Variety (December 1954)

FILM REVIEWS Wednesday, December 22, 1954 Vera Cra* (Color-SoperSeope) Gary Cooper, Burt Lancaster In rough, rugged, Mexican- locfled outdoor actioner. Stout b.o. United Arti«ts release of Hecht Lan- caster (James Hill) production. Stars Cary Cooper, Burt Lancaster; co-stars Denise Darrel. Cesar Romero; introduces Montiel. Directed by Robert Aldrich. Screenplay, Roland Kibbe*. James K. Webb; story, Borden Chase; camera (Technicolor). Ernest Laszlo; A,a " Crosland Jr.; music. Hugo Frierthofer, orchestrations and conducting by Raul Lavista; song. Frledhofer and Sammy Cahn. Previewed Dec. 16, 54. Running time. *4 MINS. Trane Gary Cooper Erin “*-**■*;. Burt Lancaster Countess Denise Darcel N*na Sarita Montiel Maximilian'..’. < L eorg J! Donnegan Ernest Borgmne Ramirez Morns A ***™”| Danette ^ Henry Brandon Pittsburgh Charles Buchmaky Charlie J * ck . Lambert Jack Elam Little-Bit James McCaUion Abilene R eno Charles Horvath Pedro ... .• „ J “ an GarcU (A: pact ratio: 2-1) Editing by Alan Crosland Jr., has figured importantly in making this a tight fllm v Hugo Friedhofer’s score makea 'beautiful use of a fguitar emphasis to set the mood most of the time. Also, he did the title tune with Sammy Cahn. Or- chestrations and conducting by Raul Lavista is another good music credit. Brog. The Violent Men (COLOR) Strong marquee names. Cin- emascope bolstering com- mercial chances of otherwise conventional outdoor feature entertainment. Exhibitors playing this Hecht- Laneaster production, being dis- tributed through United Artists, should find it a stout performer at the boxoffice. It could be figured as a money film almost off the marquee pull of Gary Cooper and Burt Lancaster alone, but this initial sparkplug is backed with the kind of rough and rugged out- door action that their fans partic- ularly like, suggesting hefty re- turns all down the line. Picture is the first release in SuperScope (the second will be RKO’s "Underwater:’ going out in February) and the anamorphic lensing is in an eye-kindly 2 to 1 aspect ratio, entirely ample to the dimand of the outdoor locationing in Mexico and to the sprawling action that features much of the footage. Scenic values, done in Technicolor, add to the overall en- tertainment punch of the film. The Borden Chase story, expert- ly fashioned for the screen by Roland Kibbee and James R. Webb, is of the high romance school that responds aptly to the vigorous direction given it by Robert Aldrich in the James Hill production. The stress is mostly *on the violence and suspenseful action bred during Mexico’s revo- lutionary period when the Juaristas were trying to free the country of the French - supported Emperor Maximilian. Era of the hapless Hapsburg has been used before, but here it is approached via American soldiers of fortune who drifted south of the border to f et in on the loot and killing. here’s no politicking, however, plot merely using the setup as a springboard for some rather fanci- ful entertainment. Cooper, ex-Confederate major from New Orleans, joins forces with Lancaster, western outlaw, and his gang of choice pug-uglies to escogt a countess from the court of Maximilian in Mexico City to the port at Vera Crux. It’s more than the simple guard job indi- cated, since secretly the countess has a load of gold to be used in Europe to bring more troops to Maximilian’s aid. It doesn't take the two Yanks long to figure out the setup, both scheming to doublecross the other at the windup and claim all the money. The countess, Denise Darcel, has a doublecross in mind, too, planning to grab the gold herself and leave Maximilian’s officer, Cesar Romero, holding the bag. The Juarista forces want it, too, so there are plenty excuses for violent action along -the road to Vera Cruz, and by the time it’s all over, Cooper has switched allegiance to Juarez, gunned down Lancaster in a final duel and gets Sarita Montiel, a fiery follower of the Juaristas, as a reward. Besides the more obvious ad- vantages of their star teaming, Cooper and Lancaster come through with actionful and color- ful performances. Miss Montiel, of the Mexican film industry, being film-introduced stateside in this, shows up well in her U. S. debut. Miss Darcel, the subject of some | overhead photography that shows off her curves, puts an acceptable flamboyance into character, and Romero brings off his spot withj considerable aplomb. Ernest Borgnine, Charles Bu- 1 chinsky, Jack Lambert, James Mc- Callion, James Seay, Archie Savage and Charles Horvath are among the toughies helping to add menace to Lancaster’s gang. George Mac- ready, as Maximilian, Morris Ankrum, as the leader of the Juarez forces, and Henry Brandon are among others contributing : capably to the action. Ernest Laszlo’s cameras are used excellently to bring out the pictorial splendors of the Mexican settings, and he never misses any ' of the fast action in the story. | Hollywood. Dec. ??. Columbia release of Lewis J. Kathmil production. Stars Glenn Ford, Barbara Stanwyck. Edward G. Robinson, Dianne Foster, Brian Keith, May Wynn; features Warner Anderson, Basil Ruysdael. I.ita Milan. Richard Jaeckel, James Wester- field, Jack KeUy. Willis Bouchey, Harry Shannon. Directed by Rudolph Mate. Screenplay, Harry Kleiner; based on a novel by Donald Hamilton; camera (Tech- nicolor), Burnett Guffey, W. Howard Greene; editor, Jerome Thoms; music. Max Steiner; conducted by Morris Stoloff. Previewed Dec. 2 . '54. Running time, 9S MINS. John Parrish Glenn Ford Martha Wilkison Barbara Stanwyck Lew Wilkison Edward G. Robinson Judith Wilkison Dianne Foster Cole Wilkison Brian Keith Caroline Vail May Wynn Jim McCloud Warner Anderson Tex Hinkleman Basil Huysdael Elena Lita Milan Wade Matlock Richard Jaeckel Magruder James Westerfield I)e Rosa Jack Kelly Sheriff Martin Kenner... .Willis Bouchey Puruue Harry Shannon George Menefee Peter Hanson Jackson Don C. Harvey Tony Robo Bechi Dryer Carl Andre Hank Purdue James Anderson Mrs. Vail Katharine Warren Mr. Vail Tom Browne Henry Bud Hinkleman Bill Phipps (Aspect ratio: 2.55-1) A good array of commercial val- ues, topped by strong marquee names and CinemaScope, should stir up generally neat trade for "The Violent Men.” Without this bolstering it is just a conventional feature western of the type that plays best in the outdoor market and to nondiscriminating patrons of action fare. Despite its more obvious marketable values, it’s not for the plushier de luxers because the entertainment does not live up to the initial promise. Chief performance assets in the cast are Glenn Ford and Dianne Foster, both of whom bring off their characters in acceptable fash- ion. Less able to make something out of the stereotypes given them are Barbara Stanwyck and Edward G. Robinson, although their sea- soned ability does do more for the parts than less talented hands could have done. Two of Colum- bia’s newer talents, Brian Keith and May Wynn, are given star billing, too, in the Lewis J. Rach- mil production and prove okay with what the^ have to do. The Donald Hamilton novel, on which the Harry Kleiner screen- play is based, held out the promise of an interesting action drama, but in the scripting «nd direction by Rudolph Mate the impact is un- even. Some scenes have all the dramatic tension needed, but others bog down in too much talk and a general static feeling that let the show lose its force. Sceni- cally, the picture is outstanding, the anamorphic lensing by Burnett Guffey and W. Howard Greene capturing all the pictorial values of the outdoor locations. Plot is the one about a cattle baron, now a cripple, who is driv- ing the small ranchers and farmers out of "his” valley. Robinson plays this role, and egging him on is his grasping wife. Miss Stanwyck, and his brother, Keith, a cozy twosome carrying on an illicit romance be- hind Robinson's back, to the dis- gust of his daughter, Miss Foster. The plans for empire probably would have been successful if the baron’s henchmen hadn’t pushed Ford around too much. A pacifist after war service, Ford wants no more of fighting, but adopts guer- rilla tactics to put down the gun- slingers. In so doing he wins Miss Foster and Robinson wises up after Miss Stanwyck and Keith die violent deaths. Two big ranch fires, a horse stampede, an ambush and the mild Ford's gunning down of Richard Jaeckel after the latter has wan- tonly killed Bill Phipps, one of his hands, are among the stronger se- quences during which the picture makes like a good western. There are a number of well-value charac- ters in the featured and supporting lists, such as Jaeckel’s gunslinger; James Westerfield's toadying dep- uty and Willis Bouchey’s strong sheriff, another victim of Jaeckel’s gun. Lita Milan, as a Mexican girl with whom Keith dallies when he’s not busy with Stanwyck, creates a good impression. Editing by Jerome Thoms is good. So is the score by Max Steiner, although it is not Used to the best advantage, being recorded much too loud for comfort. Brog. Utopia "Utopia,” formerly titled "Atoll K”, waa reviewed in Variety from Paria on Nov. 21, 1051. The Sirius release of Franco-London production, currently at the Globe, N.Y.. starring Stan Laurel ana Oliver Hardy, is being re- leased in the U.S. by Exploita- tion. Reviewer Mosk opined, "A basically sound comedy idea is overloaded by coproduction exigencies necessitating that French and Italian partici- pants have an equal footing with stars Laurel & Hardy. Old L & H routines seem to lack their previous zest. Hardy’s resigned double-takes and the Laurel crying binges do not register for heavy yocks. However there are some good moments such as Laurel’s fight with a self- inflating lifeboat and a run- away table during a storm.” The Silver I hallee (COLOR—C’SCOPE) Religioso themed spectacle based on Costain novel. Pros- pects okay for general market. Hollywood, Dec. 17. Warner Bros, release of Victor SavlUa production. Stars Virginia Mayo. Pier Angeli. Jack Palance; introduces Paul Newman; features Walter Hampden. Joseph Wiseman, Alexander Scourby, Lome Greene. Directed by Saville. Writ- ten by Lesser Samuels; from the novel by Thomas B. Costaln; camera (Warner- Color). William V. Skall; editor, George White; music, Franz Waxman. Previewed Dec. 14. '54. Running time. 143 MINS. Helena Virginia Mayo Deborra Pier Angell Simon Jack Palance Baail Paul Newman Joseph Walter Hampden Mijamin Joseph Wiseman Luke Alexander Scourby Peter Lome Greene Adam David J. Stewart Linus Herbert Rudley Nero Jacques Aubuchon Ignatius E. G. Marshall Aaron Michael Pate Helena (girl) Natalie Wood Basil (boy) Peter Reynolds Benjie Mort Marshall Hiram Booth Colman Sosthene Terence de Marney Idbash Robert Middleton Theron Ian Wolfe Ephraim Lawrence Dobkin Ohad Philip Tonge Kester Albert Dekker Eulalia Beryl Machin With its religioso theme and the best-seller status of the Thomas B. Costain novel, "The Silver Chalice” should hit a respectable grossing level. This type of spectacle has a good reputation for boxoffice in the general market, where its en- tertainment merit is more readily accepted than in the deluxers. Like the Costain book, the pic- ture is overdrawn and sometimes tedious, but producer-director Vic- tor Saville still manages to instill interest in what’s going on, and even hits a feeling of excitement occasionally. The CinemaScope photography in WarnerColor, ex- pertly done by William V. Skall, is an advantage to the presentation, as is the production design by Rolf Gerard and the art direction by Boris Leven, even though many of the settings have a modernistic feel at variance with the Biblical period of the story. The picture serves as an* intro- duction for film newcomer Paul Newman. He’s a personable young man who will probably make an impression on the femmes. Handles himself well before the cameras. Helping his pic debut is Pier An- geli, and.it is their scenes together that add the warmth to what might otherwise have been a cold spec- tacle. Jack Palance also registers strongly with colorful theatrics that are just the right touch, and, for glamour, Virginia Mayo dresses up the footage. Other casters, all ac- ceptable, are used less prominently as Saville’s direction unfolds the Costain story, scripted by Lesser Samuels, who also served as asso- ciate producer. The plot portrays the struggle of Christians to save for the future the cup from which Christ drank at the Last Supper. On the side of the Christians is a Greek sculptor, played by Newman, who is fashion- ing a silver chalice to hold the religious symbol. On the side of evil are the decadent Romans, ruled over by an effete Nero, and Simon, the magician (a real charac- ter), played by Palance, who wants to use the destruction of the cup to further his own rise to power. In the end, right and the pure love of Newman and Miss Angeli tri- umph. even though the cup is lost, a disappearance that led to the prophecy by Peter (well played by Lome Greene) that it may well reappear sometime in the future to guide a troubled, warring world back into the way of Christian principles. There are several good action sequences in the long footage, the best being Simon’s death when he commits the rather common error of overconfidence. Believing in his own supreme magic, Simon tries to fly over Rome, but fall* to his death. Thia thriller sequence, sua- pensefully developed, will be a talked-about acene. A rousing score by Franz Waxman dominates the mass action momenta. Brog. Lon| John Stiver (("Scope Color) (AUSTRALIAN) Robert Newton starred In robust actjon-packed sequel to "Treasure Island.” British b.o. looks strong but U.S. less likely. London, Dec. 21. 20th-Fox release of Joseph Kaufman production. Stars Robert Newton; fea- tures Kit Taylor. Connie Gilchrist. Di- rected by Byron Hsskin. Screenplay, Martin Rackin; editor, Mike Bel Campo; camera. Carl Guthrie; music, David But- tolph. At Rialto Theatre. London. Dec. 15, '54. Running time, 104 MINS. Long John SUver ......... Robert Newton Jim Hawkins Kit Taylor Purity Pinker Connie Gilchrist Trip Fenner Eric Reiman Ned Shill Syd Chambers Patch Grant Taylor Old Stingley John BrunskiU Big Eric .. Harry Hambleton Billie Bowlegs Henry Gilbert Dodd Perch Elwyn Daniel Harry Grip A1 Thomas Governor Strong Harvey Adams Lady Strong Muriel Steinbeck Mendoza Lloyd BerreU Kling Tony Arpino Ironhand Billy Kay Sentry Frank Ransom Sgt. Cover Don McNiven Elderly Naval Officer.. Charles McCallura Israel Hands Rodney Taylor Father Monaster Hans Stern Elizabeth Strong Thors Smith Capt. McDougal ..George Simpson Little Young Naval Officer John Pooley It’s only about four years or so since Robert Newton played Long John Silver in Walt Disney’s Brit- ish-made live actioner, "Treasure Island,” and the star turns up in the same role in this anamorphic production, lensed in Australia. It’s a robust melodrama in the Robert Louis Stevenson tradition and looks set for healthy grosses, particularly in situations which cater to a substantial juve trade. The action story has been writ- ten by Martin Rackin, using some of the Stevenson characters to make it an acceptable sequel to bis "Treasure Island” classic. The at- tractive Botany Bay locales make ideal settings,' and they are en- hanced by excellent color lensing. In this new version, “Long John Silver” is still the wily, cunning, one-legged pirate with a disposi- tion to doublecross anyone except young Master Jim Hawkins, a boy of quality, who plays such an im- portant part in "Treasure Island.” His first major adventure is to rescue the Governor’s daughter from a bitter enemy, and this se- quence ends with a major double- cross in which he collects the ran- som and also loots the King’s warehouse. He then succeeds in getting his gang of thugs on board a ship taking the boy to England, but after an unsuccessful mutiny they are all dumped on an island which turns out to be the secret headquarters of the above mentioned rival. Eventually they get to "Treasure Island” and get their hands on the missing hoard after a battle with the rival gang. Under Byron Haskin’s skilled di- rection, the story keeps moving at a lively tempo and the wealth of incident is developed with gusto. Once again the title part proves a natural for Robert Newton and his fruity performance is one of the picture s main entertainment ele- ments. Kit Taylor, a screen new- comer, gives an appealing por- trayal as the boy while Connie Gilchrist, the woman innkeeper with marital designs on Newton, turns in a lively contribution. Lloyd Berxell, as Long John’s main adversary, gives a virile perform- ance. The others play their roles in the robust key set by the star. Mj/ro. . Black TucMflay (SONG) Prison break melodrama, grim but expertly fashioned for fan- ciers of tough action. Hollywood, Dec. 20. United Artists release of Leonard Gold- stein (Robert Goldstein) production. Stars Edward G. Robinson; features Peter Graves, Jean Parker. Directed by Hugo Fregonese. Story and screenplay, Sydney P*oehm; camera, Stanley Cortez; editor, Robert Golden; score. Paul Dunlap; song, "Black Tuesday" by Robert Parrish. Pre- viewed Dec. 17, ’54. Running time, SO MINS. Vincent Canelli.... Edward G. Robinson Peter Manning Peter Graves Hatti Combest Jean Parker Father Slocum Milburn Stone Joey Stewart Warren Stevens Frank Carson Jack Kelly Ellen Norris Sylvia Findley John Norris James Bell Dr. Hart Victor Perrin Lou Mehrtens Hal Baylor Boland Harry Bartell Parker Simon Scott Howard Sloan Russell Johnson Fiaschetti Phil Pine Donaldson Paul Maxey Collins William SchaUert Selwyn Don Blackman Benny Dick Rich (Aspect ratio: 1.85-1) Some real rough melodramatics are dished out in “Black Tuesday,” so tt’s a rather grim 80 minutes of film mostly suited to those who fancy tough action. In the program field It will get a good share of bookings so tbo payoff looks okay Edward O. Robinson makes a re- turn to gang caar roles in this Syd- ney Boehm screen story and has lost none of his menacing quali- ties. The direction by Hugo Frego- nese is hard-hitting and everything connected with the Robert Gold- stein production is expertly shaped to do a good job of telling a crime yarn. Plot concerns the break from death row in a New Jersey prison by Robinson, who takes along Peter Graves, bank robber and killer, who has $200,000 in loot stashed away as well as several hostages. The ill-assorted group is cornered on the top floor of a warehouse, from which the kill-mad Robinson plans to toss out the body of a hostage at regular ^intervals until the police withdraw. The police won’t pl$y, however, and violence runs high until Graves relents enough to gun down Robinson to prevent the death of a priest and then charges the law, guns blazing, to die himself. A rather intriguing idea for a successful jail break is staged by having Robinson’s girl friend. Jean Parker, and his outside hoods kid- napping a guard’s daughter so he will help Robinson and Graves after they have gone into the death chamber for electrocution. It’s not too implausible as set up in the Boehm script and directed by Freg- onese. The assorted characters in the plot are brought off well. More prominent among the players after Robinson, Graves and Miss Parker, are Milburn Stone, the priest; War- ren Stevens, Jack Kelly, Sylvia Findley, James Bell, Victor Perrin, Hal Baylor, and the uncredited po- lice chief who refuses to bow to gangster threats. Stanley Cortez gives the story good lensing and the settings help put over the yarn. A title tune by Robert Parrish is used as a prison- er song early in the footage. Brog. lor the h.ont lily (COLOR) Documentary of trek by Dana and Ginger Lamb into wilds of southern Mexico. Interest- ing for armchair adventurers. Hollywood, Dec. 16. RKO release of Sol Lesser (Dorothy Howell) production. Photographed in 16m Kodaohrome (35m print by Eastman Color) by Dana and Ginger Lamb. Narra- tive written by Dorothy Howell; narra- tion. Hal Gibney; Introduction. Tom Har- mon; special photography. Nelson S. Knaggs: editor, Robert Leo; associated in production. Bill Park: score. Paul Sawtell. Previewed Dec. 14, '54. Running time, 44 MINS. •• (Aspect ratio : 1.33-1) Armchair adventurers . who mostly daydream their derring- do should find this film saga of a couple’s trek into the deep jungles along the Mexican-Guate- malan border an interesting 64 minutes. It’s a good supporting subject for regular twin bills. The two hardy souls who made the junket, with only that equip- ment they could pack on their backs, are Dana and Ginger Lamb. Their search for a lost Maya city, a trek made under the most primi- tive of conditions, is heady enough vicarious adventure for those com- fortably seated away from the steamy, buggy jungle. The Lambs used a delayed ac- tion 16m camera for their filming and the Kodachrome tints have been blown up to 35m Eastman Color for release. While the lens- ing is not of professional photo- graphic standards, it still comes off effectively and adds a quality of realism to the quest. An intro- duction by Tom Harmon and nar- ration by Hal Gibney of the nar- rative written by Dorothy Howell, who also produced, clearly estab- lishes the hardships of the junket. Robert Leo gives the film excel- lent editing and the Paul Sawtell score is apt to the adventuring. Brog. True Friend* (RUSSIAN; COLOR) Artkino release of Mosfilm Production. Stars V. Merkuryev, Boris Churkov. A. Borisov. Directed and written by Mikhail Kalatozov. Camera. M. Magidson: music. T. Krennikov. At Stanley, N.Y., starting Nov. 12, '54. Running time, 165 MINS. Nestratov V. Merkuryev Chizhov Boris Chirkov Lapin A. Borisov Nickhoda A. Gribov Natalya Sergeyevna L. Gritsenko Katya L. Sliagalova (In Russian; English Titles) The purveyors of Russo propa- ganda are not in there pitching in this picture. The story has the fa- miliar collective building program, the collective fanning and collec- tive horse-raising—and even the usual commissars of surgery, the master horse-raiser and architect chief, but "True Friends” dors not hesitate to poke fun at many of (Continued on page 22)