Independent Exhibitors Film Bulletin (1963)

ipjrmt "Sodom and Gomorrah" SccUhc^x KatiH? ©GO Big, eye-filling spectacle in color will satisfy devotees of such fare. Over long, but loaded with visual impact. From the standpoint of gargantuan spectacle, this 20th Century-Fox release should be a crowd pleaser in the mass markets. Backed by a powerful promotion campaign (is is slated to be released almost simultaneously in over 300 situations around the nation, including the "premiere showcase" plan in the New York area), the film shapes up as a sturdy moneymaker. Prudent use of the scissors should have eliminated some of the unnecessary talk during the long 154-minutes running time. However, there is plenty in the way of visual thrills to attract action buffs and devotees of spectacle fare with "cast of thousands". Producer Goffredo Lombardo has mounted his biblical tale in strong De Luxe Color, the Moroccan locations add authenticity, and director Robert Aldrich has seen to it that the action sequences ring loud and heavy and that they move with eye-popping rapidity. The list of visual thrills include stunning re-creations of Sodom and Gomorrah, ruthless tortures, a stupendous battle between the Helamites and the Hebrews, including the destruction of a great dam, victory orgies and the rip-roaring climactic destruction of the infamous cities. Hugo Butler's script is peppered with a number of sensual innuendoes. The international cast presents Stewart Granger as Lot, the deeply religious leader of the Hebrews; Pier Angeli, the Sodomite slave girl who becomes his wife; Stanley Baker, sinister brother of the Queen of Sodom and Gomorrah; his sister, Anouk Aimee, ruthless Queen Bera, dedicated to revelry, cruelty and sexual pleasure; and Rossana Podestra, Granger's daughter who is corrupted through her love for Baker. The Hebrews set up camp, across the river from Sodom and Gomorrah and eventually defeat a massive band of Helamites. Since all of their land is destroyed, Granger and the Hebrews move into Sodom and become salt merchants. They prosper and Granger becomes Miss Aimee's favorite. When Baker announces that he has "known" both of Granger's daughters, the latter kills Baker and is imprisoned. The Lord frees Granger and orders him to leave the city before it is destroyed. The destruction begins, Miss Angeli looks back and is turnd into a pillar of salt. A saddened Granger continues the pilgrimage with his people to new lands. eft II sea up 20th Century-Fox. 154 minutes. Stewart Granger, Pier Angeli, Stanley Baker, Rossana Podesta, Anouk Aimee. Produced by Goffredo Lombardo. Directed by Robert Aldrich. "Son of Flubber" SWre44 IZcUi*? Q O O Disney aims at the big "Professor" audience and should [hi! gofh er n a large share of them. Good fun for family. in the jjjjU Aimed directly at the same audience who howled at "The Absent-Minded Professor," Walt Disney has concocted another, albeit less succesful, sequel. Although not destined to be as big a boxoffice smash as its predecessor, "Son of Flubber" will draw well enough in the family market. Fred MacMurray recreates the role of the inventive Professor, whose newest discoveries of "dry rain" and "flubbergas" wreak even more havoc and fun than the anti-gravity substance "flubber" and the flying Model-T of his earlier adventures. Surrounding him once again are: lovely Nancy Olson, as his patient, but exasperated wife; Keenan Wynn, the unscrupulous loan shark; youthful comedian Tommy Kirk, Wynn's inventive teen-age son; Elliott Reid, the rival teacher and suitor of Miss Olson; and Leon Ames, the college president. James Westerfield and : if' Forest Lewis are paired again as the goofy local cops, shapely ljui Is into ad iroute, British Joanna Moore is the femme jatale who tries to wreck MacMurray's homelife, youthful Leon Tyler ends up as MacMurray's human guinea pig, and the remainder of the cast includes such veteran comedians as Ed Wynn, Ken Murray, Charlie Ruggles, William Demarest, Paul Lynde and Stu Erwin. Robert Stevenson's direction is sprightly and laugh-loaded, especially during an hilarious football game, and special effects men Robert Mattey and Eustace Lycett whip up a barrel load of visual wizardry — a rainmaking machine that creates thundershowers indoors; a football suit that flies its player through the air with the greatest of ease; a glass-breaking device that shatters everything; and new antics for the flying Model-T. MacMurray and Miss Olson, riding the crest of success from "flubber," now find themselves plagued by the government, Madison Avenue executives and a tax collector. When Miss Moore re-enters MacMurray's life, Miss Olson leaves him. Further complications develop as Wynn sets about trying to take over the bankrupt college. All ends well after MacMurray accidently revitalizes the barren countryside with "dry rain'' and helps the home team win the football pennant with a flubbergassed football suit. Buena Vista. 100 minutes. Fred MacMurray, Nancy Olson, Keenan Wynn, Tommy Kirk. A Walt Disney production. Directed by Robert Stevenson. "Term of Trial" Su4ute44 IRaUHf O O Plus Fine performances by Olivier, Signoret give force to drama about young girl's assault charge against teacher. Strongest appeal to class audiences. Needs exploitation is mass market. An engrossing drama has been fashioned from James Barlow's novel about a dedicated schoolmaster, his discontented wife and a precocious girl-student who charges the teacher with indecent assault. What raises the level of these familiar ingredients to the level of artistry this Warner Bros, release are the fine performances of Oscar-winners Laurence Olivier and Simone Signoret, coupled with the fine direction and screenplay by director Peter Glenville. The commercial values here are not clearly defined. The film's strongest appeal will be to the class trade; in the mass market, it will require a strong sell of the story's more sensational aspects. Filmed in Ireland, enhanced by strong character conflicts, and climaxed by a dramatic trial and an ironic ending, "Term of Trial" has Olivier creating another memorable portrayal as the meek man of integrity who served a prison term during the war for being a conscientious objector and who know tries to bring knowledge to his unruly students. Mile Signoret is equally as effective as his dominating wife. Attractive, bitter over the poor financial rewards of Olivier's job, she is still genuinely fond of him, though at times she treats him with contempt and obviously considers him a poor specimen of mankind. Sarah Miles makes a strong debut as the young student who falls in love with Olivier. Terrance Stamp, in a complete turnabout from his role in "Billy Budd," is chilling as a young hooligan, while Hugh Griffith is colorful as Olivier's lawyer. On the last night of a cultural trip to Paris, Miss Miles enamored of Olivier comes to his room and tries to seduce him. He makes light of the whole thing, paternally whacks her on the bottom and sends her off to bed. Back home, the frustrated young girl charges Olivier with indecent assault. Olivier is found guilty, but when he makes an impassioned plea. Miss Miles breaks down and admits that her storv was false. The ironic climax finds Mile Signoret, fed up with 01i\ Ier's talk about purity and humiliation, planning to leave him. She decides to stay w hen Olivier "confesses'' that Miss Miles' allegation against him was true. Warner Bros. 113 minutes. Laurence Olivier, Simone Signoret. James Woolf. Directed by Peter Glenville. Produced by Film BULLETIN January 21, 1943 Poqe 11