The Exhibitor (1951)

November 7, 1951 EXHIBITOR Ad Lines: “The ‘Golden Girl’ Of The West ... In The Year’s Technicolor Tri¬ umph”; “Filled With Fun . . . Comedy . . . And Romance”; “Meet A New Star . . . Mitzi Gaynor ... As The Toast Of The Nation.” The Browning Version drama (281) 89m. (U-I) (English-made) Estimate: Fine dramatic entry for the art and class spots. Cast: Michael Redgrave, Jean Kent, Nigel Patrick, Wilfred Hyde White, Brian Smith, Bill Travers, Ronald Howard, Paul Medland, Ivan Sampson, Josephine Mid¬ dleton, Peter Jones. Produced by Teddy Baird; directed by Anthony Asquith. Story: Michael Redgrave, a classics teacher in an English school, is about to transfer to a less arduous post because of poor health. His wife, Jean Kent, who does not understand him or his work, has turned to an intimacy with science teacher Nigel Patrick. As Redgrave’s long association with the school draws to a close, he is asked by headmaster Wilfred Hyde White to make his farewell speech to the boys before a younger, more pop¬ ular teacher, who is also leaving, rather than at the end of the ceremonies, as is his right by seniority; he learns of his wife’s love affair, and is presented with a book, the Browning Version of Aeschylus’ Agamennon, by a boy, Brian Smith. In¬ spired by the book, Redgrave sends his wife away, causing her affair to break up, and, defying the headmaster, spealcs at the end of the ceremonies, and admits his failure. The school rises to applaud him. X-Ray: Audiences that patronize art and class spots will find this drama en¬ grossing and entertaining. It has a fine quality about it from start to finish, and is replete with good performances, better direction, and production. The story is rather long, and could conceivably have been tightened somewhat, but interest is intense throughout. The screen play and original story are by Terence Rattigen, from his play. Tip On Bidding: Good program bracket for art, class spots. Ad Lines: “A Dramatic Story Of An English School Teacher”; “Inspired By “The Browning Version’ ”; “ ‘The Browning Version’ Was The Turning Point In His Life.” Border Fence Western 57m. (Astor) Estimate: Average western. Cast: Walt Wayne, Lee Morgan, Mary Nord, Steve, Raines, Henry Garcia, Leroy Fisher, Frank Savage, Charles Clark, Frank Miller, Alvin Franke, Chester Scott, Jr., Ray Young, Jerry O’Dell and band. Produced by H. W. Kier; directed by Nor¬ man Sheldo and H. W. Kier. Story: Steve Raines, rancher, is paroled after taking a rap for his friend Lee Mor¬ gan, cattle rustler. Morgan persuades Raines to let his ranch be a hideout, and Morgan’s men pull a rustling job on Walt Wayne’s adjoining ranch. Evidence points to Raines. All but Wayne believe Morgan guilty, and Wayne falls for Morgan’s sister. After a gun fight with Wayne, Raines supposedly takes off, but returns with his men for a big raid on the cattle. Wayne learns of this, calls the sheriff, and after quite a battle all the bad ’uns are killed, putting an end to the doublecross. X-Ray: Concentrating on cattle rustling in the southwest border section, and with a cast of unknowns, this is filled with intri^e, romance, and action of the riding, fighting, and gun play variety. Dialogue, story, etc., are along routine paths. Ad Lines: “Get Off My Land— Or Get Under It”; “Touch What’s Mine — And You Won’t Live To Tell The Tale”; “A Daring Western Depicting Rustling Of The Old West.” Fort Defiance Western 81m. (United Artists) (Melford) (Cinecolor) Estimate: Okeh outdoor show. Cast: Dane Clark, Ben Johnson, Peter Graves, Tracey Roberts, George Cleve¬ land, Dennis Moore, Iron Eyes, Ralph Sanford, Craig Woods, Dick Elliott, Kit Guard, Duke York. Produced by Frank Melford; directed by John Rawlins. Story: Civil War veteran Ben Johnson arrives at a ranch looking for Dane Clark, saves Clark’s younger brother, blind Peter Graves, from being trampled by a horse. Graves’ uncle, George Cleveland, arranges for Johnson to work for him while waiting the arrival of Clark. The Indians go on the warpath when the government plans to move them to a reseiwation. When news arrives that Clark, who among other things, is a bank robber, is dead, Johnson prepares to leave after revealing that he came to kill Clark because he caused the death of Johnson’s brother during the war. However, Johnson has become attached to Graves, and agrees to go into a partner¬ ship with him. Craig Woods, enemy of Clark, arrives looking for him, and an¬ nounces that he will kill Graves in re¬ taliation. Cleveland sacrifices his life so that Johnson and Graves can escape. Clark arrives, and Johnson agrees to postpone any action until things are cleared up. The three ride to the rescue of a stage coach being attacked by Indians, and find dance hall hostess Tracey Robeiis. As they fight off attack after attack, they are finally rescued by the cavaliy. Graves refuses to accompany Clark, and prefers Johnson, instead. In town, Clark agrees to let Graves and Johnson enter into part¬ nership, and battles Woods and his men, killing most. Johnson kills Woods. Graves and Roberts look to each other for com¬ fort and companionship, and Johnson’s wife arrives to make her home on the ranch. X-Ray: This has all the ingredients that make up a fairly good western, color, action, an interesting and maybe slightly different story, convincing performances, and good direction, and production. It should be well received by outdoor fans. The screen play is by Louis Lantz. Tip On Bidding: Fair program price. Ad Lines: “Men With One Purpose . . . To Kill”; “Packed With Excitement . . . To Thrill You”; “‘Fort Defiance’ . . . Where Men Came To Kill . . . And Love.” Comedy with Music 103m. (Warners) Estimate: Star-filled musical should draw the customers. Cast: Doris Day, Gordon MacRae, Vir¬ ginia Mayo, Gene Nelson, Ruth Roman, Janice Rule, Dick Wesson, Ron Hagerthy, Richard Webb, Hayden Rorke, Howard St. John, and guest appearances by James Cagney, Gary Cooper, Virginia Gibson, Phil Harris, Frank Lovejoy, Lucille Nor¬ man, Randolph Scott, Jane Wyman, Patrice Wymore. Produced by Robert Arthur; directed by Roy Del Ruth. Story: Corporal Ron Hagerthy, in San Francisco, tells buddy Sergeant Dick Wesson that he and WB starlet Janice Rule were pals in Youngstown, O., so Wesson urges him to look up Rule, who is in for a personal with other stars. The two meet, not only Rule, but also Ruth Roman, James Cagney, and Doris Day, playing themselves. Wliile Hagerthy gets friendly with Rule, Roman and Day entertain the troops waiting to be shipped to Japan. The base commander. Colonel Starlift (109) Richard Webb gets the stars to promise to bring more screen personalities ’ to visit the base and the hospital. The romance between Rule and Hagerthy gets wide publicity, which Hagerthy resents. The entertainment idea spreads, with other stars showing up, but the romance cools. In the windup, however, more stars come up to put on a show, and Rule clinches with Hagerthy, who has been assigned to active duty. X-Ray: With star names for the mar¬ quee, the military atmosphere, a light¬ weight story, but adequate for its purpose, a generous assortment of comedy, danc¬ ing, gags, music, etc., this has every¬ thing the customers want, and, as a result, should account for itself at the boxoffice. In addition to Roman, Cagney, and Day, Virginia Mayo, Gordon MacRae, Gary Cooper, Virginia Gibson, Gene Nelson, Phil Harris, Frank Lovejoy, Lucille Nor¬ man, Louella Parsons, Randolph Scott, Jane Wyman, and Patrice Wymore come in for bits and specialties. Songs include: “U. S. Air Force Song”, “California Here I Come”, “You Ought To Be In Pictures”, “You’re Going To Lose Your Gal”, “ ’S Wonderful”, “Lullaby Of Broadway”, “You Do Something To Me”, “Hurray For Hollywood”, “What Is This Thing Called Love”, “Lisa”, “When Irish Eyes Are Smiling”, “Can’t We Be Friends?”, “The Good Green Acres Of Home”, “It’s Magic”, “Please Don’t Talk About Me When I’m Gone”, “For You”, “I May Be Wrong But I Think You’re Wonderful”, “The Blue Room”, “Noche Caribe”, and “Look Out Stranger, I’m A Texas Ranger.” The screen play is by John Klorer and Karl Kamb from a story by Klorer. Tip On Bidding: Higher bracket. Ad Lines: “More Stars Than There Are In Heaven”; “The Hit Star Show Of ‘Movietime’s’ Greatest Season . . . ‘Starlift’ ”; “See Your Favorite Stars In The Hit Of The Year . . . ‘Starlift’.” The Strange Door Melodba« ( U-Intemational ) Estimate: Name draw may help sus¬ penseful costume melodrama. Cast: Charles Laughton, Boris Karloff, Sally Forrest, Richard Stapley, Michael Pate, Alan Napier, William Cottrell, Mor¬ gan Farley, Edwin Parker, Charles Hor¬ vath, Paul Cavanagh. Produced by Ted Richmond; directed by Joseph Pevney. Story: In the 17th century French nobleman Charles Laughton seeks revenge on his brother, Paul Cavanagh, whom he has imprisoned in a dungeon in his castle for 20 years because Cavanagh had mar¬ ried the woman he loved. Laughton has raised Cavanagh ’s daughter, Sally Forrest, telling her Cavanagh is dead, and now seeks to have her married to Richard Stapley, whom Laughton thinks is a ruffian without principle but actually of good family. Forrest and Stapley are grad¬ ually attracted to each other. Watching over Forrest is Karloff, a faithful servant, who has the job of feeding Cavanagh. Actually, Laughton, believes Cavanagh to be mad, but the latter is sane. In the showdown, after Stapley and Forrest are married, and imprisoned with Cavanagh in the dungeon while the walls move to crush them, Karloff, although mortally, wounded, manages to save them after he kills Laughton. Stapley and Forrest, in love, stay together with Cavanagh, who regains his rightful place. X-Ray: Based on Robert Louis Steven¬ son’s “ITie Sire de Maletroit’s Door,” this is a slow moving costume piece with a few names for the marquee but nothing else that will make the customers flock to see it. Laughton has a field day as a mad nobleman, while Karloff, Forrest, and (Continued on page 3188) Servisection 7 3187