The Exhibitor (1953)

November 4, 1953 EXHIBITOR a wheel chair. They bury the hatchet and decide to take a bow on opening night, but Evans dies and Morley leaves the theatre. He is finally knighted for his work in the theatre in 1907. X-Ray: Filled to overflowing with numbers and scenes from the numerous popular works by Gilbert and Sullivan, this should be well received in the art and specialty spots. It is colorfully pre¬ sented with fine, lavish production values in evidence, while the players headed by Morley and Evans are excellent in their roles. There are enough of comedy, drama, etc., to satisfy those who will turn out for this rating entry. ITie screen play is by Sidney Gilliat and Leslie Bailey. Music heard includes scenes and numbers from “H.M.S. Pinafore,” “The Mikado,” “Trial By Jury,” “lolanthe,” “The Gondoliers,” “The Pirates Of Penzance,” “Ruddigore,” and “Yeomen Of The Guard.” Tip On Bidding: Better price for class and art spots. Ad Lines: “ ‘Gilbert And Sullivan’ At Their Best”; “A Treat For Those Who Appreciate The Finest In Entertainment”; “The Lives And Works Of Two Of The Greats In The Entertainment Field.” WARNERS Calamity Jane (311) Comedy Western WITH Music lOlM. (Color by Technicolor) Estimate: Entertaining musical. Cast: Doris Day, Howard Keel, Allyn McLerie, Philip Carey, Dick Wesson, Paul Harvey, Chubby Johnson, Gale Robbins. Produced by William Jacobs; directed by David Butler. Story: Doris Day (Calamity Jane) rides, shoots, and dresses like a man. She escorts a stage through Indian fighting with Dick Weston, an actor from the east. Cavalry lieutenant Philip Carey, with whom Day thinks she is in love, is in the hands of Indians, so she sets out to rescue him. When the men start to riot at the sight of Wesson, she promises to bring back a Chicago actress. Once there, she meets Allyn McLerie, the stage struck maid of the actress who left for Europe, mistakes her for her mistress, and per¬ suades her to return with her. McLerie accepts. Howard Keel (Wild Bill Hickok) and Carey are smitten with her. When her voice fails, she admits her real iden¬ tity, but is given a chance and makes good. The two girls bunk together and McLerie teaches Day how to dress and act. The result surprises Keel, who finds himself in love with her. Day, however, sees Carey and McLerie romancing and thinks she has been doublecrossed. Keel, how¬ ever, teUs her of his love. The next day. Day goes to apologize to McLerie only to find her gone. She rides after her and asks her to come back to Carey. X-Ray: With Day attractive and bust¬ ling with 9nergy and vitality, and timeful numbers, this is a fast-moving yarn about the west, its guys, and gals. The story framework is interesting, and the direc¬ tion and production are in keeping with the rest of the set-up. The film shapes up as entertainment for the family, with music, fun, and excitement. The screen play is by James O’Hanlon. Among songs heard are “The Deadwood Stage,” “Whip-Crack-Away,” “Keep It Under Your Hat,” “Hive Full Of Money,” “I Can Do Without You,” “ ’Tis Harry I’m Plannin’ To Marry,” “Just Flew In From The Windy City,” “Higher Than A Hawk,” “A Woman’s Touch,” “The Black Hills Of Dakota,” and “Secret Love.” Tip On Bidding: Above average price. Ad Lines: “When ‘Calamity Jane’ and Wild Bill Hickok Get Together . . . Sparks Fly”; “Lots Of Fun . . . Romance . . . Action With ‘Calamity Jane’ ”; “There’s A Heap Of Fun To Be Had As ‘Calamity Jane’ And Wild Bill Hickok Find They Are In Love.” FOREIGN Ettore Fieramosca Costume Melodrama 91m. (IFE) (Italian-made) (English titles) Estimate: Dreary Italian swashbuckler is best for Italian audiences. Cast: Gino Cervi, Elisa Cegani, Mario Ferrari, Andrea Checchi, Osvaldo Valente, Lamberto Picasso, Clara Calamai, Umberto Sacripanti, Carlo Dude. A Nembo Film Pro¬ duction; directed by Alessandro Blasetti. Story: As the French and Spanish war for possession of a castle in southern Italy, Elisa Cegani, duchess of the domain, de¬ cides to enlist the aid of adventurer Mario Ferrari and his mercenaries. Gino Cervi, an Italian knight, seeks to join in the defense of the castle, but entrance is barred to him. The duchess admits him, and he joins Ferrari’s army. Cervi, in the armor of Ferrari, has a successful en¬ counter with the enemy, and Cegani, who saw the battle, assumes Ferrari to be her savior and agrees to marry him. Her heart, really belongs to Cervi, who overhears her reveal her secret. The marriage occurs, but Ferrari soon shows his true colors. To gain power, he surrenders the castle to the French and is awarded the duchy. Cervi is badly wounded and reveals his love for the duchess attending him. Upon his recovery, Cervi joins with the Span¬ ish and marches on the castle. The French are defeated and held for ransom and the French lords criticize the Italian knights. Cervi and some other Italian noblemen challenge the French knights to personal combat and come out successfid while Ferrari dies. Cervi proposes to Cegani. X-Ray: This Italian melodrama, set against the flourish of an elaborate back¬ ground and employing a cast of thousands, has a plot so enmeshed in intrigues and counter intrigues that it is often difficult to grasp what is going on. The screen play is confused and the direction Is dreary and sluggish while the acting is forced and colorless. The film is probably best suited to Italian audiences. Alessandro Blasetti, Giuseppe Porchedu, and Ottavio Scotti wrote the screen play. Ad Lines: “Drama, Romance, Intrigue”; “Gino Cervi In ‘Ettore Fieramosca’ ”; “A Blazing Story Of Love And Violence.” The Grapes Are Ripe Comedy 92m. (Casino) (German-made) (English titles) Estimate: Pleasant comedy for the art and German spots. Cast: Gustav Knuth, Camilla Spira, Eva Ingeborg Scholz, Willy Reichert, Kate Pontow, Lutz Moik, Wilfried Seyfferth, Paul Henckels, Lotte Rausch. Produced by K. J. Fritzsche; directed by Erich Engel. Story: Along the Rhine River are a number of vineyards and Gustav Knuth, a prosperous proprietor, leads a gay bach¬ elor life while his daughter, Eva Ingeborg Scholz, is being courted by young seaman Lutz Moik. Knuth is stricken ill and the new doctor tells him that his life depends upon his never taking another drink. He rebels, but his housekeeper, Camilla Spira, is directed by the doctor to put a tablet secretly in Knuth’s coffee to make alcohol distasteful. The plan is successful. Moik, meanwhile, has left for Holland, without telling Scholz, to buy a ship so that he can settle down and marry her. Angry, she goes on a spree and meets fortune hunter Wilfried Seyfferth. Under the influence of alcohol he believes that he has “done her wrong” and is perfectly willing to marry her. Her father decides to sell his vineyards and go away. How¬ ever, the confusion is cleared up, Knuth learns that he can again drink wine, and marries housekeeper Spida. Moik returns as the captain of his own ship and marries Scholz and Seyfferth satisfies himself with a local barmaid. X-Ray: This folksy view of life in Ger¬ many’s grape growing district provides some fun. Knuth and Seyfferth can take credit for many of the laughs while the rest of the cast contribute their best. The titles, however, are relatively scarce, but the general idea comes through with clarity. German audiences will appreci¬ ate this most. Kurt J. Brown and Cark Zuckermayer wrote the screen play. Ad Lines: “A Frolicsome, Fancy Free, Fun-Packed Comedy”; “A Gay And Light-Hearted View Of Life In The Ger¬ man Vineyards”; “Wine, Wine Every¬ where, But Not A Drop Could He Drink.” Journey To Love Comedy Dra^i^ (IFE) (Italian-made) (English titles) Estimate: Pleasant Italian import. Cast: Umberto Spadaro, Vera Carmi, Enzo Stajola, Anna Di Leo, Sonia Lo Giudice, Nando Bruno, Edoardo Passarelii. Directed by Giorgio Pasttina. Story: Umberto Spadaro, a timid ac¬ countant in Milan, nagged at home and made fim of, takes all the pvmishment until one day he stops into a cafe for some coffee. In the confusion, his brief case is exchanged with that of a stranger. He searches for the owner of the case, and because of the large amount of money in it unexpectedly gets a generous reward. With his wealth, he decides to take a vacation and get some rest. He gets a leave of absence and tells his wife, Vera Carmi, that he must go on a business trip. While on the train to Rome, he meets a coquette, who steals his money and leaves him penniless. He tries to locate some relatives in Rome, but without success, and in desperation goes with some pil¬ grims to spend a few days at a convent. Amid the religious atmosphere, he finds peace and expresses a desire to spend his life there. However, his wife finds him and reveals that their son, Enzo Stajola, is ill. Spadaro rushes back to his son’s bedside. X-Ray; This modest Italian import has some warm and hilarious moments, and Spadaro is good as the white collar worker whose wild spree is both pathetic and humorous. This has the elements that usu¬ ally please at the art houses. Fabrizio Saranzani wrote the story, which Vitaliano Brancati adapted for the screen. Ad Lines: “What Happens When A Hen¬ pecked Husband Decides To Enjoy Him¬ self”; “She Smiled . . . He Smiled . . . She Left . . . His Wallet Left”; “Meet Umberto Spadaro, The Charlie Chaplin Of Italy.” La Favorita Operatic Drama 78m. (IFE) (Italian-made) (English titles) Estimate: Good opera entry for the art houses. Cast; Sofia Lazzaro, Gino Sininberghi, Paolo Silver!, Alfredo Colella, Franca Tamantini, Giorgio Constantin!, with the Servisection 5 3637