Independent Exhibitors Film Bulletin (1952)

BELLE OF NEW YORK1 LIGHT, Rates • • • generally, except in action Metro-Goldwyn-Mayer 89 minutes Fred Astaire, Marjorie Main, Vera-Ellen, Keenan Wynn, Alice Pearce, Henry Slate, Lisa Ferraday, Gale Robbins, Clinton Sundberg. Directed by Charles Walters. This is a frivolous little musical, presented with tongue-in-cheek to be viewed with absolutely no thought whatever. The story is merely a slim thread about which is woven eye-catching and ear-pleasing patterns of music, dancing, beautiful color and settings. Designed for pure entertainment — and who would want more? "Belle of New York" should strike the fancy of all except the action fans. Pleasant, enjoyable entertainment is the word for "Belle of New York". ENTERTAINING TECHNICOLOR MUSICAL houses And it's good word for boxoffkes generally. Fred Astaire combines his usual matchless dance routines with bizarre settings, highlighted by a dancing-on-air sequence. Unfortunately, Astaire's vocals, as usual, aren't up to par with his fast-stepping, but this probably won't be too much of a drawback to most audiences. Vera-Ellen is as decorative as the rest of the piece and makes an excellent partner for the master terpsichorean. Marjorie Alain and Keenan Wynn add their special brands of comedy to the already frothy levity. The Currier and Ives sequence, which presents quaint prints that materialize into picturesque backgrounds for AstaireEllcn dance routines, is another high point of this "it's-all-in-fun" frolic. The tunes are catchy and hummable. STORY: Astaire is a playboy who de lights in spending his aunt's (Marjorie Mai money and becoming engaged to every gi who happens to strike his fancy. He is a lergic to matrimony, however, and nev makes it to the altar. Wynn is Astaire lawyer who, for his own selfish interest tries to keep Astaire single. Vera-Ellen the director of a welfare house in tl Bowery, dedicated to saving the lost sou who come to her for help although her a pearance militates against such unglamoroi tasks. Astaire, out on one of his escapadt runs into Vera-Ellen and her group in tl process of saving souls. He immediately se out to convince her that he is in great ne of being saved. After an off-again-on-aga courtship, complete with lyrics and dan routines, they are united as Astaire win up beating the missionaries drum. NEW TREASURE OF LOST CANYON' PLEASANT FAMILY FABLE IN TECHNICOLOR Rates + as dualler in family houses Universal-International 81 minutes William Powell, Julia Adams, Charles Drake, Henry Hull, Rosemary De Camp, Tommy Ivo, Chubby Johnson, John Doucette, Marvin Press, Frank Wilcox. Directed by Ted Tetzlaff. The old Robert Louis Stevenson tale, " Treasure of Franchard," has been made by producer Leonard Goldstein into a pleasant little fable that should carry appeal to family audiences and those not too discriminating in their movie fare. The long arm of coincidence and some far-fetched proceedings are the principal factors that detract from the film's value as credible entertainment and lessen the impact of suspense and dramatics director Ted Tetzlaff has attempted to inject. Credit factors are the performance of William Powell as an easy-going country loafer who has philosophically repudiated a get-rich attitude and the fine Technicolor photography. How Powell is threatened by the money bug after an orphan he has taken into his home discovers a treasure chest and the youngster's deliberate dumping of the treasure to prevent Powell's succumbing to the filthy lucre form the basis of the tale. Kids will get a thrill from the boy's attempt to recover the treasure beneath a raging waterfall; many of their elders will find Powell's philosophical utterances entertaining as delineated in the Brainerd DuffieldEmerson Crocker screenplay. But the overall impression will find the film lacking genuine heartthrobs of excitement. "Treasure of Lost Canyon," should make a satisfactory dualler in family houses. As unusual role for William Powell, the actor does a fine job, aided by a competent cast — Rosemary De Camp as his wife, Tommy Ivo as the boy, Henry Hull in a villainous role, Chubby Johnson as a boozy medicine showman. Ted Tetzlaff's direction, routine for the most part, points lip several scenes with distinction. Leonard Goldstein's production is more than adequate foi a film of this type. STORY: A wealthy widower travelling to THE BIG TREES' OLD-TIME LOGGING MELLER Rates • • + in action houses; satisfactory dualler elsewhere is a definite help to "Trees", atlhough he has Warner Bros. 89 minutea Kirk Douglas, Eve Miller, Patrice Wymore, Edgar Buchanan, John Archer, Alan Hale, Jr., Roy Roberts, Charles Meredith, Harry Cording, Ellen Corby. Directed by Felix Feist. "The Big Trees" is a re-hash of all the situations that furnished the meat for the old fashioned melodrama in the heydays of Pearl White, Filmed in Technicolor among the giant sequoia redwoods of California, there is a decided similarity to an earlier Warner film, "Valley of the Giants", but today, with a shopping public, its lack of originality — to say the least — will be a drawhack for discriminating patrons. The film should be well received in action houses, however, and should make a satisfactory dualler in family spots. Kirk Douglas' name on the marquee a tough time taking some of the cliches with a straight face. The rest of the cast works hard, but the task of making the film appear more than just another "mcller" is too difficult. The main fault with this show is thai it's all been done before and this time around it hasn't gotten any better. Such scenes as Douglas saving the woman lie loves from the caboose of a runaway log train, and the dynamiting of a dam to assure the triumph of good over evil may bring hack a nostalgic feeling for the good old days for some audiences; others may be satisfied with their action rough and tough, California by stage-coach with his baby sc Tommy Ivo, has a heart attack and dies. T infant is taken by a drunken showm; i hubby Johnson to Sacramento where delivers the child to an unscrupulous lawy as directed by the dead man's papers. T lawyer, Henry Hull, disregards the instn tions to lodge the baby with its unc William Powell, and pays Chubby to take off his hands. After travelling with t troupe for some years the boy runs aw and is adopted by Powell and his wife Ro mary de Camp. Powell and the lad discos hidden treasure, but the boy sadly reali? that it will drive his foster-father back drink. So he tosses the treasure chest it a foaming pool. A philosopher, Powell tat the loss lightly, but when their home burned to the ground. Tommy dives for i treasure, and risks his life to recover] Hull, who had been plundering Powd estate, is revealed in his treachery and p nuses to make restitution. His comfort I sured, Powell promises Tommy that he tl turn the treasure over to the iocal minis] LEON. if nut original. But the more discriminate may wonder "why did they go to I trouble?" STORY: Tale involves a group of hoir steaders in Northern California who H faced with the prospect of losing their lp| to an unscrupulous logging operator (¥f Douglas), due to a new land law. In swilling the settlers, Douglas meets Eve Mip who is determined to save the big trees fib the ax. Douglas had first posed as a friH to the homesteaders, but is eventually forW out into the open. The battle is on with It settlers trying to cut enough small tink to buy the land before Douglas can legff take over. Douglas blocks them by oblr ing control of a key dam. I )ouble-croi JO by his partners and in love with Millerie finally conies to his senses, helps the settl defeat the logging operators, and marries! woman lie hncs. NEWT 9 FILM UULLET