![]() And thus the final arch of human spirit with the father is never formed.However, the roles of other characters are played so firmly that a base of vivid and genuine human nature is solidly laid in this film. She does not rise in the drama as a pillar of perceptible faith in man. But there does not surge out of her frail person a sense of indestructible life, of innocence and trust that show no shadows, of a spirit that will not die. She is pretty, charming and wistful in a thin young-girlish way and she is able to make some of the prankish nature of the "baby" of the group come alive. That is his desperate resolution to compensate the deathless spirit of his child.Thus it is deeply unfortunate that Millie Perkins, a new and untried girl, does not rise to his level of spiritual splendor in the role of Anne. In his most sensitive presentation, the bright core of his heroism shines. His is a moving demonstration of the great magnificence of Papa Frank-his gentle patience, his brave perseverance, his profound understanding and sympathy. Stevens has consigned the father role to one whose feeling and skill for this performance could not conceivably be surpassed, and he gives it the full illumination he gave it upon the stage. They are the pivots of this drama of the stamina of young and old, the separate pillars of spiritual tenacity that come together to form an ageless arch.In Joseph Schildkraut, Mr. And with a beautiful series of balanced close-ups of his assorted characters, he has probed the slow drama of the erosion-and the expansion-within their hearts and minds.Most cogent among these people are the adolescent girl, whose luminous diary recorded their ordeal, and her father, who shepherded the group. With successive superbly detailed scenes that convey the cluttered, claustrophobic nature of that hideout in Amsterdam, he has developed a slow heat of friction among the people secluded there and frequent hot fusions of mental torment when discovery threatens from downstairs. The doings of eight bourgeois people in such cramped quarters for more than two years would seem to defy intense inspection and rapt anxiety for nigh three hours (two hours and fifty minutes precisely) via the techniques of this fluid medium.Yet Mr. Stevens was able to get on the CinemaScope screen a sense of the closeness of the drama and hold it for as long as he does. It is the magnificence of human heroism seen in several simple, unpretentious forms and of human endurance and compassion that shine in virtually every character.The wonder is that Mr. ![]() He has brilliantly flowed a three-hour picture through an attic in Nazi-occupied Amsterdam and etched a harrowing ordeal for survival in the brave behavior of eight Jews hiding there.Real magnificence glows in his picture, which opened at the Palace last night with a benefit première for the American Association for the United Nations, Inc. Stevens has done a superb job of putting upon the screen the basic drama and shivering authenticity of the Frances Goodrich-Albert Hackett play, which in turn caught the magnitude of drama in the real-life diary of a Jewish girl. GEORGE STEVENS' motion picture rendering of "The Diary of Anne Frank" is so good, so substantially sound and eloquent of so many ideas and moods that it genuinely grieves this observer to have to come out and say that it lacks the capstone strength of spiritual splendor in the projection of the Anne Frank role.Mr.
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