The Exhibitor (Nov 1948-Feb 1949)

COLUMBIA The Dark Past (136) Estimate: Good meller. Cast: William Holden, Lee J. Cobb, Nina Foch, Adele Jergens, Stephen Dunne, Lois Maxwell, Berry Kroeger, Steven Geray, Wilton Graff, Robert Osterloh, Kathryn Card. Produced by Buddy Adler; directed by Rudolph Mate. Story: In order to obtain a reluctant arresting officer’s okeh of a psychiatric hospital recommendation for a bad juve¬ nile delinquent, police psychiatrist Lee J. Cobb tells a flashback story about criminal William Holden. Holden breaks jail, kill¬ ing some guards, cold bloodedly murder¬ ing the warden. He makes his way with his gang to , a shore cabin occupied by college professor Cobb and his weekend guests. Keeping the house under siege, Holden is waiting for a getaway boat when Cobb’s co-worker, Steven Geray, arrives, and is deliberately wounded by Holden. Cobb earns Holden’s respect by bypass¬ ing a chance to kill him with darts, and then spends the night trying to rid Holden by psychoanalysis of a constant nightmare and fear of insanity. After much vocal conflict, Holden arrives at the truth, that a childhood betrayal of his hated father to the police has twisted him into killing his father in each murder. Meanwhile, cook Kathryn Card has broken loose, and returns with the police. Released of his obsession, Holden is unable to kill, and gives up. In the flashback, Cobb then makes a plea for psychiatric treatment of young" criminals. X-Ray: First-rate performance by Cobb and Holden plus taut direction make this a better meller, and the fundamental though far-stretched psychiatric back¬ ground is finely blended into the story to add suspense, and build interest. Mention should be made of the sincere, progres¬ sive sociology slant, which may attract an additional segment of the film audi¬ ence. This is based on the play, “Blind Alley^” by James Warwick. It could prove a sleeper. Tip On Bidding: Better than average program price. Ad Lines: “The Truth, ‘The Dark Past’, Was More Compelling Than His Hatred Or Her Love”; “ ‘The Dark Past’ Estab¬ lishes William Holden In The Screen’s Gallery Of Killers”; “Another In The Truthful Line Of Films That Delves Into Crime Headlines.” Melodrama 75m. EAGLE LION Mr. Perrin And Drama Mr. Traill 91m. (English-made) Estimate: Import has plenty of appeal for class spots. Cast: Marius Goring, David Farrar, Greta Gynt, Raymond Himtley, Ralph Truman, Edward Chapman, Lloyd Pear¬ son, Maurice Jones, Archie Harradine, Finlay Currie, Donald Barclay. Produced by Alexander Galperson; directed by . Lawrence Himtington. Story; The routine of an English school for boys is interrupted by the coming of former star athlete -war hero David Farrar as an instructor. His presence is especially resented by middle-aged Marius Goring, who, like the others, has been broken Published weekly by Jay Emanuel Publications, Inc., Publishing office: 1225 Vine Street, Philadelphia 7, Penn¬ sylvania. New York office: 1600 Broadway, New York 19. West Coast representative: Paul Manning, 923 Alandele Avenue, Los Angeles 36, California. Jay Emanuel, publisher; Paul J. Greenhaigh, business manager; Herbert M. Miller, editor; James A. Dalton, advertising manager; George F. Nonamaker, Mel Konecoff, associate editors. SECTION TWO Vol. 41, No. 9 JANUARY 5, 1949 spiritually by the tyrannical rule of head¬ master Raymond Huntley. Farrar’s efforts are interpreted by Goring as premedi¬ tated persecution as Farrar shares his mathematics classes, befriends his favor¬ ite student, ignores his petty personal uses of seniority, and romances his worship¬ ped Greta Gynt. Huntley dresses down Goring in front of Farrar for a humane act toward one of the students, and the climax comes when Farrar borrows his umbrella sans permission, and they come to blows over it. This is much exagger¬ ated in the school, but the crusher is Farrar’s engagement to Gynt. Goring be¬ comes mentally unsettled, and he follows Farrar out to the cliffs, intending to stab him. When Goring pulls the knife, Farrar lunges backward, breaking the wooden rail, and hurtling to the beach below. The shock brings Goring back to his senses. He climbs down in the early morning, and manages to put the unconscious Far¬ rar on a safe ledge before fatigue and the incoming tide cost him his life. Farrar then confronts Huntley, and warns him of a real exposure he plans. X-Ray: Based on the novel by Hugh Walpole, this adult story is enhanced by good production values and acting by Goring, Farrar, Huntley, and the sup¬ porting cast. The story is somewhat off the beaten track, but interest once cap¬ tured after a slow start is maintained throughout, and there is progressive sus¬ pense. The screenplay is by L. A. G. Strong, and an outstanding musical score by Alan Gray is well performed by the London Symphony. While its appeal is limited in this country, there is no ques¬ tion that the show ranks well in its own sphere. Ad Lines: “ ‘Mr. Perrin And Mr. Traill’ Is Top Flight, Engrossing Film Fare”; “Full Of Many Memorable Occurrances Every Schoolboy Has Experienced, ‘Mr. Perrin And Mr. Traill’ Is Also A Fine Suspenseful Drama”; “A Motion Picture That Is Packed With Human Drama, Comedy, And Powerful Conflict.” across country to kill building business¬ man Van Heflin, who is on a fishing trip but Heflin’s wife, Janet Leigh, tells Ryan where he is. Ryan doesn’t get close enough on the lake, but Heflin realizes the danger, and immediately returns to town. He tells Leigh that Ryan is a mentally ill war buddy. Ryan waits in his car imtil Heflin has the police chase him away, and then Heflin leaves for a builders’ convention. Ryan forces entrance, and tells Leigh that Heflin turned informer to the Nazis in a prison camp, killing all of his buddies ex¬ cept Ryan. Leigh rushes to Heflin, who makes the admission, and then she comes back to learn from Ryan’s girl, Phyllis Thaxter, that Ryan has discovered Heflin’s whereabouts. Heflin barely escapes Ryan, fleeing into the night. Dazed, he meets barfly Mary Astor, who, looking for money, takes him to crooked lawyer Nicholas Joy. Joy proposes to have thug Berry Kroeger kill Ryan at the train station in Heflin’s town, and later fearcrazed Heflin agrees. Realizing the horrible bargain, Heflin goes to warn Ryan. At the last minute, Ryan doesn’t shoot, but Heflin jumps in the way as Kroeger does. Heflin jumps on the car, and crashes it, both dying. X-Ray: A rugged, well-directed, wellacted melodrama with a theme of ven¬ geance and a man’s urge for survival, this packs much suspense although overdone in spots. The name draw, Heflin, Ryan, etc., should be an asset, and those who like their mellers should be satisfied. While not the sort of a show that sets boxoffice records, it has its own claim to attention. Screenplay is by Robert L. Richards. Tip On Bidding; Better than average program price. Ad Lines: “No Power On Earth Could Save Him From His Best Friend’s Blazing Hatred And His Own Concience In The Powerful, Gripping ‘Act Of Violence’”; “The Smashing Force Of An Unstoppable Trip-Hammer, The ‘Act Of Violence’ Will Nail You To Your Seat”; “Untopped For Raw Suspense.” MGM An Act Of Violence Melodhama Estimate: Suspenseful meller has the angles. Cast: Van Heflin, Robert Ryan, Janet Leigh, Mary Astor, Phyllis TTiaxter, Berry Kroeger, Nicholas Joy, Harry An¬ trim, Connie Gilchrist, Will Wright. Pro¬ duced by William H. Wright; directed by Fred Zinnemann. Story: Game -legged Robert Ryain travels Command Decision Drama lllM. Estimate: High rating drama. Cast: Clark Gable, Walter Pidgeon, Van Johnson, Brian Donlevy, Charles Bick¬ ford, John Hodiak, Edward Arnold, Mar¬ shall Thompson, Richard Quine, Cameron Mitchell, Clinton Sundberg, Ray Collins, Warner Anderson, John Mclntire, Moroni Olsen, John Ridgely, Michael Steele, Ed¬ ward Earle, Mack Williams, James Millican. Produced by Sidney Franklin in asso¬ ciation with Gottfried Reinhardt; directed by Sam Wood. 2537