Canadian Film Weekly (Apr 13, 1955)

aaa Ruedas ls Sy yrs Se sk eres ais is ‘bur and Jack DeWitt; THE PICK OF THE PICTURES || a. SE VOICE of the CANADIAN MOTION PICTURE INDUSTRY REVIEWS INFORMATION RATINGS Vol. 20, No, 15 REVIEWS FROM THE FILM DAILY, NEW YORK Page 7 WOMEN'S PRISON with Ida Lupino, Jan Sterling, Cleo Moore, Audrey Totter Columbia 80 Mins STARK, EFFECTIVE PRISON MELODRAMA. TIGHT EDITING AND GOOD PERFORMANCES MAKE THIS ABOVE AVERAGE FARE. Tight editing and good performances combine to hold the attention. in Women’s Prison. While the Crane Wilbur-Jack DeWitt script travels a familiar route, with all the usual female inmate types on hand, such capable actresses as Ida Lupino, Jan Sterling and Phyllis Thaxter help make it an interesting, often harrowing journey. The script wastes no time in presenting its central situation, a women’s prison run by a nearpsychotic, sadistic warden where it is clear that trouble will occur, sooner or later. Aiding the effectiveness of this Bryan Foy production is its moderate length and the steady pace maintained by Lewis Seiler’s direction. Miss Lupino plays the warden; Miss Sterling a wise girl who has been in prison before and Miss Thaxter, a disturbed housewife who has no connection with the world of crime. Also standing out are Howard Duff as a sympathetic doctor, Audrey Totter as one of the warden’s victims and Gertrude Michael as a matron who comes to understand too late just what is going on in the prison. In the story, the warden is pitted against a kindly prison doctor who realizes her hate for the prisoners. When she murders a girl during an interrogation the inmates revolt and the doctor is unable to quell their rebellion. In the ensuing riot, the warden is pursued through the prison by the husband of the murdered girl. Before he can kill her, she goes insane. Film ends with the promise that the doctor’s testimony before a state inquiry will lead to reforms. CAST: Ida Lupino, Jan Sterling, Cleo Moore, Audrey Totter, Phyllis Thaxter, "Howard Duff, Warren Stevens, Barry Ketiey, Gertrude Michael, Vivian Marshall, Mae Clarke. CREDITS: ‘Producer, Bryan Foy; Direction, Bryan Foy; Screenplay, Crane WilPhotography, Lester H. White; Music, Mischa Bakaleinikoff. DIRECTION: Good, PHOTOGRAPHY: Able. Hitchcock-Para Deal Alfred Hitchcock and Paramount have signed a new contract under which he will make two more pictures than his old contract called for, James Stewart has agreed to star in both productions. THE COUNTRY GIRL with Bing Crosby, Grace Kelly, William Holden Paramount 104 Mins. STRONG DRAMA, WITH THREE STAR NAMES FOR BOXOFFICE DRAW. PERLBERG AND SEATON BRING IN A QUALITY PRODUCTION. SEATON’S DIRECTION AND SCRIPTING ABLE. PROVOCATIVE AND ADULT FILM. ONE OF THE BEST THIS YEAR. The Country Girl has been given a careful, quality production by William Perlberg and George Seaton, presenting a mature and sometimes penetrating story in a quiet straight-forward fashion. Marking a distinct departure for Bing Crosby, the film is sombre, though never negative. It is, in fact, one of the most adult attempts to come out in some time, telling the story of a broken-down singer, his loyal wife and a director who becomes involved in their lives with marked realism and sympathy. Credit the original Clifford Odets’ play, from which the film is adapted, for a provocative and fascinating tale. George Seaton has done an able job in his scripting, preserving much of the quality of the original. His directing is equally good, though the film lacks the electric quality and tight pace that would have put it at the very top of the heap. Of the stars, William Holden turns in the strongest performance. Holden seems to improve with each film and, as the director here, he does his best acting to date. The same can be said for Grace Kelly in the role of the wife. Though the excellent quality of the script demands a more mature actress, Miss Kelly delivers an interesting interpretation, proving conclusively that she is one of the industry’s most promising players. In the pivotal role of the weak, self-pitying singer, Bing Crosby unfortunately is out of his depth and far from the style which made him famous. Possibly the part should have been rewritten. As it is, Crosby is called upon to portray one of the most complex characters ever delineated in an American movie, and though he struggles valiantly he never is able to make the character ring true. It seems likely that most audiences will sympathize with Bing, but not quite know what to make of his character. In supporting roles, Anthony Ross as a vindictive producer is topnotch and Gene Reynolds fine as a stage manager. Also making a definite impression is Jacqueline Fontaine as a raucous night club singer. If her bit here is indicative of her general talents, Paramount has a winning comedienne and a good actress. In the way of music, Harold Arlen and Ira Gershwin have provided four songs for Crosby, at least one of which, “Live and Learn,” has hit possibilities. Crosby delivers them all with his surefire charm, making for his best moments in the picture. Story centres around the production of a musical play. Bernie Dodd, the director, manages, after great difficulty, to get a has-been singer, Harry Elgin, cast in the lead role. As rehearsals proceed, it becomes evident to Dodd that Elgin is involved in some great emotional difficulty. Elgin, afraid of failure and responsibility, shifts the blame for his own weakness to his wife, Georgie, causing Dodd to hate her. When Elgin goes on a binge, Dodd discovers that Georgie has been a loyal wife and that Elgin has been lying about her. Dodd and Georgie fall in love, but when Elgin begins to find himself and makes a success in the show, Georgie decides her place is at her husband’s side and gives up Dodd. CAST: Bing Crosby, Grace Kelly, William Holden, Anthony Ross, Gene Reynolds. CREDITS: Producers, William Perlberg and George Seaton; Written and directed by George Seaton; Photography, John F. Warren; Songs by Harold Arlen and Ira Gershwin; Music score, Victor Young. DIRECTION: Very Good. PHOTOGRAPHY: Able. Oscar Awards Hurt MGM Moves On 18th Theatre Biz Badly More than half the potential movie audience of Oklahoma City and vicinity stayed home the night the Academy Awards were on TV, according to a survey made by COMPO. Of an estimated potential patronage reaching 270,000, 137,200 stayed home to watch. To New Building MGM of Canada expects to move from its present premises in the Film Exchange Building to its own newly-constructed two-storey structure two blocks north on Victoria, at the corner of Gould Street, on April 18. The new building was designed by Kaplan & Sprachman., AIDA (Ferraniacolor) International Film Distributors 95 Mins. ELEGANT VERSION OF THE VERDI OPERA. WELL-DONE ON ALL COUNTS, WITH THE FERRANIACOLOR VERY IMPRESSIVE. A NATURAL FOR LOVERS OF OPERA AND GOOD GENERAL EXPLOITATION POSSIBILITIES. Properly exploited, Aida should draw in a good share of the public and may well open up the field of opera for films, since it is done in a simple, tasteful fashion that will not offend traditionalists and should prove attractive even to those who are unfamiliar with the medium, Visually, the film is extremely pleasant, with high honors going to the Ferraniacolor. The exotic costumes and settings are definitely enhanced by its pastel and bright, clear tones. Photography by Piero Portalupi is excellent. Film stays close to the opera, with the music and story pretty much intact. Producers De Martino and Teti have assembled a handsome group of actors and supported them with possibly the best Italian singers available today. In the story, Aida, an Ethiopian princess, is beloved by Radames, a young warrior of the Egyptian court. Aida, however, is a slave, and a lady-inwaiting to the Princess Amneris, who also loves Radames. When Ethiopia threatens to conquer Egypt, Radames leads the Egyptian army in battle and beats the invading armies, bringing back in chains Aida’s father, the Ethiopian leader. In gratitude, the Pharaoh grants Radames the favor of freeing all the Ethiopian prisoners, but excepts Aida and her father. Faced with the prospect of losing his love, Radames betrays the Egyptian plan of conquest to Aida and is condemned to death. Aida joins him in his punishment and the two are buried alive. Film is accompanied by an unobtrusive commentary, describing in advance the action and the meaning of the arias. CAST: Acted by Sophia Loren, Lois Maxwell, Luciano Della Marra, Afro Poli, Antonio Cassinelli, Enrico Formichi. CREDITS: Producers, Ferruccio De Martino and Federico Teti; Director, Clemente Fracassi; Photography, Piero Portalupi. DIRECTION: Very Good. PHOTOGRAPHY: Excellent. Theatre Transferred Floyd and Edward Johnson have purchased the 350-seat, four-day Eston Theatre, the only house in Eston, Saskatchewan. The former owner was S. Stone.