Independent Exhibitors Film Bulletin (1952)

'WAY OF A GAUCHO' TECHNICOLOR WESTERN ON THE PAMPAS Rates >< + generally as dualler 20th Century-Fox 91 minutes Gene Tierney, Rory Calhoun, Hugh Marlowe, Richard Boone, Everett Sloane. Although favored with some exciting scenery (it was shot on location in Argentina), "Way of a Gaucho" fails to rise to its promise, due chiefly to a routine story. The story of a ga'ucho's resistance to the encroachments of civiliation on his beloved pampas kicks off to a rousing start, but the striking Technicolor photography of beautiful backgrounds fail to hypo the plot when it later slows down to a well-worn ending. The Philip Dunne production is in many ways reminiscent of "Viva Zapata," although "Way of a Gaucho" lacks the stark reality and conviction of that film. It boils down to a glorified western, but lacking the punch of a good horse opera. The savage action of the early reels should be sufficient to satisfy the action fans, but more discriminating audiences will find the plot wanting. In most situations this should get a fairly good box office response as a top dualler. Until the film runs out of gas, Jacques Tourneur's direction is fast paced. In the title role, Rory Calhoun is rugged though not always convincing. Supplying the loveinterest, Gene Tierney does little more than go through the motions of a high-born woman who joins Calhoun STORY: At a fiesta given by ranch owner Hugh Marlowe, gaucho Rory Calhoun kills another gaucho in defense of Marlowe's honor. As an alternative to going to prison, Calhoun is allowed to join the army, but his independent nature runs afoul of commanding officer, Richard Boone. During an attack on marauding Indian Calhoun deserts, deciding to join a band I gauchos hiding in the mountains. On l] way to the hills, Calhoun saves Gene Tiern from an Indian, only to find she is the fia^ cee of Marlowe. As he returns Tierney I the ranch, he is captured by the major aj tortured. With the aid of fellow soldiej Calhoun escapes after disabling Boone w| a knife. Once free, Calhoun forms a bafl of gauchos dedicated to turning back ll advance of civilization into the wild pamt| which he loves. Tierney joins him, and af I federal trops cut down Calhoun's band, 1 1> couple plan to leave the country. Tierrl is pregnant, however, and they are fonfl to return to Marlowe's ranch. In trying! protect Calhoun from Boone and m soldiers, Marlowe is killed and Calhct comes to learn and accept that the day the gaucho is over. NEIL THE BLAZING FOREST GOOD PINE-THOMAS LOGGING MELODRAMA Rates • • + in action houses; satisfactory dualler generally and Paramount 90 Minutes John Payne, Susan Morrow, William Demarest, Agnes Moorehead, Richard Arlen, Roscoe Ates, Lynn Roberts, Jim Davies, Directed by Edward Ludwig. While it follows a familiar plot pattern, "The Blazing Forest" has enough action, interest and some surprisingly good by-play to make it a solid attraction for the action houses and a satisfactory dualler wherever else it plays. Filmed in excellent Technicolor, by William Pine and William Thomas, the story of a tough logging-boss, hampered by the elements and a black-sheep brother, and culminating in a rip-roaring forest fire, should appeal to audiences who aren't too fussy about credibility. The fire-fighting angle, as indicated in the title, has been done more creditably and excitingly before, but the logging scenes are excellent and tie in favorably with the fast-paced proceedings. There isn't much in the way of romance, as handled by John Payne and Susan Morrow, what there is comes off painlessly enough to prevent squirming by the action fans. The usual quota of humor finds its niche in the film, most of it in the loggers' gripes about their slave-driving boss. Weak on marquee value, best returns will come in action spots that exploit the rough and tough elements. Elsewhere, it should provide adequate support for a topbill comedy or musical. John Payne, as the relentless logger boss, yells orders and strides manfuly through the the film with a scowl for the most part, then softens up miraculously toward the finale. Pretty Susan Morrow is pretty. Best performances are registered by Agnes Moorehead as a dowdy forest queen, William Demarest in the part of the old-timer who resents the young boss' authority, and Richard Arlen as the black sheep brother, tough logging boss John Payne to cut down the timber in order to raise a fund to send STORY: Widowed owner of isolated forest land in Nevada, Agnes Moorehead hires her orphaned niece, Susan Morrow, to the city. She assigns William Demarest to r£ a logging crew, which he will oversee, ij the job. There is grumbling when the n find Payne is their boss. Among them Richard Arlen, Payne's shiftless brotl who immediately makes a play for Su against Payne's wishes, though the girl set her cap for the boss. Payne works men hard to meet a deadline for deliver) the timber, and in a rainstorm, manages save a log avalanche from destruction, e< ing the respect of everyone. It becoi evident that Payne is driving so hard in der to pay off a theft by Arlen and to the family name and Arlen's wife, L Roberts, from disgrace. As the logging fort nears its end, Arlen and Demarest, sentful of Payne's supervision crash a b:| loaded truck in the forest when the br; I fail to hold and start a fire. In an heroic ffort Payne and his men stem the bl I along with the forest rangers. Arlen die ■ the truck crash, but Payne saves Demastj from the flames and ends up with MonM BA i THE HOUR OF 13' SUSPENSEFUL PERIOD MURDER MELODRAMA Rates • • + as dualler Metro-Goldwyn-Mayer 79 Minutes Peter Lawford, Dawn Addams, Roland Culver, Derek Bond, Leslie Dwyer. Directed by Harold French Although a rather odd mixture of stark melodrama and light comedy, "The Hour of 13" is nevertheless an interesting and suspenseful film that should thoroughly satisfy audiences who go for blood-chillers traditionally set in the dark, fog-bound alleys of London. Under the Hayes Goetz production banner, the action moves along sprightly, despite the horror angle of a "Jack-theHipper" type story. The grimness is counter-balanced by some light, amusing antics of a playboy-jewel thief, deftly portrayed by Peter Lawford. The Leon Gordon-Howard Rogers screenplay is solidly constructed and interweaves some laugh-provoking bits of dialogue into the fabric of the story. "The Hour of 13" will make a first-rate addition to any double-bill and could possibly satisfy better than a more pretentious film in theatres where this kind of entertainment is well received. Lawford gives just the right light touch to his role and is chiefly responsible for the zest with which the film moves. While there are no other known names in the cast, all performances are ably carried out. Dawn Addams is both appealing and effective in the role of a police commissioner's daughter who falls in love with the likeable rogue. STORY: Set in London at the turn of the century, the story begins with a phantom sworsdman who is methodically cutting down policemen in the back alleys of the city. At the same time, Peter Lawford is brilliantly engineering the theft of a valu able necklace. Inadvertently, Scotland 1 connects the robbery with the series of ings. Lawford, therefore, cannot dispos the gem because the police would sus him of being the killer. In order to ha the capture of the Terror, he puts hir in the good graces of the Commissionti Scotland Yard, making friends with the i missioner's daughter, Dawn Addams | well. Addams falls in love with Law and thinking she is helping him to (I the Terror, she gives him police informa With Scotland Yard hot on his trail, 1 ford decides to capture the Terror hin He masquerades as a policeman and 1 the killer strikes, Lawford manages to him over to the police. Meanwhile, land Yard realizes there is no conn between the killer and jewel thief, and ford is also led away to pay for his Paqe 8 FILM BULLETIN October 20, 1952