Variety (December 1950)

FILM REVIEWS Wednesday, December 13, 1950 Halls of Montezuma (COLOR) Hollywood, Dec. 11. Twentieth.Fox ■ler production. Stars Richard Widmark; features Walter aacK) Palancc, ReS najd Gardiner, Robert Wagner, Karl Maldem Richard IWton, ^ Richard Roo^e. SWp Honfieier, Don Hicks, Jack Webb, Bert Freed, Neville Brand. Directed by Lewis Milestone. W'rltten by Michael l^ankfort; camera (Technicolor), Wimon C. Hoch, Harry Jackson; music, Sol Kaplan; editor, William Reynolds. Tradeshown Dec. o, 50. Running time, 113 MINS. , w<.i.«o..ir Lt. Anderson. Richard ^Wdmark Pigeon Lane...... . Walter Sgt. Johnson.......... Regmald CoRman Gorpox'al Gonroy Richard Hylton Lt. Col. Gilfillan..........Richard Boone Pretty Boy. ............. Skip Homeier Lt. Butlerfield.., Don Hicks Correspondent Dickerman;... .Jack .Webb Slattery Bert breed Sgt. Zelenko Neville Brand - Nurse . Marion Marshall Private Whitney Nomura . ............... v ^ - Phlhp.Ahn Capt. Makiho. ......,.Howard Chuman Romeo . Frank. Kumagai Capt. McCreavy Fred Coby Capt. Seaman ; • • .Paul Courier Marion Marshall li seen briefly as a nurse. Philip Ahn, Howard Chuman and Frank Kumagai cx^ pertly limn the Jap prisoners. Robert Basslers production framing rings with realism and in the technical phases: he has given the film experts to assure the values. Theres only one minor flaw'—a number of abrupt scene cuts. Winton C. Hoch and Harry Jackson did the ace lensing job, and Fred Sersen contributed the smart special photographic effects. Bol Kaplah's music score makes telling use of the stirring Marine Hymn and other martial cleffing. Brog. Pharmacist’s. Mate. Frank . Corpsman .... Radioman ... Marine Guard Paskowicr .... . '.Davis ........ Recruit .... Aunt Emma,. Ship’s Captain. Lees Jack Lee . Fred Dale .. Chris Drake George Conrad Harry McKim . Bob McLean William Hawes . Roger-McGee Clarke Stevens , . Helen Hatch . .Michael Road Twfentieth-Fox has a rugged war film in “Halls of Montezuma.” There’s a fine patriotic note struck in the account of Marine heroism during the fierce South Pacific fighting of World War II, plus a generally smart commer- cial handling that gives it a favor- able boxoffice outlook. . Principal marquee assets are Richard Wid- mark and Technicolor. Rather than a presentation of mass battle, film deals intimately spark to At with a small group of Marines! that should under the command of Widmark and how it fulfills a mis.sion to take Jap prisoners for ques- tioning. Footage is long, 113 min- utes, but after the slow, 22^minute character establishment, the pace and tension are such that Is no feeling of great length. At War With the Arniy (SONGS) Hollywood, Dec. 12. Paramount release of Abner J, Gresh- ; ler-Fred F.' Finklehoffe production,. S^ars Dean Martin, Jerry Lewis; feature.s Polly Bergen^ Directed by Hal Walker. Written by Finklehoffe; based on a play by James • B, Allardice; camera. Stuart Thompson; songs, Mack David and Jerry Livingston. ^ Tradeshown Dec. 7, ’50. Running time, 92 MINS. Sgt. PuccinclU ............ .,.De.an Martin Pfc. Korwin,. , .......,,..... . Jerry Lewis Sgt , MeVey ^, .. Mike Kellin Eddie ....^« Jimmie Dundee Pokey .. ,. .....,., i........ Dick Stabile Cpl. Clark ;'Tommy* Farrell GpL Shaughnessy. Frank Hyers Sgt. Miller.. : . Dan Dayton Capt, Caldwell..William Mendrek I Lt. Davenport,........... Kenneth Forbes Pvt.. Edwards i .Paul Livermore : Lt, Terray Ty Perry I Millie . Jean Ruth Mrs, Caldwell......... ... .Angela Greene . Helen :-Polly Bergen ! Colonel Douglas Evans I Doctor Steve Roberts } Orderly .............. A1 Neglo ; Bartender .Dewey Robinson Showcasing of the vocal talents of Dean Martin and the hilarious comedy of Jerry Lewis gives a War with the Army” return a handsome i profit at the boxoffice. It’s a corn- ball affair that cuts the cob down ; to the quick for the gags and situa- I lions'that continually belt the risi- jbilities. ! Film was turned out inde- there ' pendently. by Abner J. Greshler 'and Fred F. Finklehoffe and then Michael Blankfort’s script and i taken by Paramount for release. Lewis Milestone’s direction carry Production quality reflects the a lot of authenticity. There are no i comparatively small budget, but bravado heroes, only men who have the courage to face their grim job and come through suc- cessfully. Aiding the stamp of realism are integrated actual war clips, plus the fullscale, simulated battle exercises lensed at Camp Pendleton. This footage gives a great specta- cle to back up the intimate account of Widmark’s fighters, shots feature flashbacks to ac- quaint the audience with the Ma- rines as civilians and show their Strengths and weaknesses. After entertainment merit more than j makes up for what may be lacking jin the physical trappings, particu- I larly when Lewis is carrying the ball. Finklehoffe also scripted, bas- ing film on a play by James B. Allardice. Legit origin is appar-^ ent, as pratically all of the Scenes are played off in single settings. Opening | Locale of the plot is an Army base. With Lewis in the tailored role of a sad sack who can do nothing right. Martin plays a, conniving first sergeant as foil for the Lewis a straight-line plot of , combat as the group is assigned to capture prisoners, so a Jap rocket base can be located and destroyed before they hit the beach, however, it’s! shenanigans as the loose writing ' rambles along setting up situations !for songs, a dance and comedy. Opening montage seqeunce needs trimming, and the first tune, it wipes out the Marines’ amphibi- “Beans,” is stretched too long, but ous assault. after this is out of the way, pace Individual performances brought i set by Hal Walker’s direction out by Milestone’s direction all'. doesn’t lag. There’s actually not click. Widmark is exceptionally \ much story to tell, so he does well to give a seemingly good pace to good as an officer who masks his fear and encourages his men to face death. Reginald Gardiner adds some lightness as a Marine sergeant who scoffs at regulations; Karl Malden stands out as the pharmacist’s mate who, in his own inarticulate way, chronicles a message that explains the reason for the war. Bert Freed is an- other registering as a tough fighter who sets up his private still in each foxhole. Among the many others giving most able accounts are Walter (Jack) Balance, Robert Wagner, Richard Hylton, Richard Boone, Skip Homeier, Doii Hicks, Jack Webb, Neville Brand. There are two femmes in the cast. episodes. Lewis* with the tinue as Miniature Reviews <*Hal]s of Montezuma” (Col- or) (20th). Solid World War II melodrama of Marine action in the South Pacific. ‘'At War with the Army” (Songs) (Par). Martin & Lewis in screwball comedy. Good biz outlook. “Grounds for Marriage” (Songs) (M-G). Pleasant com- edy sparked by Van Johnson and Kathryn Grayson. “The Redhead and the Cow- boy” (Par). Western-localed spy melodrama. Good names but only fair entertainment. “The Second Face’* (ELC). Weak drama of a girl who re- juvenates her features through plastic surgery; for duals. “Sierra Passage” (Songs) (Mono). Fair combination of minstrel show flavor with western chase action. “Frontier Outpost” (One Son g) (C o 1). Satisfactory Charles Starrett entry for oat- er followers. “The Naked Heart” (British) (B-L), Michele Morgan, Fran- coise Rosay drama limited for U. S. dates. “king of the Bullwhip’^ (Realart). Just fair program western with Lash LaRue, Al St. John. “Highly Dangerous” (Brit- ish) (GFD). Despite Margaret Lockwood, Dane Clark in starring roles, meller rates only mild boxoffice outlook. “You Can't Fool An Irish- man” (Bell). Poor Irish come-r dy strictly for Hibernian audi- ences. Oroiiiifls for Marriage (SONGS) Hollywood, Dec. 12. Metro release of Samuel Marx produc* tion. Stars Van Johnson, Kathryn Grajr* son; features Paula Raymond, Barry Sul- livan. Lewis Stone, Reginald Owen. Di- rected by Robert Z. Leonard. Screenplay, Allen Rivkin, Laura Kerr; story, Samuel Marx; camera, John Alton: music score, Bronislau Kaper; editor, Frederick Y. Smith. Tradeshown Dec; 6, '50. Running time, 89 MINS. Dr. Lincoln I. Bartlett..... Van Johnson Ina Ma.ssine. ..Kathryn Grayson Agnes Oglethorpe Young. .Paula Raymond Chris Bartlett Barry Sullivan Dr. Carleton Radwin Young. Lewis Stone Mr. Dolacorte .Reginald Owen Dr. Engelstaat Richard Ha&cman Stella Theresa Harris Cab Driver. Guy Rennie ''Rodolpho” Richard Atekisoh Narrator ....Milton Cross “Firehouse Five Plus TW'o’'...'rhemselves Rapture “Rapture,’* Italian-made with English dialog, which opens at the 60th St. Trans-Lux, N. Y., today (Wed.), was reviewed in Variety from Rome, May 9, 1949. Reviewer Tubb rioted, “the first film of Goldridge, Inc. (David M. Pelham, Jojjin Shepridge, Robert Goelet, Ji\), it has a decidedly Italian flavor with an eye to American audi- ences.” Review also stated: “lacking in top stars and pro- duced on a modest budget, it should be an interesting, un- usual film in lesser first-run and nabe houses.” Review continued; “it should earn word-of-mouth comments in the states as well as Italy and Latin countries.” * Yarn deals with an American artist w!ho runs out of inspira- tion in Italy until he finally comes , across a beautiful, but mentally ill gal, with whom he falls in love and uses as a model for a .statue. Cast is headed by American actor Glerin Langan and Swedish actress, Elsy Albion: Film is being released in the U. S. by Eagle Lion Classics. comedy licks come first “Beans” sorig and con- he frustrates sergeants and commissioned officers with general ineptness. Martin is in for a song, “Tonda Wanda Hoy,” later reprised by Lewis when he skips the base disguised as a blonde siren. Third Mack David-Jerry Livingston number is vocaled by Martin and Polly Bergen in a re- cording booth scene. There’s real fun and a telling mastery of pantomime in Lewis’ reaction to the script situations. As a. team, Martin & Lewis score [solidly with a ^takeoff on Bing ‘ Crosby and Barry Fitzgerald, and Lewis’ solo dance is a wow. While it is Lewis’ show, MartiL ^ets over strongly and there are several stout assists from other cast num- bers; Among these are Jean Ruth, a dumh-dora Who sets off ohe stririg of events when she seeks Out Mar- tin to break a date because she is now married. She has much more footage than the featured Polly Bergen, as does Angela Greene, as the wife of William Mendrek, post captain. Mike Kellin, Jimmie Dundee, Tommy Farrell, Frank Hyers, Kenrteth Forbes, Paul Livermore arid Douglas Evans do their share in setting up the chuckles. Okay lensing by Stuart Thomp- son and musical direction by Joseph Lilley are anong the tech- nical credits. Brog. Tlie Redhead and the Cowhoy Hollywood, Dec. 7. Paramount releose of Irving Asher pro- duction. Stars Glenn Ford, Edmond O’Brien, Rhonda Fleming; features Alan Reed, Morris Ankrum, Edith Evanson, Perry Ivins, Janlne Perreau, Douglas Spencer, Ray Teal. Directed by Leslie Fenton. Screenplay, Jonathan Latimer, Liam O’Brien; based on story by Charles Marquis Warren; camera, Daniel L. Fapp; editor, Arthur Schmidt; music score, Da- vid Buttolph. Tradeshown Dec. 5, ’50. Run- ning time, 12 MINS. GU Kyle ...Glenn Ford Dunn Jeffers, ......,, .Edmond O'Brien Candace Bronson........Rhonda Fleming Lamartine Alan Reed Sheriff Morris Ankrum Mrs, Barrett Edith' Evanson Mr. Barrett Perry Ivins Mary Barrett . Janine Pcri'eau Perry ................. Douglas Spencer Brock Ray Teal Captain Andrews....;..,..., Ralph Byrd Munroe . King Donovan Gus ........................ Tom Moore preem “The Micltown the- pec. 23, with others of the ‘Goldbergs’ Preem Paramount will Goldbergs” at the atre, Philadelphia, Gertrude Berg and cast * joining in the celebration, 'Miss Berg and the other per- formers will be in the town three days prior to the opening for, local radio arid television appearances, and ballyhoo. Pleasant comedy and good music shape “Grounds For Marriage” as an entertaining film for general release. Situations in which the principals are involved in the farc- ing are not particularly new, but writing, direction arid playing give them a slick presentation that Will find favor. And there are several highlight sequences that will rate strong guffaws. Van Johnson is a young nose and throat specialist, engaged to the daughter of his associate, but still pursued by his ex-wife, opera singer Kathryn Grayson. Latter is a determined young lady who in- tends to get her man back from Paula Raymond and goes about the task with a pleasing pertness that is spiced by her vocalling of three numbers. Johnson registers ably as the pursued male. “Hymn to the Sun,*’ an excerpt from “La Boheme” and a funny dream sequence using “Carmen” scenes take care of the more clas- sical musical portions. For a pop note, the Firehouse Five Plus "Two bats out. some razz-ma-tazz and “Charleston,” with Johnson doing the ^rations On the latter. Johnson doing both tenor and baritone, \yith dubbed-iri voices, to Miss Grayson's Carmen, while Mil- ton Cross narrates, sharpens the dream sequence. Miss Grayson’s Mimi, aided by Richard Atekison as Rodolpho in “La Boheme,” is beautifully . done. Another high spot, for comedic effect, is John- son^s lecture DU the common cold, delivered while he fancies, himself catching one from a draft. Direction nevrir lags under Robert Z. Leoniird’s handling, and he points up the bits of business to be found in the Allen Rivkin- Laura Kerr script. Dialog coiries off neatly, and several gimmicks, such as Miss Grayson's loss of voice, add to the , general pleasant affect. Helping sell the comedy are Miss Raymond. Barry Sullivan, the toy-manufacturing brother to John- son; Lewis Stone, Miss Raymond’s father; Reginald Owen, opera im- presario; Richard Hageman, Theresa Harris and Guy Rennie. Samuel; Marx did the story on AvWch script was ba.sed as well as giving the production presentation a pleasing gloss for John Alton’s cameras, Johnny Green swung the baton over the Bronislau Kaperi score, and the excellently staged opera excerpts' were handled by Vladimir Rosing. Brog. A spy hunt, laid in the West during the closing days of the* war between the States, sets up the ac- tion melodrama to be found in “The Redhead arid the Cowboy.” The outdoor flavor is good, as are the marquee names, providing some help to head it for average returns in most situations, al- though entertainment value is not always satisfactory. Story has a tight-lipped unfold- ment, the terseness being carried to the point of obscurity as both characters and audience are kept in the dark by the step-by-step de- velopment, However, method of telling generates suspense and had not plot fallen apart near its cli- mactic stage, overall effect would have been good. Rhonda Fleming is the redhead of the title. A southern sympa- thizer, she is .detailed' to carry a message through to the leader of Confederate forces waiting to at- tack a gold train. Glenn Ford is the cowboy, intrigued by the red- head and also needing her as a witness to clear him of a murder rap. When she starts her tour of spy stations, he . chases. They Oc- casionally catch up with each other long enough for some adult ama- tory didoes. (joing along with the cowboy on the chase is Edmond; O’Brien, undercover Union officer who helps Ford and Miss Fleming so he can get to the Confederate leader. This buildup holds inter- est over the course until Alan Reed comes on as the rebel chief. The ten-twent-thirt Style of de- livery is entirely out of keeping with the good flavor maintained J up to that point by Leslie Fenton’s^ direction, and story weakens by having Reed a discredited officer who aims to keep the gold and tll6 @£^1 The three stars rate themselves well in the top roles, and there are a number of other good per- formances, including M o r r i s Ankrum, Edith Evanson, Perry Ivins, Janine Perreau, Douglas Spencer and Ray Teal, the latter pair as Union mercenaries follow- ing the three principals on the long chase through rugged west- ern country. Fenton spots several strong, suspenseful action sequences in directing the Jonathan Latimerr Liam O’Brieh script, based on a Charles Marquis Warren story. Irving Asher’s production achieves an excellent outdoor flavor, shown to advantage by Daniel L. Fapp’s lensing. Brog. The Second Face Eagle Lion Classics release of Ed\yard J, Leven production. Stars Ella Raines, Bruce Bennett, Rita Johnson. John Sutton; Patricia Knight. Directed by Jack Berri- hard. Screenplay and story, Eugene Vale; camera, Paul Ivano; editor, Chris Nyby; music, Raoul Kraushaar. Tradeshown, N. Y., Dec, 7, ’30. Running time, 77 MINS. Phyllis Holmes......!......... Ella Raines Paul (Curtis .... . . .,..... Bruce Bennett Claire Elwood.. Rita Johnson Jerry Allison... John Sutton Lynn Hamilton............ .Patricia Knight Allan Wesson Roy Roberts Mrs, Lockridge............, . Jane Darwcll Mr., Hamilton....,........ .Pierre Watkin “The Second Face” is a modern- ized version of the Ugly Duckling which shapes up mainly as support- ing material for the duals. Film recounts the troubles of an un- attractive businessgirl who unsuc- cessfully; tries to advance herself both romantically and economi- cally. Unfortunately, the story seldom becomes believable despite Valiant efforts of the cast. Gbod exploitation,, howeveiv n^ay help the b.o. : Secretary Ella Raines, who also is a talented dress designer, is blighted by an unsymmetrical nose and other unbecoming facial fea- tures. Although .intelligent, she heightens her, physical disadvan- tages* by dowdy' attire and a bristly hair-do. She has an unpleasant life, indeed, filmgoers are told through flashback. Miss Raines is aware that she’s the “plain” type and studiously rebuffs any or all males whom she suspects of pitying her. She wants a genuine love, not a love of con- descension. When an auto acci- dent mars her face -still further, some mysterious outsider hires a plastic surgeon to improve unon nature. ■ With her newly acquired beaute- ous profile. Miss Raines starts a quest* to find the annonymous ‘Trince Charming,” for she's con- vinced that his motive in shoulder- ing the bill was entirely due to his love for her alone. Benefactor turns out to be novelist Bruce Bennett, her onetime employer, and both agree to share e^ch other’s destinies without further qualms. While it's true that a pretty face is a decided asset to a girl, still a homely girl in real life couldn’t possibly have suffered the amount of brushoffs and insults that scrip- ter Eugene Vale conjured up. Af- ter all, there’s such a thing as iact, which appears to have been over- looked by, most of this picture’s characters. . Cast in a role that most actresses certainly wouldn’t go out of their way for, Miss Raines does the best she Can under the circumstances* Bennett gives a dignified inter- pretation as the writer. Rita Johnson is rather artificial as a designer with whom,, the Ugly Duckling shares ah apartment. John Sutton scores as a cad while Patricia Knight impresses in a brief bit as a “love thief.” Sup- porting players include Roy Roberts Jane Darwcll and Pierre Watkin. Direction of Jack Bernhard is fairly good in view of the difficulty of making such a plot plausible. Paul Ivano’s camerawork stands up favorably as does the musical score of Raoul Kraushaar. Producer Ed- ward : Leven wrung maximum physical values out. of a modest budget. Gilb. $»ierra Passage (SONGS) Hollywood, pec. 11. Monogram release of Lindsley Parsons productioi^. Stars Wayne Morris; features Lola Albright, Alan Hale, Jr., Roland Win- ters. Lloyd Corrigan. Directed by Frank McDonald. Screenplay, Warren D. Wand- berg, Sam Roeca, 'Tom W. Blackburn: camera. William Sickner; editor, Leonard W. Herman; music score* Edward J. Kayj songs. Bobby Bums, George Howe, Charles Dixon; Max Goodwin, Hugo Peret- ti, Herb Pine. Previewed Dec. 8, ’50. Run- ning time, 80 MINS. Johnny Yorke .Wayne Morris Ann ..................a.Lola Albx*ighl; ■Yance Alan Hale. Jr. Sam Roland Winters Thad King .Lloyd Corrigan Jud Yorke. Jim Bahnon Andy .. Paul McGuire Young Johnny Yorke .Billy Grey Bart Richard Karlan Sheriff George Eldridge This is a folksy combination of western action and minstrel show life that will find Its best playoff in the smaller family situations. Pace is leisurely and script is in- clined to gab over the 80 minutes of runnirig time, but overall pre- sentation is pleasant enough to get by in the intended market. Roland Winters arid Lloyd Corri- gan, minstrel show operators, adopt a small boy when his father is killed by robbers. The boy grows up into Wayhe Morris, nor- mal except for his plan of ven- geance. Winters, show, sharp- shooter, has taught Morris all the tricks of the trade and made him a star of the traveling troupe. As the show roams through the west, Morris continually searches for his man, Alan Hale, Jr., and is certain he. will find him. Script skips through the chase motivation, with Morris just missing his prey on too many occasions before fi- nale finds him—^not gunning the man down, but only crippling him so he can no longer ply his side- line gambling. Score is scattered through with typical period minstrel tunes as well as three newer numbers, two of which haye been published. Trio falls to Lola Albright, member of the minstrel troiipe who ends up. (Continued on page 25) Operation X “Operation B r i t i s h - made, which opened at Loew’s State, N. Y., Saturday (9), was re V iewed in Variety from London, June 28, 1950, under its original title, “My Daugh- ter Joy.” Produced and di- rected by Gregory Ratoff; film, starring Edward G. Robinson, Peggy Cummins and Richard Greene, was tabbed by review- er Myro as being “a vague and insincere piece of entertain- ment wbich cannot expect, more than moderate returns from the borne market and barely merits a place on the American screens.” Pic revolves around a finan- cial genius (Robinson) and his affection for his only daugh-., ter (Miss Cummins), whom he eventually learns was not fathered by him. Greene por- trays a y o u n g Ainerican re- porter who exposes Robinsori’s financial career and falls in love with the daughter. Film is being released here by Columbia.