Independent Exhibitors Film Bulletin (1952)

'5 FINGERS' FASCINATING, EXCITING SPY MELODRAMA Rates • • • or better where exploited sells them to the Germans at fabu 20th Century-Fox 108 minutes ijames Mason, Danielle Darrieux, Michael Kennie, Walter Hampden, Oscar Karlweis, Herbert Herghof, John Wengarf, A. Ben kstar, Roger Plowden, Michael Pate, Ivan jTriesault, Hannelore Axman, David Wolfe, iLarry Dobkin, Nestor Paiva, Antonio Filauri, Richard Loo. I ^Directed by Joseph L. Mankiewicz I 20th Century-Fox has a winner in "5 Fingers". This fascinating spy tale of World llVar II is certain to win great favor with all llasses of moviegoers, for it offers gripping Suspense to adventure lovers and a droll, llophisticated romance to please the feminine llrade. The story, an adaptation of the sup| losedly factual novel, "Operation Cicero," llecords an almost incredible yarn about a Hpy operating within the British Embassy at Iknkara, Turkey, who obtains top Allied secrets, lous fees, only to have the Naxzis ignore them because they believe the man is really a British agent. Through this spine-tingling plot is interwoven a delicious romance between the spy and a Polish countess, who is playing a game of her own. Under the shrewd and sparkling direction by Joseph L. Mankiewicz, "5 Fingers" emerges as a taut, deeply engrossing, immensely entertaining movie. Michael Wilson's screenplay makes the most of the story and adds some bright dialogue. The performances are outstanding. This shapes up as a topflight grosser for all situations, especially if the exhibitor utilizes the film's exploitation potential. James Mason plays the fabulous spy with great authority and striking urbanity. Danielle Darrieux is lovely and provocative as the noblewoman. Michael Kennie is effective as a secret agent of the English, and Walter Hampden cloaks his British Ambassador with great dignity. Oscar Karlweis registers as the Nazi underling who handles the busi ness details. John Wengraf is a standout in an accurate impersonation of Von Papen. STORY: James Mason, a Kuropean of mixed ancestry, holds the job of valet to the I'.ritish Ambassador, work that affords his easy access to the Embassy safe and its contents of secret documents. Ankara, the locale of the story, seethes with intrigue, spies and counterspies. Mason offers to sell the documents to the Germans. Franz Yon Papen immediately recognizes their enormous value, the foreign office in Berlin consents to pay the outrageous demands made by Mason. To hide his new found wealth, Mason enlists the cooperation of Danielle Darrieux, like himself unscrupulous and incrutible. He entrusts her with his huge horde and they make plans to leave for South America. She doublecrosses him, however, flies to Switzerland. W ith his identity known, Mason pulls one last job to recoup his loss. He is successful, flees the country, but learns later in Rio that he has been paid in counterfeit English pounds. H ANNA (Hollywood) YOUNG MAN WITH IDEAS, WILL TICKLE THE FUNNYBONE ates • • + or better, except for action spots '-G-M 4 minutesi lenn Ford, Ruth Roman, Denise Darcel, ina Foch, Donna Corcoran, Ray Collins, ary Wickes, Bobby Diamond, Sheldon eonard, Dick Wessel, Carl Milletaire, Curtis ooksey, Karl Davis, Fay Roope, John Call, adene Ashdon, Barry Rado, Norman Rado, ilton Graff, Martha Wentworth. irected by Mitchell Leisen Calculated strictly to tickle the funnybone, Young Man With Ideas" succeeds rather ell. Dealing with the adventures of a young mall town lawyer, who risks the security of is family to take a "flyer" at the big city, le yarn moves along at a lively clip. It is paced by humorous situations that materialize when this brilliant attorney — with a milquetoasty personality — is motivated by his ambitious wife to become more than just a clerk in a law office. The tone of the film is flavored with cute domestic subtleties which adds up to light entertainment that should do well generally, best in family houses, weakest in action spots. As the lawyer and his wife, Glenn Ford and Ruth Roman turn in performances that leave little to be desired in the way of frivolous humor. Nina Foch and Denise Darcel are good as "other" women. The package is neatily tied with many novel directorial touches by Mitchell Leisen. STORY: Glenn Ford is an attorney lost in the shuffle of a small town law office. The security of his wife and three children pre vents him from breaking away from his hum-drum existence. His wife, Ruth Roman, has ambitions, however, that lead her to prod Ford into making the break and they move to Los Angeles. There they are confronted by the big city and numerous problems, such as passing the California's bar exam, trying to convince bettors that their home is no longer a bookie joint, and fending off the advances of Misses Foch and Darcel. After a comedy of errors and misunderstandings, Ford's wife loses faith in him, he becomes embroiled with the local racketeers and winds up defending himself on a disorderly conduct charge following a night club brawl with the gambling mob. In the end, Ford is not only admitted to the California bar, but is invited to become the 34th partner in a L. A. law firm. NEWT iRON SLICK FROM PUNKIN CRICK' LAUGHS IN CORNY COMEDY WITH MUSIC ates • • • in small towns, rurals; fair aramount minutesi lan Young, Dinah Shore, Robert Merrill, dele Jergens, Minerva Urecal, Martha ewart, Fritz Feld, Veda Ann Borg, Chick handler. irected by Claude Binyon 'Aaron Slick From Punkin Crick" is a nk of good-natured corn, a Technicolor medy with musical interludes that is sure amuse family audience. Adapted from the ay by William B. Hare, which has enjoyed ore performances than any work in theaca) history, with the possible exception "Uncle Tom's Cabin," this Paramount rsion is full of old-fashioned, but funny, gs and situations. In its Technicolor finery pastoral story, and with a casual way. of inging in the musical numbers, one senses effort by producers William Perlberg and orge Seaton to duplicate their memorable tate Fair." Well, "Aaron Slick" is no ARCH 10, 1952 for metropolitan areas "State Fair", but for what it is — pure, unadulterated hoke, not to be taken seriously for a moment, it stacks up as novelty fare for city slicker audiences and an excellent attraction for the corn belt. The situations are broad, the dialogue broader, and the performances as hammy as can be. Claude Binyon's direction is strictly tongue-in-cheek, playing the comedy-melodrama for all it can get in the way of guffaws and even hisses, when the villain tries to bambozzle an innocent country gril. Alan Young's Aaron is agreeable and likeable. Dinah Shore handles her innocent miss role attractively and scores with her showmanly vocals. Robert Merrill, Metropolitan Opera baritone, does a competent enough stint as the promoter, although the role Rttittt fating* afforded him scant opportunity to display his voice. Adele Jergens delights as his partner-in-crime, and Minerva Urecal scores as a hinterlands dowager. STORY: Alan Young has the title role, a not too dumb but shy bumpkin, who long has had his romantic eye on Dinah Shore, owner of the next door farm. The arrival of city folk Robert Merrill and Adele Jergens, a couple of swindlers, begins to spell trouble for the couple. Merrill believes there is oil in Dinah's property and bids up to $20,000. She sells it and, after an argument with Young, goes to Chicago for a fling. Meantime Merrill discovers that the oil estimate is wrong, heads for Chicago to get back his twenty grand. Young follows along and arrives in time to prevent Dinah from being fleeced. Action is interrupted casually and often to allow Young, Miss Shore and Robert Merrill to tune up their pipes and for a couple of cabaret production numbers. TAMES