Independent Exhibitors Film Bulletin (1952)

CARRIE' HEAVY, BUT ENGROSSING, VERSION OF DREISER NOVEL Rates • • • generally if exploited; more in class houses Paramount 118 minutes Laurence Olivier, Jennifer Jones, Miriam Hopkins, Eddie Elbert, Basil Ruysdael. Produced and directed by William Wyler. Boxofficewise, this picture is a big question mark. At the ouset, it should be noted that it will require heavy and specialized exploitation by Paramount and by the exhibitors who play it. William Wyler's production and direction wizardry has been pitted against Theodore Dreiser's characteristic morbidity in "Carrie". While Mr. Wyler has not compromised his talent for getting the most out of a scene and his players and for turning out adult pictures, he has succumbed to Dreiser's depressing approach to the social problems of 20th century America. The sense of doom that intrudes, almost from the first scene, is reminiscent of Dreiser's "A Place in the Sun". So is the tragic intensity of most of the film. But where "A Place in the Sun" was spiced with moments of lightness and outdoor scenes that gave audiences a welcome respite from the tragedy, and a breathing spell in which to build up the next sequence, "Carrie" keeps its dark grip continually in a setting that is squalorous and dingy. Necessarily episodic in its telling, Ruth and Augustus Goetz' screenplay attempts to encompass virtually all of the novel. The latter half of the film, concentrating on the downfall of a once-proud restaurant manager while his young wife rises to fame on the stage, is filled with dark and gloomy sequences, magnificent in their photography and effect, if taken individually. Collectively, thev become redundant and lose some of their effectiveness, making the film seem even longer than its 118 minutes. "Carrie" is most assuredly not entertainment in the popular sense, but for excellence of performance, realistic production and direction, it is fully up to the Wyler standard, with touches that are unsurpassed in their delicacy and subtle excellence. Wyler has also evoked a maximum of suspense in what is a comparatively actionless screenplay. The class trade will find the film worthy of their attention from many angles. The star names are a sure draw for the discriminating. And for those who like to bathe in depression. "Carrie" is certainly their meat. The outlook generally, however, seems spotty. In the top roles, Laurence Olivier and Jennifer Jones are superb. As the unhappy father of two grown children, who gives up a respectable though loveless existence as he seeks love with a young girl, Olivier progresses through his brief happiness and long, pitiful downfall in magnificently convincing fashion. Miss Jones has never been better in the title role. Despite these two master performers, however, it is Eddie Albert, as a glib salesman, that runs away with every scene in which he appears. That his is the only light role in the film, making his appearances doubly welcome, does not detract from his beautifully shaded performance. STORY: Destitute in Chicago, Jennifer Jones accepts glib salesman Eddie Albert's invitation to live in his apartment while he is on the road, then succumbs to his at 'PAT AND MIKE' BRIGHT COMEDY HIT WILL SCORE BIC Rates • or better generally, except Metro-Goldwyn-Mayer 94 minutes Spencer Tracy, Katharine Hepburn, Aldo Ray, William Ching, Sammy White, George Mathews, Loring Smith, Phyllis Povah, Charles Buchinski, Frank Richards, Jim Backus. Also, Gussie Moran, Babe Didrikson Zaharias, Don Budge, Alice Marble, Frank Parker, Betty Hicks, Beverly Hanson, Helen Dettweiler. Directed by George Cukor. Like ham and eggs, bread and butter, Spencer Tracy and Katherine Hepburn, "Pat and Mike" is a natural, a swell audience show. A bright, adult comedy with sparkling dialogue and an unusual story flowing easily from the talented pens of Ruth Gordon and Garson Kanin, the film holds strong attraction for every stripe of movie fan and it will make a host of new ones when they see it. The stars, writers and director George Cukor are reunited most happily for the third time and are joined by one of the most promising newcomers in a long while, Aldo ("The Marrying Kind") Ray, to form a boxofnee combination it would be hard to top. In addition to all this, some of the foremost figures in the golf and tennis worlds are involved in the action, giving this Metro offering added exploitation values. Runyon in action houses esque in tone and characterization, the tale whips along in breezy zestful fashion as it tells of a whiz-bang lady golf-tennis star who becomes part of a tough manager's sports stable. It gives Miss Hepburn a chance to display not only her ability in these fields (most fans will be amazed at her expert handling of the golf club and the tennis racquet), but also a pair of gorgeous gams that have too long been hidden in skirts and slacks. Almost every element of entertainment is forthcoming in the process — humor, romance, excitement, suspense and nary a dull moment. Put them all together and they spell boxoffice. Miss Hepburn's handling of the role physical requirements is as deft as her treatment of the slick dialogue. She makes a perfect foil for Tracy's tough-guy promoter and manager, who gets the lion's share of the choice quips and makes the most of everyone in an easy, off-the-cuff style. Aldo Rayscores soundly as a dim-wit heavyweight whose back is chafed by so many contacts with the resin. William Ching, as Hepburn's stuffy fiancee who puts the hex on her whenever she sees him watching her perform, is <lwmreeable enough to make his role just right. George Cukor's direction sparkles with expert touches. STORY: College athletic instructior Katherine Hepburn, engaged to ambitious tentions after he engineers an "accidenta return home. Ashamed of her life ther Tones demands he marry her, but he stall He brings home Laurence Olivier, manag of the fashionable restaurant. Fitzgeraldl to impress Jones. Olivier is attracted to tl girl and begins taking her out while Albej] is away without telling her he is unhappi' married and the father of two groi children. He asks Jones to leave town win him. implying he will marry her. but learns he is already married and refuses see him again. Olivier, after a bitter quar with his shewish wife, Miriam Hopkins, a | cidentally fails to deposit $10,000 of Fit gerald's money, returns home with it. Al to return the money to the owner, he is to that his salary will be paid to his wife b cause of his affair with Jones. Distraught, runs to Jones, deceives her into going wil him on the pretext that Albert has been hn» and, on the train, convinces her to ma him, saying that his wife has agreed to divorce. In New York, a bonding compar detective catches up with him, forces him return what is left of the money. Unable get work because of his reputation, they li'j in shabby flats and he sinks lower and lowe After she loses her baby, Jones gets work a chorus line. Later, separated from Jones rises to the top as an actress, while 1] becomes a Bowery bum. Sick and hungry he comes to her for a handout. Althoug she wants to take care of him, he waits unl| she is out of her dressing room, takes quarter from her bag and goes into til night. BARX William Ching, professor in the same ur versity, is mortified in a golf match with ir portant faculty members when she dul shots every time Ching watches her. D termined to undo the inferiority comph plaguing her in her relations with Chir she enters a national golf tournament whe she draws the attention of a not too ethic sports promoter. Spencer Tracy. Believit she has the ability to win, Tracy asks h to throw the match. She refuses, reaches tl finals and is about to win when Ching a pears and she flubs to defeat. She takes Tracy's offer to manage her, then displa; amazing proficiency in tennis as well. Trat builds her up into national prominence both golf and tennis, always remaining t stern taskmaster, although he is attract to her and incurring the jealousy of Ah Ray, a punchy fighter in his sports st Hepburn plays like a demon in touranme all over the country and is a consiste winner — except when Ching is present, the eve of a tournament, underworld cha ters come to Tracy to make her throw t match. He refuses. When they atte violence. Hepburn takes over, uses judo tricks while Tracy watches op mouthed. Realizing that her man is Trac not Ching, Hepburn regains her selffidence and a bright future looms for and Mike. BARN 12 FILM BULLET I