Review: ‘The White Parade’

The White Parade is a woman's picture, but also for general appeal. The stern curriculum which goes towards the moulding of the 'white parade', the present-day Florence Nightingales who are dedicated to the service of humankind, and all the other details that go towards the schooling of the modern nurse are deftly, graphically, punchily and sometimes heart-throbbingly depicted [from the novel by Rian James, adapted by James and Jesse L. Lasky Jr].

The White Parade is a woman’s picture, but also for general appeal. The stern curriculum which goes towards the moulding of the ‘white parade’, the present-day Florence Nightingales who are dedicated to the service of humankind, and all the other details that go towards the schooling of the modern nurse are deftly, graphically, punchily and sometimes heart-throbbingly depicted [from the novel by Rian James, adapted by James and Jesse L. Lasky Jr].

Loretta Young is altogether convincing as the sympathetic femme novitiate who has consecrated herself to her profession. Dorothy Wilson is a fine little actress. Muriel Kirkland in a more hoydenish role registers, as do Astrid Allwyn as a light heavy, and Joyce Compton in one of those Una Merkel Dixie drawleries.

Frank Conroy is given the toughest male assignment as the mature medico of stern mien who must make some of his hyper-solemnous lines read convincingly. John Boles, though the featured vis-a-vis, is handicapped and limited by his role. Polo-playing Boston playboys who fall for nurses are tough to make real, but he manages quite well.

1934: Nomination: Best Picture

The White Parade

Production

Fox. Director Irving Cummings; Producer Jesse L. Lasky; Screenplay Sonya Levien, Ernest Pascal; Camera Arthur Miller

Crew

(B&W) Extract of a review from 1934. Running time: 80 MIN.

With

Loretta Young John Boles Dorothy Wilson Muriel Kirkland Astrid Allwyn Frank Conroy
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