The Cine Technician (1953-1956)

40 THE CINE-TECHNICIAN MarchApril, 1952 More Views on A.C.T's. first two films, 'Green Grow the Rushes' " Green Grow the Rushes " is the first co-operative effort sponsored by film technicians and financed mainly with Government money. Since rejected for circuit release, the pic is a dubious bet to return its investment. While the film does not reach a high standard, it has some basic entertainment value. Its main weakness is in star values but it may have some appeal as a dualer in America. Story is a cross between " Passport to Pimlico " and " Tight Little Island." While using some of the basic ingredients of each, it never captures the same delightful atmosphere. It is a yarn about smugglers on the south coast who operate in a territory allegedly protected by an outmoded charter. Climax is in a prolonged but amusing sequence in which a cargo of contraband lands up in a farmer's duckpond while govt, inspectors, customsmen and coastguard operators fight each other for the privilege of intervening. In earlier stages, story suffers from inferior continuity, but in the second half the plot runs smoothly. The author, Howard Clewes, has collaborated with director Derek Twist in adapting the original novel, but too many traces of its original book form are left behind. Acting reaches pleasing standard. Roger Livesey turns in a neat performance as the captain of the liquor-running vessel. Honor Blackman as a sobsister on a local paper and Richard Burton as one of the smugglers provide an adequate romantic interest. Frederick Leister is nicely cast as one of the local bigwigs behind the smuggling. John Salew, Colin Gordon and Geoffrey Keen too obviously caricature the civil servants on a government investigation. Lesser roles are suitably handled. Myro — Variety. Very amusing leg-pull at the expense of officialdom. It's an adaptation of Howard Clewes's novel about smuggling on the Romney Marshes, and it has something that's only too rare in current films — the atmosphere and tang of the English countryside and coast . . . The picture is packed with good characterisations, and certainly one of the best is from Roger Livesey as Captain Biddle, a rascally smuggler. The romantic element is well handled by Richard Burton and Honor Blackman. Marshland scenery is very well photographed, and the storm sequences are a highlight of the staging. This film — made by A.C.T., the studio technicians' union is, of course, the one there's been so much fUSS about. The makers have had difficulty in getting it to the cinemas. Personally, I think its theme alone — a good dig at officialdom should give it a passport to local cinemas. I'lCt II I I lint I and 'Night was Our Friend...' A well written, well played and well produced picture. Good dramatic entertainment. The play has not a large number of prominent characters — not more than five in fact, but they are all excellently drawn and forcefully played. * The story tells of Sally, a young wife acquitted of the charge of murdering her husband, although thought by so many people to be guilty. Afterwards she sends away Doctor John Harper, who loves her and whom she loves after telling him that she did, in fact, kill Martin, her husband. Overwrought she dreams again the story of the tragedy and all that led up to it. This is the main story of the picture. There is a surprising and dramatic ending. The play has the advantage that there are no overdrawn or nasty people in it. Even the husband who has returned home a mental wreck after years of torment in the South American jungle, wins much sympathy, although he is strange and wilful. Settings include murder trial scenes, comfortable home and surrounding exteriors. Photography is first rate. Appeal: Not a pretentious picture but good all through. Acting and dialogue are specially pleasing. Good satisfying general offering. Impartial Film Report. This film is interesting and holding. It tells a good story. The script is well written and the acting excellent. It is a compact production and there is an entire absence of padding. The film commands the attention to the end. Elizabeth Sellars is excellent. Michael Gough gives a clever performance. Ronald Howard is capable and likeable and Marie Ney and Edward Lexy are very good. Photography and lighting are excellent. C.E.A. Report. Who-done-it story and suspense leading to happy ending. Handy British Quota. Daily Film Renter. Pathological melodrama. It deals with the melancholy problem that arises when a married man returns from the dead mentally ill, and is tormented by the fear that his wife is in love with another. There is murder in the air most of the time, and the overacting of Michael Gough as the inhibited central character, does nothing to lessen the gloom. Yet heavy and stagey as it is, it carries some feminine appeal. This and its quota ticket entitle it to consideration. Out-of-the-rut British booking. Production : The picture, which takes its cue from the quotation " The night was our friend and our leader was despair," is needless to say no laughing matter, but it would have been more agreeable and convincing if the emotional excesses of the " hero," portrayed with an incredible lack of restraint by Michael Gough, had been curbed. Fortunately the rest of the players are life-like, but even so they have all their work cut out to keep the play's frenzy in check. Flashback presentation also has a slight softening effect and artfully creates a woman's angle. Points of Appeal: Unusual, if theatrical story, provocative title, handy footage, feminine appeal and quota ticket. K,„, WeeUy.