Variety (December 1954)

22 PICTURES y jSU g Tf Wednesday, December 22, 1954 Film Reviews Continued from pace C True Friends the flaws in the Soviet regimented system. In fact, the entire plot turns on the master architect’s laxness in handling the needs of the people. Resultantly, film is an interesting comedy-drama, with the humorous side always stressed. Story depicts how Nestratov, the role played by V. Merkuryev, has become a pompous stuffed-shirt and inveterate speechmaker while new construction stalls and awaits his long-coming decisions. The ef- forts of two boyhood companions, one now the head surgeon of the land, and the other is Master Horse Trainer, to bring the top architect down to earth constitute the bas s of the yarn. The two friends, now masters in their right, inveigle the big archi- tect to accompany them on a boat trip, not telling him it is to wind up a three-some affair on a raft. Their adventures floating down the Vo’ga river provide most of the action. Plot manages to land the three in a typical Russian 'illage where delays In getting material has thrown the new building pro- gram out of kilter, and a lazy local commissar has further aggravated the situation. Of course, there is a heroic deed by one of the town gals in averting a horse stampede In which she is badly injured. This enables the surgeon-general to exercise his skill, and save the femme’s life. f The third member of the trio contents himself with trying to lo- cate a former sweetheart in this same village. Maybe, the pro- ducers should have worked him into the horse-stampede scene. It would have helped. The two suc- ceed In making the Commissar of Architecture see the errors of his ways, and establish closer contact with his people. M. Magidson’s camerawork (Sov- color) is a bright spot in the pic. This is one of the best tinter joVs to come from Russia. Besides Merkuryev. Boris Chirkov and A. Borisov make excellent co-stars, Mikhail Kalatozov’s direction, which considerably better than many Russo directorial efforts, goes far <n holding interest since he seldom lets the action drag. Wear. family types. Color lensing by Otello Martelli is standout, espe- cially the exteriors. Stylish but ob- vious sets contrast uncomfortably with other real backdrops. Mario Nascimbene has written an excel- lent lightweight musical score for pic. Hawk. Mak* Me an Offer y (BRITISH-COLOR) Lightweight British offering adapted from Wolf MankowiU novel; marquee appeal for home market but thin pros- pects in U. S. London, Dec. 7. British Lion release of Group Three (W. P. Lipscomb) presentation. Stars Peter Finch. Adrienne Corri. Directed by Cyril Frankel. Screenplay by W. P. Lipst-ombe from novel by Wolf Man- kowitz; camera, Denny Densham: editor. Bernard Gribbie; music. John Addison. At Empire. London, Dec. '94. Running time M MINS. Charlie «....; Peter Finch Nicky Adrienne Corri Bella Rosalie Crutchley Abe Sparta Finlay Currie Wcndl Meier Tzelniker Sir John Ernest Thesiger Charlie 1 * father Wilfred Lawson Auctioneer Anthony Nicholla Fred Frames Alfie Bass Armstrong Guy Middleton Sweeting Vic Wise Mindel Mark Baker Dobbie " Jane Wenham Charlie^as a boy .... Richard O’Sullivan Charlie 1 * son John Godden Auctioneer's assistant Eric Francis faiornl irAmnre (Days of Love) (ITALIAN—COLOR) Rome. Dec. 7. Minerva release of an Kxcelsa Film production. Stars Marcella Mastroianni. Marina Vlady. Luclen Gallaa. Directed by Giuseppe DeSantis. Story and screenplay. DeSantis. Lihero de Libero, Elio Petri. Gianni Puccini; cr.mera. Otello Martelli tFerrania-color): color consultant, art and costume design. Domenico Purlficato; music. Mario Nascimbene: editor, Ga- briele Varria’e. Previewed in Rome. Run- ning time. 105 MINS. Paaquale Marcello Mastroianni Angela Marina Vlady Orest# Lucien Gai'as Nonno Plttro Giulio Cali Francesco Renato Chiantoni priest * Pietro Tordi Nunziata Dora Scarpetta 1 ■ - —S. Cluttered script on this item almost spoils a promising story idea, with resulting pic caught halfway between a serious love story and a folk comedy. Consider- able trimming^is needed in order to focus on essentials, with a chat- tery middle section especially dis- tracting from the central story. Outlook is spotty, with Yank possi- bilities dependent on a good re- editing job. Locally, this pic looks like a good subsequent-run grosser. Story springs from Italian lower- class expedient, said to be wide- spread in country’s south, of stag- ing a pre-marital escanade to get around the payment of formal wed- ding expenses. The couple, with both families agreeing in secret, spends a night in countryside. Families fake a fight, and on the twosome's return a hasty informal marriage is arranged, supposedly caving face with other villagers. Pic essentially outlines this tale, with Marcello Mastoianni and Ma- rina Vlady as the lovers who spend the night under the stars. While the families stage a stri- dent battle from house to house, the gal moves reluctant to meet her obligations but finally realizes she’s compromised anyway and makes up with her annoyed future husband. To the detriment of the pic. concentration is on sidehne stuff rather than on developing the relationship of the lovers. Direc- tor Giuseppe DeSantis (“Bitter Rice”) tamely handles his explo- sive material, coming through only at end with a strong scene. Marina Vlady registers in all departments with her exotic young looks and charming manners, the Ferrania- color lensing especially favoring her. Marcello Mastroianni is very good as her lover while Giulio Cali and Pina Gallina make colorful Wolf Mankowitz was in the an- tique business long before he wid- ened his activities to include novel nnd playwriting. ’Make Me An Offer,” taken from one of his books which describes the experi- ences of a dealer specializing in Wedgwood pottery, presumably tells an authentic story. But the subject does not translate too hap- pily onto the screen and is too static. The cast of local players provides some b.o. value in the local market but is not strong enough to sell in America. W. P. Lipscomb’s production and screenplay give an interesting background to the way in which expert dealers gang together and rig an auction and bid for the goods among themselves. But there is not enough substance in this yarn about a stolen Wedgwood vase which a dealer discovered in the attic of an inarticulate man. Cyril Frankel’s direction follows a pedestrian approach, and yet within the limited framework he has been moderately w r ell served by his cast. Peter Finch provides a note of credence to the part of the dealer, and Adrienne Corri, an attractive redhead, rises above her role, which is out of character with the entire story. Rosalie Crutchley, as the dealer’s wife, and Wilfred Lawson as his father turn in good average portrayals. Fin- lay Currie and Meier Tzelniker, as rival dealers, help to generate some excitement during the auc- tion sequences. Other roles are up to standard. Myro. l.cIlrcN de Mon Moulin (Letters From My Mill) (FRENCH) Paris, Dec. 7. Gaumont release of Compaxnie Mediter* rannenne De Filins production. Directed by Marcel Pagnol. Screenplay, Pagnol, from stories by Alphonse Daudet: camera, Willy; editor. Jacqueline Gaudin; music. Henri Tomasi. At Paris, Paris. Running time. 110 MINS. Alphonse Daudet Roger Crouzet Yvette Pierrette Bruno Pcrc Gaucher . Rellys Druggist Fernand Sardou Abbe Robert Vattier Miller Edouard Deimont Priest Henri Vilbert A breath of fresh air is let Into fllmhouses here with this evocation of three rustic stories of the 19th- century Gallic author, Alphonse Daudet. Marcel Pagnol has worked these three sketches into a whole, ! using the author as a personage i who hears these tales and is even entangled in one himself. Though slow at times, indicating needed scissoring, it emerges as an en- gaging, simple idyll, without fall- , ing into the bucoli of mawkish, by : dint of the robust humor and im- ; pish goodness breathed into it by Pagnol. Lacking the drama, thesp- ing and more international appeal of his famed “Baker’s Wife.’’ and Marseilles trilogy (“Marius,” “Fan- ny.” “Cesar”), this pic would be more limited for U. S. chances. It looks to do fine here, but for stateside would have to be handled for special situations, with the Pagnol name and probable word- of-mouth the lure. Daudet comes back to his native •soil in the Provencal district of France and lives in an old mill, where he intends to write stories about his people. They arj; a pious bunch with enough human foibles and native shrewdness to make them endearing and colorful. First tale concerns an impoverished bunch of monks who manufacture a new liqueur to make them sol- vent and more able to do the Lord’s work. Second is a legend about how the Devil stole a mass from a gourmand priest, and the last tale concerns an old miller who almost sacrifices his life in an attempt to make his neighbors be- lieve his mill has been running for 18 years due to a mysterious, non-existent client. Actors are little known but add to the freshness and guile of this talky but taking pic. Camerawork and editing are good and author- director Pagnol has lavished his love for the provincials without be- traying the writting of Daudet. Film techniques are sacrificed for words and spirit, to make this in need of special hypoing for any U. S. payoff. Mosk. fadel-HouNfielle (FRENCH—COLOR) Paris, Dec. 7. Path# release of Pathe-PAC production. Stars Francois Perier, Dany Robin. Di- rected by Andre Hunnebelle. Screenplay. Jean Halain, Jean-Paul Leroix; camera (Eastmancolor), Marcel Grignon; editor. Jean Feyte; music, Jean Marion. At Balzac, Paris. Running time, 115 MINS. Cadet-Rousselle Francois Perier Violetta Dany Robin Jerome BourvU Marguerite Madeleine Lebeau Isabella Christine Carrere Berton Noel Roquevert llovlgnol Alfred Adam General Jean Paredes Mayor Ilenri Gremleux This film is in the genre of its f iredecessor, "Fanfan La Tulipe,” n using the folk hero of an old song as the springboard for a parody, adventure - spec story. Though in color, it is not as color- ful as “Fanfan.” and has a tend- ency to conglomerate hits and types from various films to make this a rambling adventure story. It has many bright moments, but is too Gallic in its inference and gags to give it the universal appeal “Fanfan’* had. However, it can be cut into a wieldy film which may have a chance in arty spots if well plugged. Cadet Rousselle is in love with the mayor’s daughter, but his lowly station makes him unworthy of her. He decides to go to Paris and make his fortune. On the way, the sim- ple, honest cadet is robbed and left in the road. He is picked up by gypsies, and transfers his love to the gypsy dancer, Violetta. How- ever, the gypsies are fronting for a group of Royalists plotting to over- throw the new Republic. The cadet innocently delivers a letter and gets involved with politics, being thrown into prison. He escapes and helps win a battle, is imprisoned, escapes again, becomes an outlaw and then a general of Napoleon. He finally marries Violetta. Pic does have some of the rambling appeal of a folk legend and has a fine comic aspect in Bourvil as the craven, zany side- kick of Rousselle (well played by Francois Perier), w'hose excellent comic timing gives this most of its laughs. Director Andre Hunnebelle has mounted his chases and sword fights admirably, but has failed to give this the zest and brightness it needs. Lensing is richly htied. Editing helps the many and multi- ple sword rattlings and chases. Gals are all decorative but Dany Robin is miscast as a gypsy. Sup- port of the large cast is firstrate. Music is also too derivative. Mosk. La llelle Otero (Color—Songs) * (FRANCO-ITALIAN) Paris, Dec. 7. CCFC-Les Films Moderns release of Emile Natan production. Stars Maria Felix; features Jacques Berthier, Maurice Teynac, Marie Sabquret. Directed by Richard Pottier. Screenplay, MaPc-Gilbert Sruivajon from memoirs of Caroline Otero; camera (Eastmancolor), Michel Kelber; editor, Andre Gaudier: music, Georges Van Parys. At Moulin Rouge, Paris. Running time, 105 MINS. Otero Maria Felix Jean Jacques Bethier Martin Louis Selgner Mountfeller Maurice Teynac Frederic Paolo Stoppa Diane Marie Sabouret Mario Jean-Marc Tennberg The Gav Nineties are evoked rather sadly in this color opus. Loosely based on the life of the famed turn-of-the-eentury cour- tesan, La Belle Otero, this unreels a cliche loaded story of backstage life and love. Familiar aspects of the rags-to-riches heroine who has only one love, is not compensated for any imagination in the period work or the songs and dances. It remains an okay pic for Franco- Ita-lo chances, but for the U.S. is limited in appeal except for possi- ble dualers. Otherwise, it is below par compared to the same type of films that Hollywood makes so well. Story shows Otero (Maria Felix) as a newly arrived Spanish dancer who is out of work in Paris. She forces herself on Louis Seigner, an imDresario. and gets her first chance. However she is used By Jacrnes Bethier, a man around town, to revenge himself on Amusement Stock Quotations flV.Y. Stock Exchange) For Week Ending Tuesday (21) Chesapeake Industries 3% 3 7 a Cinerama Inc. 1*4 194 Cinerama Prod 474 5 Official Films 2H 3 Polaroid 5- 53 Skiatron 2% 314 U. A. Theatres 1674 18 Walt Disney 22 23Vi (Quotations furnished by Dreyfus 4 Co.) + 3 8 + % 4-1 Vi 4- 74 — 34 —4 ♦ Actual volume. a defiant mistress. With Miss Felix it is love, but he soon tires of her. Then she goes away with an American millionaire, who makes her the toast of New York. She gets fed up wdth his puritani- cal ways and heads homeward. She becomes an international star, but the boy friend is killed in a duel.' Director Richard Pottier has given this conventional trimmings, but has left the characters stilted and lifeless. The ordinary and platitudinous dialog and screen- play are no help either. Dance and song numbers are passable and color work is fine. Miss Felix brings only looks to her role while Jacques Berthier is unprepossess- ing as the loved one. Mosk. •Senhlme (The Princess Sen) (JAPANESE—COLOR) Tokyo, Dec. 7. Daiel Studios release of a Maaalehi Na- gata production. Stars Machiko Kyo and Kenji Sugahara. Directed by Keigo Ki- mura. Camera, Kohei Sugiyama; screen play, Fuji Yahiro; sets. Icbizo Kajiya; music, Fumio Hayasaka. Previewed in Tokyo. Running time. 90 MINS. Prepared for possible entry in next year’s Italian film festival, “Senhime” looks to win a prize of some sort. Filmed in Eastmancolor by Daiei, the studio which has al- ready taken international prizes with “Rashomon,” “Gate of Hell” and “Golden Demon,” it stars the female lead of “Rashomon” and is as visually striking as “Gate of Hell.” Its story is simple and the performances are exemplary. The Princess Sen (Machiko Kyo), grandaughter of the founder of the Tokugawa government in the 17th century, is married to another shogun to form an alliance with her father’s forces. After his death, she takes to drink and promiscuity. By accident she discovers a ronin (hired soldier) (Kenji Suguhara) who has sworn to kill her for be- ing responsible for the death of his master. She finds in him what she had lost in her husband. Torn between duty and desire, he suc- cumbs to her charms. After a short-lived idyl, he is slain in a fight with a rival faction. She goes to a nunnery. The Noh plays which the prin- cess watches are corrupted to the point where they are burlesques of the original dignified perform- ances. She lies on imported Chi- nese carpets over straw mats/ When she dances, the sly note of the lascivious enters. The perfectly captured atmo- sphere, the brilliant use of color and the provocative performance of Miss Kyo and the persuasive performance of Suguhara are pointed up by the clever direction of Keigo Kimura. Sure to be smash in the arty houses, “Senhime” may do well in general release if the vogue for Japanese films continues. Lars. Shares Down But Retrieve Prices By MIKE WEAR Wall Street gave the stock mar- ket a thorough testing last week, as shares sold down three days in a row, and then snapped back to former quotations or higher. The Amusement Group came through with a fine, showing, particularly radio-tv shares. How well this group fared is shown by a greater number of plus signs than losses. Many film and picture theatre issues showed minor fractional changes both in the advances and declines. However, there were three highs in this category, ABC- Paramount Theatres comrqon | pushing to a new peak at 24 1/8 or a gain or 50c on the week. RKO Theatres edged up to 9%, a new 1954 high while RKO Pictures ad- vanced to new high ground at 8V4. Latter was up 1V4 on the week. General Precision Equipment, with a stake both in films and the tv field and numerous diversified interests outside both, soared 274 to 49*4- It had been doggy early in the week, dipping below 46 at one point, with %ome bears ap- parently trying to get in a few wallops. What appeared to be short covering shot the shares up in Fri- day’s trading. Columbia Broadcasting System issues had a field day near the end of the week. The Class A shares hit a new high *at 8574 and sported a gain of 5 points at the windup. CBS “B” stock’s new peak was 85% with an almost identical net gain. Zenith continued high around its recent level of 9214 but wound up at 9114 for a one-point loss. The 54 high is 96. RCA common, while selling off with the market in general earlier in the week, wound up virtually un- changed on the w T eek at 3714 as compared with the year’s best quotation of 3874. ' Columbia Pictures common wound up at 3374, only 50c away frord the 1954 peak. The shares showed an advance of 75c on the week. Renewed buying near the close last week followed the stock- holder meeting on Friday and ob- viously reflected a bullish attitude towards the shares. Republic Pix shares were* actively higher on a couple of days. The 20th-Fox shares wound up less than a point from the year’s best price reflecting no doubt an optimistic outlook for “No Business Like Show Business” which preem- ed at the N.Y. Roxy last week.