Variety (December 1953)

VrtlnfKla?, December 2, 1953 Meal the (BRITISH) Humphrey Bogart, Jennifer Jones, Gina Lollobrifida starred in John lluston-direct* rd comedy-drama; looks like money maker. Give a ftlrl a Break (MUSICAL-COLOR) Routine n u s I e a 1 showcasing youthful for mild possibilities panion feature on twin bills. comedy, talents as corn- regular London, Nov. 24. Ii i « |uml< tit I ili.ii nisirili* on assm »a- tn.ii , 1 1■ Rnlrh l.ii.io iele»i*« of Kmnu- 1., *. sii.ii. n.i 11 metu< tinn. Star* Humphrey .i,u|i.!< r .li.nes, Gina I.ollotni^iitir. 1.. in«<s Hubert . loi lev, Peter Lone, f l.lit < irtiiMii. Directed by Join) jliiM'.n. ‘.«n « npl«v. Truman Capote; ;. nieia. (••■.*;.Id Morris,; eilltor. Ralph 1\‘ in|, It'ii music. Kiiihvo Mannino. At the V...IIU I I.biu on. Nov 24. ’53. ItunnittK lout too MINS. H.lh Damn t ill her t.wcntitilt ii < helm Maria Damn i iillicr r. li'ifi n () I la ra ....... Hi.n \ Cliclin X'.. it,r Hors ...... , till I iis|it tiiii ....... KivrMt, I'tii *■ t i ....... Ili'iit l 4'ui; t er < hill'll s ...... A r imiiiM i iitur . . .. (' i>l..*'i II in< in Sni/a I>i i\ er >i . h (iffit i i is. i man Humphrey Bogart Jennifer June-; t;ina LollobngicJa Robert Motley Peter l.orre h'luaid UndefdoVMi Ivor Barnard ...... Bernard l.ee ....... Marco Tulli Mario Perron! Alex poehei Aldo Silvam Guilio Donnini .... Saru Uiri ... Juan de I .anti a Manuel Se.rano . . Mimo roll Hollywood, Dec. 1. Metro release of Jack Cummings pro- duction. Sl,irs Marge and Cower Cham- pion. Debbie Reynolds; features Helen Wood. Bob Posse. Kurt Kas/nar. Richard Anili'i mid Directed bv Stanley l)onen Screenplay. Albert Hat kett. 1 i ant es Ciodi ich: slor> ■ Vera Caspar.v; camera •Technicolor). William Mellor; editor. Adrienne F'a/an; musical direction. Andre Previn. Saul Chaplin: musical numbers Caged bv Stanley Donen and Gowei Champion; sting*. Burton l.ane, lia Cci shw in: added music, Previn anti Chap hn. Previewed Nov. 25, '53. Running tune. • 1 MINS. \iadelvn Coi lane ■Cfd Sturgis Sp/y lioolittle ... Ioanna Moss ... Bob Dowdy I .t o Belncy Rinli.n Bradshaw Anson Pritchett , Mr*. Doolittle Felix .It,i dan ..., Janet llallson ■. Marge Champion (,|,wn Champion Debbie Rcvnoltls Helen Wood .... Hob Fosse Kurt Kas/nar Rirhaid Anderson .W illiam t hing . l aurene Tuttle ... Larry Keating . ., Donna Marlell ► Since its formation a few years back. Romulus Films has produced • number of top-ranking Anglo- American pix w hich have matie liefty inroads at tlie boxofTice tin either side of the Atlantic. The Romulus smash iiit, “African Queen," was followed by “Moulin Rouge." Now, in the same classi- fication, it has this new Humphrey Hopart - Jennifer Jones starrer. “Beat the Devil," which, although It has moneymaking potentialities, nay not reach the same boxofTice dimensions of its predecessors. “Beal the Devil" Is John Huston’s third successive directorial effort j for Romulus and demonstrates his mastery of diverse faeets of the j aereen. It is more lighthearted and ! frivolous than its predecessors, and i the story unfolds with a gay and fascinating freshness. At time the , a ction drags and the overall tempo; could he heightened by more care- i fill editing. Nevertheless, the di- rector sustains a bright and in- fectious atmosphere for the incon- sequential yarn. In an easy sort of way, the story describes the adventures of • a bunc h of uranium exploiteers who want to get hold of some valuable land in Africa. While they’re wait- ing lor a passage from Italy, their gn-bi lui cm Humphrey Bogart, bc- < <>mes involved with a young cou- ple, played by Jennifer Jones and Edward Underdown. The way in which they get done out of their property and the potential millions that go with it. provides the back- ground for all the action. All the exteriors were lensed on location in Italy, with fine match- ing work at Shepperton Studios. 'J here is a great deal of comedy incident which has been adroitly handled, hut some of it is too long drawn out. ’1 here are carefully tuned laughs in the script as well as intended comedy situations that misfire. The best gag is derived fi’om Humphrey Bogart’s inter- view with an Arab bigwig who provides a slow boat to Africa in e>change for a promised introduc- tion to Rita Hayworth. Under Huston's stylish direction a fine acting standard is main- tained by a front-ranking cast. Humphrey Bogart's virile, berform- fitice as the go-between for the in- ternational gang, with visions of millions as his share, is handsome- ly matched by Jennifer Jones’ pert and vivacious study of the wife of the Englishman who pretends to H;.fits and riches which neither have enjoyed, Gina Lollobrigida gives a provocative portrayal as Bogart's wife while Edward Under- flow n stands out as the English- man. Robert Morley, Peter Lorre and Ivor Barnard excel as the racketeers. Lesser parts are effi- ciently played by Bernard Lee. Marco Tulli and Mario Perroni. Despite its colorful settings, the picture loses nothing by its hand- some black and white lensing. Myro. The talents of a group of youth- ful performers are showcased in I his Tontine tintuner, a passably pleasant, although uninspired, piece of entertainment that has mild possibilities as a companion feature. Six tunes are used in the Jack Cummings production, all hack- stopping assorted production num- bers. and none are sock, either lyrically or in the dance staging. Five were cleffed by Burton Lane and Ira Gershwin, while the sixth, a straight terp piece, was done by Andre Previn and Saul Chaplin, who also teamed on the musical direction. The tune. “Challenge Dance,” backs the best of the terp i numbers, as danced by Marge and Gower Champion. I In addition to the Champions, the other youthful talent consists 1 of Debbie Reynolds, Helen Wood and Boh Fosse. The ciuintet works i hard at its chores ana manages to 1 brighten proceedings In spots, al- I though the material In the the 1 screenplay by Albert Hackett and Frances Goodrich, from a story by Vera Caspary. is too lightweight to give much drive. Stanley Doncn's direction falters, also. I contributing to the draggy pace ( that keeps the 81 minutes of foot- age unfolding slowly. Plot twist revolves around the Misses Champion. Reynolds and Wood competing for the lead In a show being directed by Gower Champion after its femme star, Donna Martell. walks out. This showbiz background is ample ex- cuse to work In the songs and dances and there is a certain amount of suspense over which girl will land the role. Miss Rey- nolds wins out over the Misses Champion and Wood, but not until after the on-again. off-again angle has been completely milked. The three femmes sing and dance the title tune as the first production number. Gower Cham- pion. Boh Fosse and Kurt Kaszner, writer of the show’s tunes, use “Nothing Is Impossible" as second combo number, while Fosse and Miss Reynolds take over on “In Our United States" as the third piece. “Challenge Dance.’’ staged on an apartment rooftop, follows, before the Champions step to “It Happens Every Time." Miss Wood has a chance for a solo ballet and there’s a teaming of Miss Reynolds and Fosse for a dance midst snow- flakes and balloons before the finale “Applause, Applause," with Miss Reynolds and Champion, wraps up the numbers. Donen and Champion staged the musical num- bers. Comedy assists are furnished by Kas/nar, Richard Anderson. Wil- liam Ching. Lurene Tuttle and Larry Keating. The Technicolor photography by William Mellor heads the good technical credits. Brog. the 69-minute course but the bois- terous fun anticipated of a Skelton vehicle is lacking. It will find its level as a programmer. Skelton plays a diamond cutter, raised in an orphanage after he was deserted on a park bench years before. Celebrating the day of his finding. Skelton drinks too much, is -tossed in jail and meets shyster lawyer James Whitmore, i When the latter hears the sad tale | of the foundling, he sees a chance i to make a quick buck and arranges a family for Skelton, i The title gets into the picture j when assorted uncles, such as Kurt Kasznar and Harry Bellaver. de- cide “nephew” should help them grab a $2,000,000 diamond, the , Blue Goddess, which Skelton’s cm- i ployer, Reginald Owen, is prepar- ing to have cut. The crooks us<«* Skelton’s yen to cut the gem him- i self, but the scheme goes awry when Cara Williams and Dorothy Stieknev, the ready-made sister and mother, soften under his in- fluence and reveal the deal. Wind- up finds crooks captured and Skel- ton with a wife instead of a sister. Skelton works a nice round of pathos in with his comedies, in keeping with the character he plays and earns several chuckles. Miss Williams is a shapely doll who fills the light requirements of her role. Whitmore, Kasnar, George Mathews and Bellaver do okay as the crooks, as do Miss Stickney and Owen in their assignments. Connie Gilchrist, a bar blonde, and Steven Gerary and Sig Arno, dia- mond cutters, have their moments, too. Robert Z. Leonard’s direction of the Edwin H. Knopf production makes as much as possible of the lightweight script by Laslo Vad- nay and Martin Raekin, based on a story by Vadnay. The dialog has a snapper, or two, but not enough for general laugh purposes. Cam- era work and other technical cred- its are okay. Brag. Lewis gets Pat Crowley, veterinarian. George Marshall directs the Hal Wallis production at a pace that alternates between fast laughs and slow giggles, but the material in the Hal Kanter and James Allar- dice script is too thin. _ The Misses Millar and Crowley are attractive. Haydn, amuses as the drunken jockey. Robert Strauss. Gerald Mohr, Leonard, Romo Vincent and Jack Kruschen deliver the demands of the Runyon characters competently. The 3-D process used for Daniel L. Eapp's lensing got a poor dis- play at the preview, the projection being ofl-register often enough to cause considerable strain on the vision. The depth treatment adds nothing to the comedy antics since it's not used as a gimmick. The picture’s physical values are good. Brog. BoB|onr Paris (Color-Songs) (FRENCH) Paris, Nov. 24. AGDC release of Jean Image produc- tion. Directed by Image. Story. Eraine; sets. Claude Santelli; music. Jean Ygtov*. camera. K. Tchiktne; commentary spoken by Francois Pener. At Le JUiniu, P. 11 ,* Running time, 7* MIMS. This is the third cartoon featuro to be made here. It is an attempt at a whimsical interpretation of Paris. Although nicely done. ,t emerges as the tourist’s Paris with the w.k. landmarks, the spirit and the visitor’s-eye-view types rather than sticking to a real Gallic i. « ing which night have made tips a more palatable entry. As is. the neat outline of Paris and its good tor ap- lor a.r Terror .SI reel Dan Duryea in English-made melodrama offering only fair escapism for lowercase market. Hollywood, Nov. 27. I.ippcit Pictures release of Exclusive Films production, produced by Anthony Hind*. Star* Dan Dur\ea; features Els.v Albiin. Ann C.udiun. F.ric Pohlmann. John Chandos. Kenneth Griffith. Directed by Montgomery Tullv. Story end screenplay. Steve Fisher; camera, Walter Harvey; editor. Jame*- Need*; mimic. Ivor Slaney. Previewed Nov. 25, ’53. Running time. •1 MINS. Miikpv From Home (SONGS—3-D—COLOR) Rill Rogers Katie Jenny Malison Hart Henry Harry Sister Helen-CliJr Inspector Kevin .. Pam D;n Duryea Elsy Albiin ... Ann Gudrun .. Erie Panlmann John C'handos Kenneth Griffith ... Harold Lang Jane Carr .. Michael Golden . Marianne Stone Technicolor may slant this dualer spotting on the Paris peal tag. This'might also do TV although the pic has the of a propaganda tourist film. Though progression and anima- tion are good this does not have the power, inventiveness or more spectaculgr techniques to put over a full-length cartoon as a big fea- ture. Songs are ordinary and pro- duction numbers tend to dragged in. Commentary is underlined by the chiding warm voice of Francois Perier. M Oik. be well and Martin & Lewis in 3-D lensing of one-dimensional comedy; comics’ marquee draw insures b.o. possibilities. 1. Hollywood. Doc Paramount release of Hoi Wallis pro- duction. Stars Dean Martin. Jerry Lewis: co-stars MarJie Millar. Pat Crowley, Richard Haydn; feature* Robert Strauss. Gerald Mohr. Sheldon Leonard. Romo Vincent, Jack Kruschen. Directed b.v George Marshall. Screenplay. Ilal Kanter; adapted by James Aliardice and llnl Kanter from the Damon Runyon story; camera (Technicolor). Daniel L. Fapp: editorial supervision. Warren Low; score, I-eixh Marline: song*. Jack Brooks and Joseph J. Lillev. Burton Lane and Frank Loesser. Previewed Nov. 6, ’53. Running time, 99 MINS. Honey Talk Nelson Dean Martin Virgil Yokurn Phyllis Leigh ..... Autumn C’&.vpool . Bertie Searles Seeldom Seen Kid Marshall Preston . Jumbo Schneider . The Poojah Short Bay terry Lewi* 1 ... Mar.lie Millar Pat Crow ley , . Richard Haydn . Robert Strauss Gerald Mohr Sheldon Leonard Romo Vincent . Jack Kruschen (ireaf Dlninond Hoblierv 20th Playdales Continued from page 4 Red Skelton mixed up with crooks and a bogus family for an occasional mild titter. A programmer. curly October when they accounted for 84.r>0'f> of the sales. A week Ihtcr. the 2-Ders brought 66 5'i M the revenue while “The Robe’’ Recounted for 33.f> f r. Week after that. "The Robe.’’ with still very limited hookings, grabbed 43.21', vlnle the standards dropped to Mi 70'/. Since then, the 2-1) con- tribution has reached a low 41 01',. With 20th completely switching to ( inemaS‘ope, the distrib is noxious to yet a playoff on its regu- lar pix as quickly as posible. Sales org mentality, now geared to Cine- mascope, is seen hindering that process. Hollywood. Nov. 30. VICM release of Edwin H. Knopf pro din lion Star* Red Skelton; feature* Cara W 1 IIi.<ms. James Whitmore. Kurt Kas/nar. Dorothy .stieknev. Directed by Robert Z l.eotynd. Screenplay. Laslo Yadnav. Mar- tin Kackin; story by Vadnay; camera. Jo-epli Kuttenbeig: editor. George White; musical ihiectlon. Rudolph G. Knpp. Pre- viewed Nov. 24, '53. Running tune. 4* MINS. Ambrose C Park .. Maggie. Diumman .. Remliek* - Lome Ftnily Drumman ... Duke Fargo)) .... Mainhndge Gibbons Herb Blonde ...... Van (loosen Mr. SiVhulsky ...... .’... Red Skelton ... Cara W illiams James Whitmore . Kurt Kas/nar Dorothy Stickney George Mathews .. Reginald Dwell . Harry Bellaver Connie Gilchrist .. .. Stev en Geray ........ Sig Ai no This is a mild little comedy af- fair that invokes Red Skelton with a uroffp of crooks and a bogus famdv An occasional titter is stirred up here and there during Dean Martin and Jerry Lewis have a wack at Damon Runyon comedy in “Money From Home,” which has 3-D and Technicolor for added flash. The M&L draw, which is still considerable, should take care of the boxoffice. but the en- tertainment is strictly one-dimen- sional. Songs by Marlin and funnies by Lewis are spotted in the harum- scarum nonsense. The latter man- ages to bolt a number of solid laughs and Martin’s vocals register with their usual punch, but the prohibition era plot and Runvon- esque comedy gangsters just don’t have the wallop. Interest lags dur- ing the 99 minutes of footage. Kid- die fans will take to it the most. Lewis gives his typical comedy treatment to “Be Careful Song” and Martin sells “Love is the Sanre“~Tboth by Jack Brooks and Joseph J. Lillev). and “Moments Like This.” by Burton Lane and trank Loesser. One hilarious tune sequence is played by Martin & Lewis a la the Cyrano-Christian balcony scene. Also getting laughs are Lewis’ guise as a member of a harem, his takeoff of a high-falut- ing English steeplechase rider, and his malaprop riding in a society race for the climax. - Martin is seen as Honcv Talk Nelson, a young man whose betting markers have iallen into the hands of Sheldon Leonard, bigshot racket- eer. When Leonard demands im- mediate payment, vvith the fixing of a Maryland steeplechase the alternative, Martin grabs his cou- sin, Lewis, a veterinarian’s helper, and heads south. Footage is then taken over bv Martin’s efforts to stav clear of the gangsters, woo Marjie Millar, owner ol the horse lie is to fix. and straighten out the confusion that results from Lewis’ forced imper- sonation of Richard Haydn, the English jockey. It all comes out okay at the finale for the two com- ics. with the heavies and pseudo- heaviev getting their comeuppance while Martin gets Miss Millar and Dan Duryea gives some interest for the domestic market to ^his British-lensed melodrama, but it is only a fair offering. Other than Duryea’*. there are no familiar names, nor enough entertainment strength. Steve Fisher scripted from his own story and the basis is there lor a good thriller. It doesn’t come off that wav. though, the develop- ment and direction permitting the players to trod slowly through the prolonged 83 minutes of footage. Duryea portrays a jet pilot who goes to England on a 3G-hour pass to find out why his wife hasn’t been writing to him. He finds her. she’s killed and it looks like he is guilty. Melodra- matics are methodically played off under Montgomery Tully’s direc- tion as Duryea seeks to stay clear of the police and ferret out the real killer, head of a blackmail ring who had been using the wife. By the time the story period is over, Duryea has his man, as well as a new romantic interest in Ann Gudrum. mission worker who helps him with his detective work. Duryea manages to holster lip the show with good histrionics but gets little help from the others. The Anthony Hinds production i* given stock lensing by Walter Harvey and the other technical credits are in keeping. La Lupa (The She-Wolf) (ITALIAN) Rome, Nov. 24. Paramount release of a Ponti DeL.ni- rentiis production. Stars Kerima. May Britt. Ettore Manni; features Mario Pas- sant#, Giovanna Halil. Patrizia Lari, Ignazio Bnlsamo. Directed by Alberto Lat- tuada. Screenplay. Lattuada, Alberto Moravia, lvo PerilU, Ennio de Concini, Pietrangeli. Malerba. from story by Gio- vanni Verga. Caera. Aldo Tonti; music, Felice Lattuada. At Fontan# di Trevi, Rome. Running time, 94 MINS. I-a Lupa Kerima Maricchia May Britt Manni Ettore Manni Imbarnone Mario Pssante Agnese Giovanna Halil Brog. TIip Man From Cairo George Raft metier for pro- grammer dates. Hollywood, Nov. 24. T.ippert Pictures release of a Michael- «la\ id production produced bv Bernard l.uher. Stais Gcort'c Raft: feature* Gianna Maria Canale. Massimo Scrato, Guido Celano. Irene Papas. Alfredo Yarelli. Leon Lenoir. Directed by Ray H. En- right. -Screenplay, Eiurene Ling. Philip Steven-on. Janet Stevenson: from a story by I.aiiislas F’odnr: camera. Mario Alher- telli; editor. Mario Berandrei; score, Renzo Rossellini, directed bv Franco Fer. rara. Previewed Nov. 3. ’53. Running time. II MINS. Mike Canelli George Raft n° r n*J* ••• Gianna Maria Canale Basil (onatantine Massimo Serato Emile Touchard Guido Celano v vonne .......... Irene Papas Professor Crespi Alf-edo Varelli Akhtm Bey Leon Lenoir Major Blanc Mi„o Doro Pockmark ........... Annin Dessy Stark Richard McNamara Armeno ............. ... Franco Silva Based on a w.k. short story by Sicilian writer Giovanni Verga, this pic has title strength for its local run. Proper handling of (he films strongest selling point, a sexy, animal performance by Kerima, could build this to healthy returns in the U. S. via exploita- tion. Story focuses on the man-hungry vamp ‘Kerima) of a south Italian village. Threatened with the loss of a man she wants. 'Ettore Manni)) she arranges his marriage to her daughter <May Britt*, moves in on them, and takes over once more in the man’s affection. When she is finally thrown out. she moves in with the rich village storekeeper, and proceeds to make life difficult for the couple and the other villagers. Despite the pitfalls of an overblown seri Pt, Kerima’s instinctive. explosive performance should rate her (and the picture) much attention. Co- stars by May Britt and Ettore Manni, although okay in their roles, are perforce shaded, Direc- tor Alberto Lattuada, perhaps hin- dered scripting and censorship difficulties, has not given this one ; as smooth a pace as some previous efforts. However, he still makes the most ol’ his exploitable footage. Aldo Tonti’s lensing, almost all on location, is fine, as are Felice Lnt- tuada’s musical score and other production credits. Hawk. Ay. l'ena. Penila* Pena (Oh, Pain, Little Pain. Pain) (MEXICAN SONGS) Mexico City, Nov. 24. Distriburtora Mexican* de Faliculas re- lease of Diana Films production Stars Lola Flores, Luis Aguilar, Antonio Badu. Features F'ernando Koto, Rafael Llamas, Miguel Angel Ferriz. Directed by Miguel Moray ta. Comer*, Enrique Wallace; screenplay, Masip & Verbizaky. At Cine Arcadia, Mexico City. Running time. 9® MINS. Dull intrigue in Algiers is offered in this Lippcrt Pictures import starring George R.ift and the most it can hope for is filler dates in routine situations. Other than Raft, it lias an all-Italian east, a confused script and a s'ow pace. Raft does iris best to make something of the confusion that finds him mistaken for a detective sent to Algiers by French Intel- ligence to locate a cache of gold lost in the desert during World War II. He becomes involved with police, international agents posing as French Intelligence men. black market dealers, a cafe singer and a lot of cuts and bruises before he falls into a fairly logical solution to the mystery. There’s promise of excitement in the script by Eugene Ling. Philip Stevenson ( and Janet Stevenson, but it never J de velops and Ray H. Enright’s di- rectlOfl left? the players walk through at a tedious pace. Brftff. I Here is top of not heavy enter- tainment of an international order. Pic has peculiar interest because it bowed widescreen in Mexico, and proved that this projection style is clicko down here. Its top play- ers, Lola Flores, highest-paid Spanish-gypsv thrush-hoofer ever to play here, Luis Aguilar and An- tonio Badu are real assets for this film. Misadventurers of a Spanish gypsy entertainer and two gay young Mexican blades, stranded in Madrid, has a Spain-Mexko locale, with smart transitions. A light comedy, it poses to be very, very light. But the strength impanel by Miss Flores’ verve, pipes and gams goes far in putting this across. Aguilar and Badu are ex- perienced enough to insure atten- tion locally. Another interest is the film how of Ana Berta Lepe. who as ’’Miss Mexico’’ copped fourth place in a recent beauty contest at Long Beach. She ha* a small bit part. That was before she got into the face-figure spot- light. Direction and lensing arc more than satisfactory. Pic is a rietiniu click here. Doug.