Showmen's Trade Review (Oct-Dec 1949)

SHOWMEN'S TRADE REVIEW, October 22, 1949 17 That picture held the record as the biggest Paramount money-maker of all time until "Reap the Wild Wind" (1941), which in turn yielded to "Going My Way" (not a DeMille film, however) in 1944. Now, it would seem reasonably sure, further yielding is in order. For the latest from the master film-maker has all the trappings of a record-breaking moneymaker. Since the memorable "Ten Commandments," DeMille has been responsible for a number of other successful films of a religious or ancient history nature, among them "The King of Kings" (1926), "The Sign of the Cross" (1932), "Cleopatra" (1934) and "The Crusades" (1935). But the present "Samson and Delilah" bids fair to stand as this veteran showman's most impressive and magnificent spectacle since that history-making 1923 religious epic. Although based on different Biblical episodes, "The Ten Commandments" and "Samson and Delilah" are of much the same inspiring grand-scale genre: the Israelites under Egyptian bondage saved from their oppressors by Moses in the unforgettable parting-of-the-Red Sea spectacle, on the one hand, and the rescue of the Danites from Philistine bondage as Samson brings down the temple on his enemies, on the other. While the temple-destruction climax may not equal the impact of the Red Sea episode, it nevertheless is tremendously thrilling and spectacular in the DeMille tradition and will be much-talked-about by present-generation moviegoers. But in addition to spectacle there are scenes of eye-filling beauty and pageantry in this Technicolor feast. And there are moments of violent hate and tender love in the absorbing and moving love story of Samson and Delilah — perhaps the most celebrated in religious history. For this famous couple, Victor Mature and Hedy Lamarr are ideal choices. Samson is the epitome of powerful, sinewy strength, and Mature symbolizes those physical attributes, besides essaying a performance of genuine depth and sincerity. Miss Lamarr is just about everyone's conception of the fair-skinned, darkhaired, beauteous Delilah, a role tailor-made for her, and her best acting chore t . date. Other outstanding portrayals are contributed by George Sanders as the Saran of Gaza and Henry Wilcoxon as Ahtur, with Angela Lansbury, Olive Dearing, Julia Faye, William Farnum and others contributing splendid support. "Samson and Delilah" is a grandscale Biblical epic that should do much to revitalize the industry and swell the army of moviegoers by bringing back some of the wanderers. It comes at a propitious time. Patrons will flock to see it, be thrilled, engrossed and handsomely entertained by it; and renew their faith in the glories of motion picture entertainment. Exhibitors will see in it that longed-for opportunity to again put into motion the principles of old-fashioned showmanship that made this industry famous. Paramount has already started the ball rolling with Henry Wilcoxon's nationwide tour in which he lectures to civic, educational, fraternal and religious groups. There will be more to come in the company's advance campaign plans. Showmen should follow up with their most thorough and elaborate exploitation campaigns. There's money to be made in "Samson and Delilah"— lots of it. Beyond the Forest Warner Bros. Drama 96 mins. AUDIENCE SLANT: (Adult) Bette Davis returns to the heavy dramatic role that made her famous. Consequently, this picture should be enjoyed by her many fans, although others may find it somewhat unpleasant, since she is the dominant figure. BOX-OFFICE SLANT: A typical Bette Davis dramatic vehicle that should do well at the box-office wherever her name has a draw. Cast: Bette Davis, Joseph Gotten, David Brian, Ruth Roman, Minor Watson, Dona Drake, Regis Toomey, Sara Selby, Mary Servoss, Frances Charles. Credits: Directed by King Vidor. From the novel by Stuart Engstrand. Screenplay by Lenore Coffee. Photography, Robert Burks. Music by Max Steiner. Produced by Henry Blanke. TROPHY AWARD IN ACCIDENT PREVENTION CAMPAIGN. Republic Cowboy Star Roy Rogers shows members of his National Safety Awards Committee the First Prize Trophy he will personally present to the John M. Patterson elementary school at Philadelphia on Oct. 28 as winner of the First Annual Roy Rogers Accident Prevention campaign. The committee, left to right: George "Gabby" Hayes. Jeanette MacDonald, Dr. Wayne Hughes, Margaret O'Brien, Lloyd Nolan, Rogers and Maureen O'Sullivan. Plot: An unscrupulous, scheming woman married to a small-town doctor has an affair with a rich man and then decides to make him marry her and get her out of a town that is driving her mad. She goes to great lengths to accomplish this, but ends up by paymg with her life for her misdeeds. Comment: In this film, apparently the last under her Warner Bros, contract, Bette Davis returns to the type of role that made her famous: a heavy dramatic characterization that gives her an opportunity to present her extradordinary histrionic talents . . . something like the "Jezebel" portrayal for which she won an Academy Award. The story has been tailored to her special talents and she is the dominant figure in it, which means that unless one is a true Bette Davis fan, he may find it somewhat unpleasant. Besides returning to serious drama, Miss Davis has also changed her physical appearance by the addition of a shoulder-length black wig. This has an immediate psychological effect on the audience, for as soon as she makes her appearance one realizes he is about to see the strange doings of an unscrupulous woman. Co-starred is Joseph Gotten, who turns in a sincere, understanding portrayal of the small town doctor to whom she is married, and David B rian is effective as the rich, unscrupulous man from Chicago whom she has marked for her own, and for whose love she commits murder. Minor Watson and Ruth Roman, though they have little to do, are splendid in their individual parts, and Dona Drake, playing Miss Davis' Indian servant, makes such an impression that one remembers her, above all, for the outstanding job she did. Direction by King Vidor pulls no punches, making the Davis character true-toform and the small-town folk typical. Henry Blanke's production values are in keeping with the requirements of the story, and Max Steiner's musical score points up the dramatic effects. This picture's strongest appeal will be for the women. Tliat Forsyte Woman (Color by Technicolor) MGM Drama 114 mins. AUDIENCE SLANT: (Adult) Excellent entertainment that is more for the mature, thinking adult than for the masses, but its dramatic love story can scarcely be resisted by most women. Topgrade production, direcion and performances. Technicolor brings vividly to life the atmosphere of 1880 London society. BOX-OFFICE SLANT: Except in the smaller towns and some neighborhoods, it shovdd motivate considerable box-office activity— first, because of its star and literary values, and second, because of its love story most women will talk about. Cast: Errol Flynn, Greer Garson, Walter Pidgeon, Robert Young, Janet Leigh, Harry Davenport, Aubrey Mather, Gerald Oliver Smith. Credits: Produced by Leon Gordon. Directed by Compton Bennett. Based on Book I of "The Forsyte Saga" by John Galsworthy. Screenplay by Jan Lustig, Ivan Tors and James B. Wilhams. Photography, Joseph Ruttenberg. Technicolor consultants, Henri Jaffa and James Gooch. Art direction, Cedric Gibbons and Daniel B. Cathcart. Musical score, Bronislau Kaper. Plot: Set in London in the 1880s, this is the saga of the Forsytes. Soames (Errol Flynn) marries Irene (Greer Garson), who does not love him. She meets family outcast Jolyon (Walter Pidgeon) and becomes friendly with his daughter June. When Tune (Continued on Page 20)