This week the Fine Arts is reviving two of the finest movies produced within the past few years, "The Unfinished Symphony" and "The Man Who Knew Too Much." Both pictures left this reviewer in a state of hushed pleasure, for each is a masterpiece.
It is hardly necessary to recite the mad plot of "The Man Who Knew Too Much"; for at least a year it has been incorporated into our modern folk-lore. Leslie Banks is fine as one of the harassed, trouble-seeking parents, and Nova Pilbeam, since grown to royal stature in "Nine Days a Queen" is credible as the kidnapped child. And of course Peter Lorre, as the ringleader of the ugliest gang over collected within the walls of one studio, contributes that famous characterization of controlled deadly ferocity.
"The Unfinished Symphony" is a biographical interlude in the life of Franz Schubert. Technically and pictorially it is a well-nigh perfect production. And in addition, dexterously woven into the plot are selections from Schubert, including several of his most beautiful chorales and his Symphony in B Minor.