Independent Exhibitors Film Bulletin (1959)

'(jDod Day For Hanging" "The Two-Headed Spy" Color Western for lower slot in action houses. This Columbia western in Eastman Color fails to materialize as anything other than a routine oater suitable only for the supporting slot in action houses. The script by Daniel B. Ullman and Maurice Zinn is well-handled by director Nathan Juran and favorably enhanced by the work of Fred MacMurray as the marshall who is scorned by town and loved ones for his honest efforts to maintain justice and order. The action starts early with a well-planned and executed robbery of the Springdale, Nebraska, bank and subsequent chase during which the soon-to-retire Marshall Hiram Cain is slain by Edward (The Kid) Campbell. The story concerns the travails of MacMurray as he legally, by his testimony, commits The Kid to be hanged. His daughter, Joan Blackman, who is in love with the outlaw, and his wife-to-be, Maggie Hayes, and the rest of the townfolk denounce him as a bloodthirsty avenger. Only the town doctor, in love with MacMurray's daughter, stands by him as the rest prepare a petition asking for clemency. MacMurray goes to the Governor with it, but The Kid is not content with mere clemency and attempts to escape. In the process he tags a right on the jaw of his inamorata, the marshall's daughter, and wings the doctor, James Drury. MacMurray returns in the nick of time to foil the escape plot and in a pitched gun battle, shoots The Kid who dies, symbolically, on the gallows erected to hang him. Columbia. 85 minutes. Fred MacMurray, Maggie Hayes. Produced by Charles H. Schneer. Directed by Nathan Juran. "The Life and Loves of Mozart" German import in color should please art, opera buffs. If, as the title suggests, it was the intention of the producers of this German-made, Bakros International Film release to provide the viewing with a film of epic proportions that would serve as a definite biography of Wolfgang Amadeus Mozart, they have fallen far short in their execution. Instead, they have provided a mild and diverting film that overemphasizes the latter aspects of the title and places too little stress on the former. For the most part the film deals with the creation of the opera, "The Magic Flute", and the star-crossed love affair conducted by the composer and the leading lady during the course of the rehearsals. The business possibilities for this film seem to indicate lively action in art houses in large metropolitan centers, most particularly in those areas where interest in opera is the heaviest. Karl Hartl, the director deserves special commendation for the excellent job he has done in keeping the pace of this film moving brisky, particularly in his integration of the musical scenes. Another bow must go to cameraman Oskar Schnirsh for his first-rate photography and use of the high quality German Eastman Color film process. Visually, the picture is most attractive. In the title role Oskar Werner contributes an adequate performance as does Johanna Matz as the young opera singer who risks social ostracism and career to give a few short weeks of comfort to the doomed Mozart. But the real star of the film is the unseen Hilde Guden of Metropolitan Opera fame whose voice dubs the role of "Pamina" in "The Magic Flute" for Miss Matz. Bakros International Films. 92 minutes. Oskar Werner, Johanna Matz. Directed by Karl Hartl. Taut, well-made British spy meller with Jack Hawkins. Here is a tightly written and directed British espionage melodrama that makes good dual bill fare for all situations. Scripter James O'Donnell and director Andre De Toth have concocted a taut yarn that is fantastic, yet highly believable. Produced by Hal E. Chester, and beefed up by the presence of Jack Hawkins, who scored in "Kwai", and the Italian import, busty Gia Scala. This Columbia release should provide better than fair business in action houses and selected class situations. The tense plot deals with the double identity of Hawkins, who doubles as a respected General in the supply operation of the German General Staff and a British spy. Swiss Felix Aylmer is his superior officer in the espionage business. Before his capture, Aylmer tells Hawkins how to find the new contact, who turns out to be Gia Scala, a young and rising singer already familiar to Hawkins. They conduct their espionage under the guise of carrying on a love affair, thereby hoodwinking the agent of the Gestapo assigned to investigate Hawkins. The highlight of the film arrives when Gia is removed from her radio program just prior to the Battle of the Bulge, thereby destroying her carefully conceived plan of harmonic transmission of information. Hawkins then attempts to transmit the information himself, but is prevented from doing so by a German corporal who discovers him in the act. Hawkins shoots the soldier but fails to kill him, thereby leading to his eventual downfall. He arranges for Gia to pass over to the Allied lines, but she is caught in the attempt by Hawkin's aide, Eric Schumann, and shot. Hawkins returns to Berlin and learns that his true identity has been uncovered and escapes after an exciting chase. Columbia (Sabre Films). 93 minutes . Jack Hawkins, Gia Scala. Executive Producer, Hal E. Chester. Producer, Bill Kirby. Directed by Andre De Toth. "Nine Lives" StuiKCte 'Rati*? O O Engrossing Norwegian import OK for art houses. The first Norwegian feature film to be released in this country, "Nine Lives" is the factual account of Norwegian national hero Jan Baalsrud's amazing escape from Arctic Norway during the anxious days of Germany's brutal occupation of Norway in World War II. An Academy Award nomination, as well as critical acclaim at a number of European film festivals this past summer, should offer more than passing aid to this film in art houses. But even then it will need an enthusiastic press reception and some earnest hard-sell to establish anything more than routine box-office interest for this offering of Louis de Rochement Associates. Written and directed by Arne Skouen, the film emerges as a tribute to the indomitable willto-survive of one man and the exemplary courage displayed by the Norwegian people who assist him in the teeth of powerful pressure from the Germans. The film was shot exactly where the real episodes occurred fifteen years earlier: in the majestic and terrifying Lyngen Alps and on the shores of the Lyngenfjord at heights up to 3,000 feet in temperature 54 below. Honors go to Jack Fjelstad as the hero, Jan Baalsrud. Fjelsad is particularly memorable in a scene where he is forced to amputate his toes to avoid gangrene and when he is trapped for nineteen days lashed to a stretcher high on a mountaintop. Louis de Rochement Associates. 90 minutes. Jack Fielstadt. Henny Moan, Alf Mjllard. Directed bv Arne Skouen. No producer listed. Page 12 Film BULLETIN January 5, 1959