The Exhibitor (1952)

I X H I B I T O R May 7, 1952 completed, and Massey decides to make a final killing by robbing the first train. Scott learns of the plan, and rides to counteract the proceedings. Millican and Massey quarrel, and the former is killed. Scott shoots Massey. Scott and Norman wed. X-Ray: With okeh action sequences, color, a capable cast, a familiar though interesting story, and suitable direction and production, this is a good outdoor show, an entry which should please action fans and Scott enthusiasts. The screen play is by Sloan Nibley and Winston Miller, from a story by Nibley. Tip On Bidding: Good program price. Ad Lines: “The Railroad Had To Go Through . . . And Randolph Scott Showed The Way”; “Action . . . Adventure ... In A Saga Of America’s Pioneering Railroad Builders”; “Randolph Scott . . . Lucille Norman . . . Together For The First Time.” FOREIGN Danger Is A Woman Melodrama 90m. (Discina International) (French-made) (English titles) Estimate: French meller has the angles. Cast: Henri Vidal, Maria Mauban, Francoise Amoul, Jean Tissier, Micheline Francey, Jean Hebey, Pierre Louis, Dalbon. Produced by Robert Woog; directed by E. E. Reinert. Story: Henri Vidal loves the woods and collects snakes for laboratories. While walking with his fiancee, Francoise Arnoul, he gets into an argument with a policeman. A crowd gathers, and rumors start flying that Vidal is a bank robber. When the box of snakes Vidal is carry¬ ing breaks open, a panic results, and he walks away. Young reporter Jean Hebey writes an article, painting Vidal as a vam¬ pire and gangster. Vidal takes refuge in Paris, and meets Maria Mauban and her strange friend, Jean Tissier. Mauban finds Vidal attractive, and takes him to her hotel room. As more stories about him fill the papers, Vidal gets Hebey ’s address. He convinces the reporter that he had been wrong. Hebey promises to write a story clearing him, but his wife is in a romantic mood, and the article is never written. The next day, Vidal has an argument with Mauban, who accuses him of seeing other wemen. To quiet her Vidal hurls her against the wall. Mauban hits her head, and falls dead. Vidal tries to see Amoul, who is singing in a nightclub, but is wounded. Desperate, he turns to Tissier, who calls the police. Vidal hears him, and strangles him. Frightened, Vidal runs into the woods, and is shot by the police. X-Ray: With sex and suspense, this well-made French meller can be sold. The screen play is rather weak, but the cast supply slick performances, and create a feeling of intensity. A few viewers might find a couple of sequences a bit spicy for their systems. However, on the whole, art house audiences should find this entry satisfying entertainment. The scenario and adaptation are by Jacques Laurent and E. E. Reinert. Ad Lines: “A Strange Tale Of Violence And Passion”; “He Found Refuge In Her Embrace . . . But Soon Learned That ‘Danger Is A Woman’ ”; “Was This Man A Killer Or A Victim Of Circumstances?” Edward and Caroline Farce 90m. (Commercial) (French-made) (English titles) Estimate: Delightful French farce. Cast: Daniel Gelin, Anne Vernon, Betty Stockfield, Jacques Francois, Jean Toulout, Jean Marsac, Jean Galland, Elina LaBourdette, William Tubbs, Gregoire Gromoff. Produced by Robert Bossis; di¬ rected by Jacques Becker. Story: Daniel Gelin, struggling pianist, lives with his wife, Anne Vernon, in a crowded little apartment. Vernon’s wealthy uncle, Jean Galland, arranges a party at which Gelin will play for social leaders of France. Vernon feels that her dress is not stylish enough, but knows that she cannot afford a new one. When Gelin cannot find his vest, Vernon sends him to Galland’s house to borrow one from her cousin, Jacques Francois, who would like to add Vernon to his string of conquests. While Gelin is away, Vernon alters the dress. Upon returning, Gelin takes one look at the dress, and they get into a fight which results in Gelin going to the party alone. At the party, two flirtatious young matrons vie for Gelin. Meanwhile, Vernon is planning a divorce. Francois learns of the situation, and runs to Vernon’s apartment. Rather than remain alone with her cousin, Ver¬ non goes to the party, where her dress is a huge success. Upset and a little drunk, Gelin cannot play, and is avoided by everyone except William Tubbs, a Chicago millionaire. Gelin and Vernon return to the apartment to discuss the divorce. Both wish for a reconciliation but each waits for the other to ask. However, when Tubbs calls, and arranges a concert, the ice is broken. X-Ray: This French import presents some of the most delightful characters seen in quite some time. The portraits of the harried host, the cheating young wife and the aged, wealthy husband, the social climbers, and the bumbling servant are drawn with wit and imagination. Through¬ out, there are touches and bits of busi¬ ness that indicate that an expert director held the reins. Responding beautifully is the talented cast. This should please the art houses. The scenario is by Annette Wademant and Jacques Becker. Ad Lines: “A Brilliant New French Comedy”; “This Gives Society A Poke And A Tickle In The Ribs At The Same Time”; “Wit And Imagination . . . Tops In Screen Entertainment.” In The Circus Arena DocuME"j™y (Artkino) (Magicolor) (Russian-made) (English titles) Estimate: Entertaining Soviet import. Cast: Kuang Yu-Ho, Wang Sisters, Mikhail Anisimov, the Ching Ech’ing Trio, Chinese Circus Troupe, Durov Brothers and their “Human Horses”, Irina Bugrimova and her lions, V. Filatov and his Bear Circus, and the Combined Circus Artists of the USSR. Produced by Docu¬ mentary Film; directed by L. Varlamov. Story: The setting is a single arena circus ringed on three sides by tiers of seats. The first half of the film is taken up by a group of Chinese circus performers. Included are magicians, tumblers, jugglers, wrestlers, balancing artists, and gymnasts. After the Chinese finish their stints, the Russian performers take over. V. Filatov puts his trained bears through some amazing stunts. Combining looks and skill, Irinia Burgrimova does a remarkable lion taming act. There are also many other performers with spectacular routines. X-Ray: Unlike most recent Soviet im¬ ports, this is an entry everyone who likes the circus can enjoy, regardless of politi¬ cal beliefs. Resisting the temptation to insert any propaganda, this documentary presents a two-hour parade of top Chinese and Russian circus acts. The perform¬ ances are introduced by the ringmaster, and the titles only give some background on the routine or the performers. Many of the acts, particularly the Russian ones, are thrilling and unique. On the basis of this film, it appears that Russian and American ideas on circus entertainment, at least, are pretty much the same. Ad Lines: “See Spectacular Russian And Chinese Circus Acts”; “Brilliant Soviet Circus Film”; “Thrilling And Amazing Entertainment.” The Life Of Donizetti Biographical Drama with Music 97 m. (Lupa) (Italian-made) (English titles) Estimate: Routine Italian import. Cast: Amedeo Nazzari, Mariella Lotti, Mario Ferrari, Dina Sassoli, Giulio Tomasini, Sergio Tofano, Giulio Stival, Giulio Donadio. Produced by Seyta-Radici; di¬ rected by Camillo Mastrocinque. Story: Italian composer Amedeo “Gae¬ tano Donizetti” Nazzari has only a few more hours to live when Mariella Lotti enters, and they think back to happier days. Ten years before Donizetti is re¬ hearsing “Lucia Di Lammermoor” when he meets Lotti, maid of honor to the queen. The two are immediately drawn to each other, but since Donizetti is married to a wife who was dying, he resists Lotti. Three years later, they meet at an inn in Switzerland. Later, Donizetti is shocked to learn that Lotti is the wife of field marshal Mario Ferrari. Some patriots ask Donizetti to intercede with Ferrari for the release of two of their men, and, when Ferrari refuses, they decide to kill him. However, fearful for Lotti’s safety, Donizetti prevents this. Ferrari learns of his wife’s meetings with Donizetti, and reproaches her. Despite this Lotti gives Donizetti information which leads to the escape of the patriots. Ferrari takes Lotti away. Years later, Donizetti suffers a nervous breakdown, and Ferrari has him placed in an asylum. He agrees to release him only after Lotti signs a statement swearing she will enter a convent if she ever sees Donizetti again. She stays with Donizetti until he dies, and then leaves for the convent. X-Ray: Made in heavy style, this appears to be limited to Italian-speaking audiences. Most of the footage concerns itself with the composer’s romantic and political affairs, and keeps his music in the background. Amedeo Nazzari is con¬ vincing in the title role. Music heard includes works from “Lucia Di Lammer¬ moor”, “Elisir D’Amore”, and “Don Pasquale.” Ad Lines: “A Passionate Story Of Love”; “The Thrilling, Turbulent Story Of One Of The World’s Greatest Com¬ posers”; “The Revealing Story Of A Musical Genius.” Loyola— The Soldier Saint Biographical Drama 93m. (Simpex Religious Classics) (Spanish-made) (Dubbed English) Estimate: Religious import may attract in Catholic areas. Cast: Rafael Duran, Manuel Lima, Maria Rosa Jiminez, Maruchi Fresno, Asuncion Sancho, Alicia Palacios, Ricardo Acero. Produced and directed by J. D. Trop. Story: Father Alfred J. Barrett, S.J., chairman, Department of Communication Arts, Fordham University, tells the story of Rafael “Ignatius Loyola” Duran to a 3292 Servisection 4