffice. But the familiar yarn, retold with energy, skill and loving corroborative detail, is still serviceable. John Garfield, head con man in as seedy a gang of characters as ever plotted a swindle, sets out to relieve a rich widow of her $2 million. His enthusiasm for his work naturally increases when the lady with the bankroll turns out to be Geraldine Fitzgerald. In time, of course, True Love, plus a visit to the mission at Capistrano, makes a new, upright man of Mr. Garfield. After his redemption, a few of his still dishonest associates have to be disposed of in some last-reel gunplay.

Like practically all cops & robbers diversions, this picture’s plot has holes big enough to drive a black maria through. Most obvious hole: the rich Widow Fitzgerald appears much too bright to get herself mixed up with Garfield before checking with the Better Business Bureau. Much of the fresh, exciting look about Nobody Lives Forever comes from its underworld sets: the flyblown bars and diners, noisy juke joints and moldy waterfront piers. Most of its convincing punch is furnished by an excellent supporting rogues’ gallery, which includes George Coulouris, Walter Brennan and George Tobias.