Independent Exhibitors Film Bulletin (1952)

RETURN OF THE TEXAN' HUMAN INTEREST WESTERN Rates • • • in small towns, rurals; good dualler in big cities 20th Century-Fox 88 minutes Dale Robertson, Joanne Dru, Walter Brennan, Richard Boone, Tom Tully, Robert Horton Helen Westcott, Lonnie Thomas, Dennis Ross, Robert Adler, Kathryn Sheldon, Aileen Carlyle, Linda Green, Brad Mora. Directed by Delmer Daves Let's call this a human interest western. Sentiment, pathos, and drama, rather than rough-and-tumble action, arc the elements in "Return of the Texan," which might be best compared to films like "Flicka", etc., sans the horse heroes. It is an absorbing ac count of a young, widowed father's adventures when he returns to the old homestead and starts life over again after the death of his wife. It is peopled with interesting and appealing characters. Delmer Daves' direction maintains a lively tempo throughout and there arc enough action elements to satisfy all but the blood-and-thunder addicts. The romantic scenes are done in the sort of light style t hat is even acceptable to the juvenile audience. Frank Rosenberg's production is first-rate. Grosses will be strong outside of metropolitan areas. In the big cities, it will serve as a better-than-average feature. Dale Robertson is quietly convincing as the outdoor man, and Joanne Dru plays her feminine lead with great appeal. Walter ANYTHING CAN HAPPEN' FINE HUMAN-INTEREST COMEDY Rates • • + or better in class spots; weak for action houses ~ ' ment. Director George Seaton has effective Paramount 107 minutes Jose Ferrer, Kim Hunter, Kurt Kaszner, Alex Danaroff, Oscar Beregi, Nick Dennis, Eugenia Leontovitch, Natasha Lytess. Directed by George Seaton "Anything Can Happen" is an unpretentious, heart-warming comedy about the tribullations of a humble, unaffected young man after immigrating from Russia to the U. S. The tone of the film throughout is notable for its depth of feeling and deft touches of humor that produces good adult entertain ly reduced each scene and situation to a common denominator of pathos, humor and dramatic appeal. Adapted from a novel by George and Helen Papashvily, the story has a basis in fact and moves spritely with little lost motion — which belies its long runningtime. This is top film fare for the discriminating moviegoer and should click well in all but action situations. Jose Ferrer, one of the finest actors extant today, turns in a sympathetic portrayal that is a tribute to hisl dramatic ability. Kim Hunter, as the American girl who helps this young man find himself in his new home, Brennan is splendid as an old-timer, whi| another veteran, Tom Tully, makes much his several appearances as a good friend. STORY: Dale Robertson, acting on tl| wishes of his late wife, returns to their far in Texas, accompanied by his grandfathc Walter Brennan and his youngsters. Til place has become run down, while the ragj of his neighbor has grown and prosperei Robertson works the land and takes oil jobs to make ends meet. He attracts tl romantic interest of Joanne Dru, who d:> covers she must break down the barrier ii posed by Dale's memory of his wife. Withis done, other complications follow, not t least of which is the personality problem I tween Richard Boone, the neighbori i wealthy rancher and Robertson. JAMES I comes up with a note-worthy performan. Kurt Kaszner's role of a fellow immigrant I well handled, especially his comic touches a "know-it-all." STORY: Jose Ferrer and Kurt Kaszi are immigrants from the Russian province i Georgia who want to make America thi home. They take a variety of jobs in N York, and Ferrer meets and falls in love wl Kim Hunter. When she goes to her ho:] in California, Ferrer goes after her. Afteij series of heart-warming and hilarious col plications, Ferrer ends up as an orarj rancher and their romance ends happi] NEWT BUGLES IN THE AFTERNOON' TECHNICOLOR WESTERN LACKS CONVINCING PLOT Rates • • + for action houses; good di Warner Brothers 81 minute^ Ray Milland, Helena Carter, Hugh Marlowe, Forrest Tucker, Barton MacLane, George Reeves, James Millican, Gertrude Michael, Stuart Randall, William "Bill" Phillips, Sheb Wooley, John Packard. Directed by Roy Rowland "Bugles In the Afternoon" is a typically handsome Technicolor Western, but its screenplay is quite another story. The yarn is the old hat narrative of the disgraced soldier who reenlists in the army at a distant place, ultimately gets the better of his enemies with one hand tied behind him, and lualler generally woos a pretty lady with his free hand. Neither the performances of the rather good cast nor the direction of Roy Rowland make the piece anything more than it is — a hokey, old-fashioned, outdoor melodrama. Fortunately, it does contain some excellent action scenes. The Indian encounters are faithfully projected, the scenes having a ring of authenticity about them that you seldom find. Considering its superiority in this direction, "Bugles In the Afternoon" should garner better than average grosses in spots where the outdoor saga spells boxoffice. Ray Milland plays the soldier convincingly enough, but Helena Carter is artificial as the girl. Hugh Marlowe is splendid as the ad THE STEEL FIST' MELODRAMA HOLDS INTEREST Rates • • as supporting daul' ler Monogram 73 minutes Roddy McDowall, Kristine Miller, Harry Lauter, Rand Brooks, Bryon Fougler, Murray Alper, Marc Krah, Kate Drain Lawson, Michael Vallon, Effie Laird, Glen Vernon, Fred Kohler, Jr. Directed by Wesley Barry While this Monogram programmer lacks marquee values and ^ives evidence of its modest budget, it manages to hold interest. The story, dealing with dictatorship in an unnamed country, has been directed with care and at a snappy pace. Within its limits, the production is craftsmanlike, the performances, good. Additionally there are action and suspense values that go a long way toward sustaining the spectator's interest. It should serve adequately as a supporting feature. Roddy MacDowall plays the youth with strength and conviction. Kristine Miller is satisfactory in the feminine leads. Harry Lauter, Rand Brooks, Byron Fougler, Murray Alper, and Kate Drain Lawson have in versary, and Forrest Tucker offers an ' mirable portrait of a genial Irishman. Bar MacLane, George Reeves and James M: can are good in support. STORY: Ray Milland is the disgraj officer. He travels west, joins a Cavalry r<| ment and discovers that Hugh Marlowe, fellow responsible for his discharge, is of the officers. Marlowe never loses an portunity to harass Milland, but soldier j he bears the humiliations and does his w< On comeuppance day, during an encoiui with the Indians, Milland emerges as ] boy, is given back his rank and wins hand of Helena Carter, pretty daughteij the local storekeeper. JAMES teresting character bits which they play mirably. STORY: Roddy McDowall, a studenl the instigator of a riot against the gov] ment. Bryon Fougler helps him flee country., Roddy being unaware that Fou| is a member of the underground. In course of his adventures and flight to border, McDowall falls in love with Kri: Miller. He wants to stay behind to m;J her. She convinces him that it is best h< into the free world where he can beconl more effective instrument for ending to| tarianism in his homeland. ANGEL 18 FILM B U L L E