Independent Exhibitors Film Bulletin (1952)

LYDIA BAILEY' ROUTINE TECHNICOLOR HISTORICAL DRAMA Rates • • + generally; more in action spots 20th Century-Fox 89 minutes Dale Robertson, Anne Francis, Charles Korvin, William Marshall. Directed by Jean Negulesco. The promise inherent in the Kenneth Roberts best-seller, "Lydia Bailey", depicting the routing of the French and the establishment of Haiti as a republic, never quite materializes in this 20th Century-Fox Technicolor production. It emerges as little more than routine historical drama, only spottily entertaining and most disappointing where it should shine. The fascination of the Haitian customs, voodoo and the heroic battle waged by Jean Christophe against Napoleonic tyranny are all subjugated to a rather insipid romantic joust, punctuated by flashes of action in a manner more reminiscent of horse opera than history. A pregnant beginning, boding big things to come, makes the contrast of the rest of the film doublv evident. Even the tremendously colorful voodoo dance, one of the highlights of the film, has its effect dissipated as the camera spends as much time on vapid close ups of the principals during the performance as it does on the dancers. That the story manages to maintain interest for the most part is due to the vigorous portrayal of a gigantic Haitian patriot by William Marshall, recruited from the Broadway stage where he last played De Lawd in "Green Pastures". The backgrounds, many of which were shot in Haiti, are beautifully photographed. Backed by the widespread publicity ensuing from the 20th-Fox press junket and plenty of exploitation angles, "Lydia Bailey" should come off better than average in most locations, with best returns in the action spots. It is an unusually Rood attraction for houses in Negro neighborhoods. Directed by Jean Negulesco, characterizations emerge as familiar types, with William Marshall being the exception as the native leader named King Dick. Anne Francis is pertly innocuous in the title role. Dale Robertson and Charles Korvin turn in satisfactory performances as the hero and heavy respectively. STORY: Dale Robertson arrives in Haiti just as the powder keg of rebellion is about to explode. The natives have become aroused CLASH BY NIGHT' DREARY BUT EXPLOITABLE MELODRAMA Rates • • + generally on names of sex, though her actual worth to the story is minor. Exploitation values are good. The film moves well over most of the early reels, but it is over-long for what it has to offer, and becomes involved in some thin melodramatics at the climax. "Clash By Night is geared for adult audiences and will probably do its best business in metropolitan first runs, tapering off in family and rural houses. Action houses should find this a good attraction. Neat directorial touches by Fritz Lang, and pood performances on all levels of the cast, hold an otherwise weak story together. Barbara Stanwyck is convincing up to the point where the script betrays her, requiring her to repent and return to her husband. Paul Douglas, as the wronged husband and Robert Ryan, as "the other man", get the most out their roles, but have to fight some RKO 105 minutes Barbara Stanwyck, Paul Douglas, Robert Ryan, Marilyn Monroe, J. Carrol Naish, Keith Andes, Silvio Minciotti. Directed by Fritz Lang. Based on a plot that has been the foundation for almost every soap opera ever told, this Wald-Krasna melodrama manages to generate a fair amount of interest and entertainment in a dreary, depressing manner. Written by Alfred Hayes, from a play by C lifford Odets, this tale of an unfaithful wife set in a west coast cannery town, captures the dubious flavor of the background more than it does the dramatic entertainment values. The marquee values of Stanwyck, Douglas, and Ryan is a decided asset, with Marilyn Monroe thrown in for an extra dash against the French land owners in particula) and all white men in general. Robertson, close friend of Anne Francis' late father, j seeking the girl's signature on a documen to settle the deceased man's estate. Robert son learns that Francis is the fiancee o | Charles Korvin, a French landowner, and she is living at Korvin's plantation on thl other side of the island. William Marshall' a leader in the pending revolt, befriend ] Robertson in order to gain access to Korvin': house. After meeting Francis and Korvin Robertson finds that the girl was unfriendh to her father, and also dislikes all American? While at the plantation, Marshall kills traitor to the native cause, who happens t< be in the pay of Korvin. Robertson help1 Marshall escape and they join the revolu 1 tionists. Soon after, the rebellion flares and the orgy of killing begins. When Robertson learns that Francis is in danger, he goes bad1 to the plantation, rescues her and they star I the perilous trip back to French-held terri tory. After some exciting melodramaticsi the eventual outcome of the native rebel lioi ' is assured, and the young pair declare theii love. PHIL inane dialogue. Perhaps the best perform ances are turned in by J. Carrol Naish anc; Silvio Minciotti in supporting roles a:. Douglas' uncle and father respectively. STORY: An embittered woman, Barbara Stanwyck returns to her home in a cannen town after 10 years of trying to find th<; things she believes will make her happy! Paul Douglas, a local fisherman, falls in lovtf with her. Douglas is a man with little edm cation or polish, but he can give Stanwycll security, which she never had. Withou loving Douglas, Stanwyck becomes his wife Robert Ryan, a friend of Douglas', is Stan wyck's counterpart. Though she fight , against it, she eventually takes up with Ryar! Eventually, Douglas finds out and almosj kills Ryan. In a sudden and implausibl' switch, Stanwyck repents and returns t(j Douglas. PHIL OUTCASTS OF POKER FLAT' SUSPENSEFUL MELODRAMA, MILD B. O. Rates • • + as dualler 20th Century-Fox 81 minutes Anne Baxter, Dale Robertson, Miriam Hopkins, Cameron Mitchell, Craig Hill. Directed by Joseph M. Newman. Tightly knit, well paced, and highly suspenseful, "Outcasts of Poker Flat" is based on the Bret Harte story about four shady characters who arc run out of a California mining town by the irate citizens. For all of its assets, however, this 20th-Fox offering appears to have only mild boxoffice possibilities. It will have to be doubled, and will require the support of a fairly good comedy or musical. It is adult fare and should do be^t in class and a< ,: n houses. Most of the action is set in a snnv-bound cabin in the mountains, and is played in low key — more 14 emotional than physical. A Julian Blaustein production, written by Edmund H. North, it unwinds with little lost motion, and Joseph Newman's direction succeeds in building one tense situation on another until the tension finally snaps in a savage and brutal climax. The cast, headed by Anne Baxter, Dale Robertson and Cameron Mitchell, checks in with first-rate performances with Mitchell leading the way as a cold blooded killer who terrorizes the outcasts. STORY: When the bank in the mining town of Poker Flat is robbed and two bystanders are shot down, the citizens decide to rid themselves of its undesirable element. Kaxter, Robertson, Hopkins and Lynn are provided with horses and told to clear out of the vicinity. Robertson decides to desert the rest of the party, but a sudden snow storm forces the group to hole-up in a mountain cabin. Joined by another couple, the groujj soon realizes that they will be snowbouti(j without food. One of the newcomers decide' to fight his way through the blizzard t<i Poker Flat and seek help. Fearing the town will refuse to aid the exiles, Baxter reveal I that she is the wife of the bank robber an< has the stolen money with her, which sh I will surrender if help comes. Later, Baxter' I husband stumbles into the cabin and, post sessing the onlyr gun, he proceeds to terroi rize the group. A romance develops bet\vec| Baxter and Robertson after Baxter show) that she both fears and hates her husbati'1 After some tense and gripping scenes i; which Hopkins and Lynn are killed, he! finally arrives and Robertson disposes o Mitchell. NEIL FILM BULLETI I