1944, hardcover book. Amazon.com: Up Front with Mauldin POSTER Movie (1951) Style A 11 x 17 Inches - 28cm x 44cm (Marina Berti): Prints: Posters & Prints. In his lifetime, Mauldin wrote and illustrated over twelve books, including Up Front (1945), Bill Mauldin’s Army (1951, republished in 1983), and The Brass Ring (1971). THE SCREEN: 3 FEATURES ARRIVE; Universal's 'Up Front' Brings Bill Mauldin's Willie and Joe to Loew's State 'Rawhide,' With Tyrone Power, Opens of Rivoli--'Angelo' Is. Up Front, a World War II memoir by cartoonist Bill Mauldin; Up Front, a 1951 film based on Bill Mauldin's characters Willie and Joe. Up Front: Bill Mauldin: Books - Amazon.ca. Amazon.ca Try Prime Books Go. Sign in Your Account Try Prime Wish List Cart. THE SCREEN: 3 FEATURES ARRIVE; Universal's 'Up Front' Brings Bill Mauldin's Willie and Joe to Loew's State 'Rawhide,' With Tyrone Power, Opens of Rivoli- -'Angelo' Is 6. St. Trans- Lux Bill. Bill Mauldin's famous cartoon characters, the immortal Willie and Joe, who became, as it were, the all- time symbols of the infantry soldiers of our citizens' army in the last war, are substantially re- created—in appearance and in attitude, at least—in Universal- International's . But do not expect the same terse humor and bitter irony of Mauldin's great cartoons to well up in the uninspired conniptions of this average service comedy. For the simple fact is that Stanley Roberts, who put together the picture's moot screen play, failed to bring into realization the genuine flavor and spirit of Willie and Joe. True enough, in their make- up and deportment, Tom Ewell and David Wayne, who play the two . Ewell is lanky and dog- faced, in the unloveliest sense of that phrase. He drawls in the weary, corn- fed accents that you would probably expect Willie to employ. Wayne has the look of desperation and the sarcastic attitude—at least, in the picture's combat sequences—that were generally characteristic of Joe. Furthermore, Mr. Roberts has picked up from the myriad Mauldin cartoons many of the pictured situations and has spliced them into his plot, with the tag- lines carefully planted in the dialogue. It is not hard to spot the derived lines. They have an acid quality. And, anyhow, they are usually delivered with full implications of their source. Alexander Hall, who directed, does everything but set up finger- posts. But there the association with Mr. Mauldin ends and the creation of a scriptwriter and a slapstick intention begins. And, except for the attitudes of distaste toward the Army that these two fellows have, you can find very little resemblance between them and the muddy Willie and Joe. A brief prefatory excursion with our heroes on the shifting fox- holed front, during which most of the old familiar tag- lines are worked into the show, is followed by this main slapstick contrivance in Naples, with the boys on the jump, getting out of a hospital ahead of the M. P.'s and into a military court on an aid- to- black- marketers charge. This business, while moderately amusing in the usual service- comedy line, is not as original or authentic as a devotee of Mauldin might expect. And, indeed, the adapters' endeavor to redesign the character of Joe into that of a wise- cracking girl- chaser makes for some pretty obvious sport. In this department Marina Berti, an Italian actress, presents a suitable object of admiration, but her performance is not on a par. Richard Egan as a wistful . Willie and Joe themselves would probably scoff at same. UP FRONT, screen play by Stanley Roberts, from the book of the same name by Bill Mauldin; directed by Alexander Hall; produced by Leonard Goldstein for Universal- International. Richard Egan. Vuaglio . Maurice Cavell. Major Lester . Vaughn Taylor. Peppa Rosso . Silvio Minciotti. Colonel Akeley . Paul Harvey. Sabatelli . Roger De Koven. Signora Carvadossi . Grazia Narciso. Tarantino . Mickey Knox. A largely unpublicized aftermath of World War II not illustrated by razed villages and famine receives fairly trenchant documentation in . In so doing, he has limned a tragedy, which for the most part is in good taste. And, except for a contrivance here and there—especially in his climax—he has fashioned a sincere, sometimes humorous and often eloquently moving drama. Mr. De Robertis evidently is not an angry man. His people are not play actors, but the unusual victims of circumstance and war. The young Italian who is freed from prison for stealing food during the war and returns home to find his wife has died in childbirth is justifiably bitter about being forced by Italian paternity laws to accept a mulatto son. This blond and appealing youngster also is not an exotic figure. As a man who realizes his wife . The child's uncle turns up to claim him in compliance with his dead brother's will. Although that effect seems somewhat spurious, the waif's sudden love for this new relative as well as his ability to join abruptly with him in rendering a spiritual, hardly seems conclusive proof that blood suddenly can be so much thicker than affection. As the central character, Angelo creates sympathy and understanding by a portrayal that is as obviously natural as his surroundings. He is at once a lively and wide- eyed child, whose expressive mannerisms are cute and likely to capture sympathy. Renato Baldini is forceful as the . And Iole Fierro is beautiful and competent as the . But it poignantly epitomizes Sophocles' remark that . A., and presented here by the Scalera Film Distributing Corporation. Renato Baldini. Don Gennaro . Umberto Spadero. Catari . Little Angelo. Angelo's Uncle . Hussein. Giuila Melidoni and R.
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