Independent Exhibitors Film Bulletin (1952)

THE FOUR POSTER' DISTINGUISHED COMEDY-DRAMA Rates + for class houses; • • • for Columbia 103 minutes Rex Harrison and Lilli Palmer Directed by Irving Reis In every sense of the word, this is a distinguished production. Stanley Kramer displayed rare courage in undertaking a film version of Jan de Hartog's two-character stage hit, and it is a pleasure to report that he has carried it off with outstanding success. "The Four Poster" emerges as a great prestige picture, but, although it must be labeled a class film, there are elements that will appeal universally. While outwardly smart and sophisticated, it is basically a sensitive comedy-drama with some finely turned touches that reach the heart. For ballyhoo, there are angles that should make the showman's job a delight. The pitch should be made straight and strong to adult audiences. It boasts the longest kissing scene in years and a seduction scene which probably was given censorial blessing only because the naborhoods; less for action and rural spots principals are real-life man and wife. It's delicious. Boxoffice performance, no doubt, will be mixed. Class houses and deluxe first runs will probably come close to record grosses, and it will roll along strongly in all naborhood situations. Rural locations are a question mark and it will be weakest for action houses. The cast of two consists of Mr. and Mrs. (Lili Palmer) Rex Harrison, and only a brave man would award the laurels for the better performance. Both are brilliant and they make something delightful and gay, something sad and tragic of this story of a bed, the four-poster that witnesses their nuptial night, two births, two deaths and a good deal of animated conversation. "The Four Poster" will be much talked about. STORY: Rex Harrison and his wife, Lilli Palmer, share the milestones of their marriage with a four poster bed which is an anchor, a confidante and the embodiment of their laughter and heartbreak and abiding love. The story opens in 1897. Rex, who carries his bride across the threshold, is a poet and teacher. Under her influence, becomes a successful novelist and lecturi a bit vain, yet a devoted husband and fath of two. He becomes slightly involved wi another woman, but their ten years of m? ried wisdom help them weather that pro lem. In 1916, Rex finds a whiskey bot| hidden in his son's closet, and the son, ai 17, is not yet home at 4 a. m. He is cc cerned about his boy, but presently, Lilli mourning the death of that son, a victim war in France. Next, the couple are heari the sounds of Dixieland jazz wafted up it their room frm the daughter's wedding ception — in 1923. When the guests have h Lilli tells Rex she wants a divorce, psychoanalyzes her unhappiness as a lann for her lost youth and induces her to j' him on a belated honeymoon trip to Euro Now getting on in years, Rex and Lilli 1933 are toasting his new book when he veals that the doctor has told him she fatally ill. In the closing scene, he sits al<j in their bedroom. A vision of his young \\i comes to him and he passes on to join her! eternitv. COULTER EVERYTHING I HAVE IS YOURS' ANOTHER M-G-M MUSICAL CLICK Rates • ■ • • except in action houses Metro-Goldwyn-Mayer 92 Minutes Marge and Gower Champion, Dennis O'Keefe, Monica Lewis, Dean Miller, Eduard Franz, John Gallaudet. Directed by Robert Z. Leonard. A light and ingratiating musical, "Everything \ Have Is Yours" is notable on two counts: (1) it continues the Metro reputation for superiority in the big scale musical movie, and (2) it is the first starring vehicle for Marge and Gower Champion, who are already established as the best song-dancecomedy team since Hie fabulous AstaireRogers duo. Filmed on a lavish scale in topgrade Technicolor by producer George Wells, the musical numbers, which dominate the picture, feature a delightful series of terpsichorcan and vocal numbers which are unanimously on the higher strata. Most of the credit must go to the zooming Cham pions, as they cavort, mug, leap and flow gracefully throughout the film. Considering that the male member of the duo is also credited with staging the musical portions, along with Nick Castle, there seems to be no doubt that a bright future in films looms for these highly appealing and talented vnuncsters. Marge Champion, too, demoi:;Kc«o an ease and attraction, both when she is dancing and when she is emoting, that bodes a healthy prospect for stardom. The story, a fluffy tale about the domestic ups-anddowns of a married dance team when the distaff member is forced off the stage by motherhood, has a good quota of humor as well as serving as the thread to tie together the choreography. It's gay, light and happy entertainment that should be plugged by exhibitors for all it is worth. Properly exploited, it will pay off handsomely in all situations, except the action spots, and it will leave the audience in a happy frame of mind to tell others. STORY: After a spectacular click on Je opening night of their Broadway debut, m maried stars, Marge and Gower Champa learn that they are going to have a blesH event and that the former must not dale for the duration. Marge's understudy, Mfe •".a Lewis, takes over the co-starring ifl i.nd also clicks. After the baby is b<«, Gower insists that Marge remain at hom<tj a mother and housewife, despite her de» to return to the stage. Marge becomes jfl ous of Monica, who has been making pa:is at Gower. After a quarrel that ends iia divorce suit, producer Dennis O'Keefe . I in, despite his attraction for Marge, and (» trives to bring the couple together by telB Gower, who always sympathetically shtt Marge's ailments, that she is ill. Wheijj* arrives, showing all the symptoms thafl was told Marge had, their former happifl surges to the fore and they are reunmi both domestically and as a musical t« BA \' THE RAIDERS' FAST-MOVING TECHNICOLOR WESTERN Rates • • • in action spots; good dualler elsewhere Universal-International 82 minutes Richard Conte, Viveca Lindforst, Barbara Britton, Hugh O'Bruan, Richard Martin, Palmer Lee, William Reynolds, William Bishop,, Morris Ankrum, Dennis Weaver Directed by Lesley Selander Guns, bandits, fist-fights, chases, and explosions give this fast-racing Technicolor western a rip-roaring pace that is maintained throughout. Though the plot follows a familiar basic pattern, the screenplay by Polly James and Lillie Hayward (do gals really write such tough stuff!) has several unusual twists to lift it a bit out of the Paqe 6 FILM BULLH IN October 20. I9S2 ordinary. William Alland's production is adequate and the performances are good, but this is primarily a director's picture. Lesley Selander has handled the chore with zest and enthusiasm, making "The Raiders" zip along with never a dull moment. This is cut to order for action houses and it has enough excitement to hold the attention of other moviegoers. STORY: California, 1849. The lust for gold has made it an area of death, greed and jealousy. Richard Conte and his brother, William Reynolds, have washed enough gold to think of buying a farm when Conte's wife is killed by a band of crooks working for Morris Ankrum, owner of the Sierra Land Company. Then they kill Conte's broH He swears vengeance and teams up (th Richard Martin and the latter's sister, Vi;ca Lindfors. Systematically Conte and Mfl rob Ankrum, who calls in the marjl, William Bishop. Barbara Britton, AnkrH daughter, is interested in the hunted jui. So is Martin's sister, who tries to pcrsp Conte to relent. When his friend Martft killed, Conte hunts down and kills the (ft sters responsible for his wife's death aB faces Ankrum. The crook leader pulls all on him. Conte shoots first. At the V Conte is found guilty, but just beforcBl hanging, California joins the Union anlkt is released under an amnesty. COLlft