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HIGH WATER v . "Hell And High Water” dramatically presents a series of breath-taking events ranging from the explosion of a hydrogen bomb to a sea fight, to a col- lision of submerged submarines. The awesome nuclear explosion, for example, is seen more clearly by the camera’s eye than the dangers of such a blast allow an actual observer to see. Moreover, this picture presents much of its action in the constricted bowels of a submarine. In the end, there is no stage of human affairs so circumscribed, for this picture establishes beyond doubt that 20th Century-Fox CinemaScope is without an equal in the pre- sentation of motion pictures, whether the nature of the sub- ject be microcosmic or macro- cosmic. Authenticity of the submer- sible sequences was insured by the presence during filming of Rear Admiral Thomas M. Dykers, a retired U.S. Navy submariner who won two Navy Crosses and was credited with the sinking of 60,000 tons of Japanese shipp- ing in World War II. The H-bomb explosions were photographed by Ray Kellogg. In its barest outline, "Hell And High Water” is the adven- turous story of a self-sacrific- ing group of individuals from many nations to thwart a con- spiracy to start World War III, an atomic incident that was to be blamed on the U.S. While fanciful in broad outline as far as is generally known, it is authentic in detail. For example: while the film was in production the U.S. gov- ernment announced it had de- tected the explosion of a hydro- gen bomb in Russia by the same methods described in "Hell And High Water.” Similarly, an Amer- ican former intelligence officer revealed the existence of a privately financed and operated espionage organization operating somewhere along the lines of the group in the picture. The close quarters in the submarine sequences at least particially accounted for an un- usually large number of injuries to the players. The scientist and his daughter fear their secret plans are to be thwarted. David Wayne and Widmark fear the crew, bordering on mutiny, will not go on. 0