Independent Exhibitors Film Bulletin (1951)

y ENT ENTERTAINING WEBB FAMILY COMEDY Rates • • • — in family houses, less elsewhere; n. g. for action spots 20th Century-Fox 81 minutes Clifton Webb, Anne Francis, Charles Bickford, William Lundigan, Reginald Gardiner, Evelyn Varden, Margalo Gilmore, Tommy Rettig, J. Farrell MacDonald. Julia Dean. Directed by Henry Koster "Elopement" is bright, cheery family fare with a clever and original story designed to provoke favorable audience response. The dialogue is not exactly sparkling, but the unique delivery of Clifton Webb and smooth direction of Henry Koster contribute sizeably toward compensating for this shortcoming. Webb isn't playing Belvedere in "Elopement," but the role of a domineering father isn't far removed from the character. His fans will enjoy him and will note, too, the most pleasant appearance of Anne Francis in her first feminine lead. Fresh and vivacious, with acting talent to back up her buoyant personality, Miss Francis looms as among the more likely stars of tomorrow. This should go over very well in family spots, with returns diminishing to a low poinr in action houses. Webb is perfectly at home as the witty, sarcastic father. Charles Bickford brings authority to his role of the other parent, and William Lundigan is a fine choice for the spot of the young teacher. Reginald Gardiner grabs laughs with his performance of Anne's godfather who tries to help the young people. Evelyn Vardein, Margalo Gilmore, Tommy Rettig and J. Farrell MacDonald are others who stand out in the first-rate cast. STORY: Webb is spotted as a designing engineer who has raised his daughter, Anne Francis, to follow in his footsteps. When, on the day of her graduation, she attempts to elope with a young professor, William Lundigan, Webb starts off in pursuit, hoping to halt the marriage. En route he and his wife are joined by the parents of the prospective bridegroom. Story here evolves into an amusing chase and clever situation in which the antagonistic in-laws are bright together while the young lovers have their first spat. In a free-for-all finale, the couple is brought together through the intervention of the elders. ANGEL STARLIFT' ALL-STAR MUSICAL GOOD MASS ENTERTAINMENT Rates • • • — on name value Warner Bros. 105 minutes Doris Day, Gordon MacRae, Virginia Mayo, Gene Nelson, Janice Rule, Dick Wesson, Ron Haggerty, Richard Webb, Hayden Rorke, Howard St. John, Guest stars: James Carney, Gary Cooper, Virginia Gibson, Phil Harris, Frank Lovejoy, Lucille Norman, Louella Parsons, Randolph Scott, Jane Wyman, Pa'rice Wymore. Directed hy Roy Del Ruth As all-star pictures go, "Starlift" ranks among the better exhibits, although it suffers from the usual faults of such extravaganzas — an excuse for a plot on which to hang disjointed comedy and musical numbers and trying its level best to divide the honors equally so that none of the headliners is slighted, \ctually the best moments in the affair are those provided by the lesser lights, comics like Noonan and Marshall whose burlesque of a television chef is genuinely hysterical. The story is flimsy romantic nonsense, but director Roy Del Ruth makes it easy to take, sees that the plot desn't get in the way of the musical interpolations. The production makes the most of the airbase locale without going overboard, so "Starlift," if not spectacular, is pleasant enough to look at. It adds up to good, though not especially exciting, musical entertainment, framed for mass appeal. And in most situations it should pay the freight. Doris Day and Gordon MacRae, singly and as a vocal duo, perform yeoman work, while Gene Nelson's dancing is another highlight. Beyond lending their names for marquee display, James Cagney, Randolph Scott, Gary Cooper, Jane Wyman, and Phil Harris contribute very little. Lucille Norman, attractively photographed, sings well, and Louella Parsons is pleasant, playing herself. Virginia Mayo is her lucious self, and Janice Rule makes her warm romantics count in the ingenue lead. Dick Wessons' brash personality counts for quite a few laughs, and Ron Raggerty plays the juvenile with appropriate naivete. Richard Webb, Hayden Rorke, and Howard St. John do well in their lesser roles. STORY: Ron Haggerty, a lonesome soldier, discovers a one-time school chum now a movie star, Janice Rule, is doing a p. a. in San Francisco. With the considerable help of Dick Wesson he contrives to meet the hdy. Wesson passes himself and Ron off as a pair of soldiers about to ship to the Korean front whereas actually they work the air route between the U. S. and Honolulu. Louella Parsons plays up the duo as a hot romantic item. Janice discovers that Ron is no hero and turns on him angrily. Both youngsters keep up the deception of romance, however, in order to placate the press and public. Out of it all comes the project that brings stars to Travis Air Base to entertain the soldiers as they leave for the front. On their return, Ron does get assigned overseas, and there is a reconciliation with Janice in time for the fade-out. JAMES SOUTH OF CALIENTE' TOP-DRAWER ROGERS WESTERN Rates • © • in small towns and western houses Republic 67 minutes Roy Rogers, "Trigger", Dale Evans, Pinky Lee, Douglas Fowley, Ric Roman, Leonard Penn, Willie Best, Lillian Molieri, Charlita Pat Brady, Frank Richards. Directed by William Witney. '•South Of Caliente," semi-final Roy Rogers Western for Republic, is top grade sagebrush affair. The story, in the Rogers vein, is strictly modern, a rip-roaring account of present day horse thievery. Yarn is woven deftly into a high quality physical production and the narrative is spiced with plenty of action and stunts. William Witney's direction maintains a lively pace throughout, and the characters come across as real people rather than celluloid stereotypes. Where Rogers' films register, this should mean happy audiences and a corresponding boxoffice. Rogers plays his role with engaging directness. Dale Evans is a charming heroine animated in her playing, experienced in her vocalizing. Pinky Lee's humorous antics are designed to please the youngsters. Douglas Fowley makes the most of his fat role as the top heavy while Ric Roman and Leonard Penn register as his subordinates. STORY: Rogers, operating a tr-nspor* tation service for horses, is engaged to transport a valuable animal owned by Dale Evans While crossing the border into Mexico, the trailer is attacked. The horse is believed dead. Rogers' sharp eye detects the animal masked by a coat of dye as it is being returned to the U. S. Going to work, with comic Pinky Lee at his side and Dale Evans filling in on the background, Rogers discovers and foils the theft, which is part of Douglas Fowley's scheme to obtain the horse and race her under another name while pretending to be Miss Evans' loyal friend and foreman. ANGEL 8 FILM BULLETIN