Harrison's Reports (1959)

August 1, 1959 HARRISON'S REPORTS 123 The gang pulls off a job but in a post-holdup scuffle Saxon kills one of the mob. This makes him a marked man and he becomes determined to pull one final job with a big haul and then retire. The laundry where he once labored is chosen and all goes well until the final moments when the gang is discovered and wiped out by the rival mob. Saxon almost escapes, but falls down a chute and through a skylight before dying in his father's arms. CREDITS: Produced by Harry Kleiner. Directed by Paul Stanley. Screenplay by Harry Kleiner. Adult. "Sapphire" with Nigel Patrick, Yvonne Mitchell and Michael Craig (Universal-International, T\[ovember; 92 mins.) — EASTMAN COLOR — Universal has some ambitious plans for this Britishmade mystery melodrama with strong racial overtones. Their intention is to open in New York in early September at an art house and then, hoping that it will fire the imagination of the public in much the same way that "Room at the Top "did, book it into commercial house in the larger metropolitan centers starting in November. The film is one of the best mystery-melodramas to come out of England in some time and it also has the advantage of a strong second suit and in the form of the race angle. But it is still a mystery, and there is some question as to whether sophisticated art house patrons will spend art house prices for a mystery yarn, no matter how well it is embellished. Best chances for box o'ffice success lie with strong exploitation of the racial angle, and since this seems to be uppermost in the minds of the Universal planners, the film will fare well in the larger cities, except those in the South, where special treatment will be needed. Direction by Basil Dearden is top-notch, keeping the diverse elements of the film in tight rein while adeptly exploring the twin paths of racial bigotry and the detection of a murder. Janet Green's screenplay is well-executed and except for the ending, rings true throughout. The color photography of Harry Waxman matches the high-calibre achievements of the rest of the contributors. Nigel Patrick displays a cool temper and an intelligent approach to the topic of Brotherhood as the investigating inspector. Yvonne Mitchell gives a harried performance as an unhappy housewife and Michael Craig registers as a detective with a dislike of non-whites. The film opens on a bleak winter's morn in a London park with the discovery of the multilated body of Sapphire. The body carries no identification, but intelligent police work soon unearths her identity. The first suspect is the girl's affianced, Paul Massie, who had to forgo a Rome scholarship to marry the girl. When the girl's brother, a Negro doctor, ap' pears, this opens a new avenue for inspection, because, it turns out, the girl had been passing for white and was three months with child. The next suspect is the boy's father, Bernard Miles, but he proves not to be the one and the investigation continues through the colored areas of London where three suspects are uncovered. None of the three com mitted the act and the investigation returns once more to the household of the young boy who was about to marry the deceased. In the final scene the murderer is revealed, and it is a bit of a shock. CREDITS: Produced by Michael Relph. Directed by Basil Dearden. Screenplay by Janet Green. Adult. "Cast a Long Shadow" with Audie Murphy, Terry Moore and John Dehner (United Artists, July; 82 minutes) From the stables of the Company Mirisch comes a rambling sagebrush saga that features action, drama and an over-involved plot that takes a mite too long to unravel. Audie Murphy plays the main character, a youngster confused by a somewhat muddied identity, with typical Murphy charm while Terry Moore registers effectively as his bride-to-be. John Dehner contributes adequately as Murphy's father. Direction by Thomas Carr is ordinary as is the photography. The film will provide ample service as a supporting feature: — Audie Murphy suffers the tortures of the damned in an attempt to shake off the bitter stigma of his illegitimate birth. This factor, and an unsuccessful love affair with Terry Moore, combine to turn him into a saddle tramp. After much difficulty, he is tracked down by John Dehner, foreman of a huge ranch that has been willed to Murphy by its former owner. Dehner indicates that he and a group would like to purchase the ranch and Murphy seems willing enough. Murphy returns to the ranch with Dehner convinced that the former owner was his father. While waiting for the papers to be processed Murphy reflects and decides not to sell the ranch after all — instead he vows to run the spread himself. This arouse the ire of the would-be-purchasers who harrass the lad in an attempt to make him sell. But Murphy remains adamant in his refusal. Instead he arranges a hurried cattle drive that will help him pay off a bank note. During the trip Murphy develops into full manhood and also learns that Dehner is his real father. The future looks bright indeed as father and son Terry Moore, who has resumed her love affair with Murphy, ride off into the sun of Murphy's vast cattle empire. CREDITS: Produced by Walter M. Mirisch. Directed by Thomas Carr. Screenplay by Martin H. Goldsmith and John McGreevey from a novel by Wayne D. Overholzer. 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