Independent Exhibitors Film Bulletin (1951)

'KIND LADY' TALKY BUT ENGROSSING MELODRAMA Rates • •' -f as dualler; more in class houses MGM 78 minutes Ethel Barrymore, Maurice Evans, Angela Lansbury, Keenan Wynn, Betsy Blair, John Williams, Doris Lloyd. Directed by John Sturges. "Kind Lady" is an engrossing melodrama that manages to create an unusual amount of suspense and excitement despite a lack of action, an abundance of dialogue and Victorian atmosphere. This Metro offering should draw moderately well as a dualler in most situations, with the outstanding cast headed by the illustrious Ethel Barrymore Maurice Evans names being effective primarily in class houses. The principle shortcoming of this well-made, excellently-acted chiller is its over-dependence upon talk in the development of the plot, which may cause a great deal of squirming and fidgeting among the more rabid action fans. Although there is no mystery involved in this tale of a kindly old woman whose home in invaded and plundered by a scheming, murderous artist, director John Sturges capably builds the tension to a crashing, heartstopping crescendo, with the villian's fantastic scheme foiled at the last moment. Ethel Barrymore, as the lady whose kindness results in a horrible experience, turns in an exceedingly fine performance, while Shakespearian actor Maurice Evans handles his assignment of the role of an unscrupulous scoundrel with the. skill that has gained him the reputation as one of the stage's greats. Angela Lansbury and Keenan Wynn deliver the goods as Evans' confederates. Produced by Armand Deutsch, the screen play was written by Jerry Davis, Edward Chodorov and Charles Bennett, based on a play by Chodorov adapted from a story by Hugh vValpole. STORY: Ethel Barrymore, a kindly lady living alone with her servants, is taken in by the wiles of Maurice Evan-, a icheming artist. Before Miss Barrymore realizes what has happened, the man she has befriended moves his family into her home, imprisons Mi- Barrymore and her maid, Doris Lloyd, and proceeds to sell all the antiques and priceless paintings in the house. Evans answers all question* about Mi- Ii;irrymore by explaining that she is insane. The ruse works until John William-, a banker who handles Miss Barrymore's affairs, becomes suspicious. Meanwhile, Miss Barrymore bribes Angela Lansbury, one of Evans' confederates, to release Miss Llovd. Keenan W ynn. Angela's murderous husband, catches Miss Lloyd as she is about to escape and strangles her. Egged on by Evans, Wynn pushes the body out of the window, thinking it is Miss Barrymore, Williams arrives with the police and the murderous trio itaken into custody, outwitted by the kindly old lady. JACKSON ALONG THE GREAT DIVIDE' SLOW PACED WESTERN Rates • • + generally Warner Bros. 88 minutes Kirk Douglas, Virginia Mayo, John Agar, Walter Brennan, Ray Teal, Hugh Sanders, Morris Ankrum, James Anderson, Chas. Meredith. Directed by Raoul Walsh. Despite a strong cast and capable performances, "Along the Great Divide" fails to come off either as western fish or dramatic fowl. The story, filled with enough dialogue and psychological struggle to take it out of the usual Western pattern, is below the standard required to make it a dramatic attraction on its own. Consequently, the sacrifice of action for verbosity and mental aberration is hardly worthwhile, since it will be too slow for the action and western fan, and too obvious for the more discriminating moviegoer. Its greatest asset is the name value, with Kirk Douglas, Virginia Mayo, John Agar and Walter Brennan registering more than average marquee potency for this type of film. Occasional excitement is injected from time to time, and a certain amount of suspense is engendered by situations, but the inevitable outcome ard the stylized plot dissipates much of this. The story, which has a law enforcement agent attempting to administer justice with an iron hand to overcome his own past, may be new for the horse opera, but it is certainly old stuff on the screen. The result is a combination of screen fare that won't satisfy anyone. The names may bring above average grosses in some spots, but audiences generally will be disappointed. Kirk Douglas, stymied by an unconvincing role and the trite story, works hard, but rarely successfully, to put heart and drama into the proceedings. Virginia Mayo and Walter Brennan, called upon for less, are also competent but ineffectual. John Agar, Ray Teal and James Anderson are purely routine in their typed roles. The photography is impressive in the desert shots, but much of it seems to be snipped from dozens of other such films. STORY : Kirk Douglas, :l U. S Marshal and his two deputies, John Agar and Ray Teal, interrupt an attempted lynching of Walter Brennan headed by Morris Ankrum and his son, James Anderson. Ankrum claims that Brennan has just killed his other son while cattle rustling, but Douglas takes Brennan in order to bring him to trial at Santa Loma. When Douglas learns that Ankrum is organizing men in order to stop him, they leave immediately, taking a short cut through the desert. Brennan's daughter, Virginia Mayo, joins the group. When Ankrum does attack, Agar is killed, but Anderson is captured and taken along for the trial. During the trip, Douglas falls in love with Mayo, Teal is killed, and their horses lost. When the remaining party reaches Santa Loma, Brennan is convicted of murder and sentenced to hang. Just before the hanging, Douglas discovers Anderson is the real murderer and kills him after a chase. GRAN 'ACCORDING TO MRS. HOYLE1 STICKY, SENTIMENTAL COMEDY Rates • • as dualler Monogram 60 minutes Spring Byington, Anthony Caruso, Brett King, Tanis Chandler, Stephen Chase, Directed by Jean Warbrough. "According to Mrs. Hoyle" is a sticky, sentimental comedy that will please only a small segment of the family trade. The story is the old-hat account of the sweet old lady who charms a gang of thugs and precipitates their reform. As written and as directed by Jean Yarbrough, the action and dialogue are frequently embarrassing. Barney Gerard's production is most presentable and considering the fine quality of actors involved it is more the pity that the effort is wasted on such an unentertaining yarn. Spring Byington plays the title role with expected charm, but even in her capable hands the character gets out of control. Anthony Caruso is excellent as the hardboiled racketeer who goes "legit." Of the company, Brett King comes off best thanks to a part that is more believable than the others. STORY: When Anthony Caruso takes over a hotel he is faced with the task of evicting Spring Byington. a retired school teacher who has lived in the second rate hostelry for years. Caruso wants to renovate and set himself and his boys up in a straight business. They all agree that Byington can stay. Two of the gang pull a job on their own. Both Caruso and the school marm are involved. Eventually a confession clears her of complicity and she learns that one of the hoodlums is her son whom she has not seen for years. And the husband who deserted her, now dead, turns out to have been a second story man of considerable notoriety. She and the son prepare for a better life. JAMES JULY, 2, 1951 21