Independent Exhibitors Film Bulletin (1952)

STUDIO size-ups (Continued from Fage 12) Following is the line-up of pictures due to roll in the next seven months: "YValkin' My Baby Back Home" (Donald O'Connor); "Bengal Rifle"; "Fort Laramine", "Sun Mountain"; "Drifting" ( Tony CurtisJoanne Dru); "Bonzo, Private Eye"; and "Francis Joins the WAC's" — all to he produced by Ted Richmond. "The Glenn Miller Story"; "Wings of the Hawk"; "The Long Hunters"; "Saskatchewan"; and "AllAmerican" — to be produced by Aaron Rosenberg. "Kingj of the Wind"; "The Man From Outer Space" and "Black Lagoon" — to be produced by William Alland. "Devil's Canyon" and "Comanche Sky" — both Frank Cleaver productions. "Port Royal" and "Outlaw Haven", Albert J. Cohen producing. "Smoke Signal" and "Abbott and Costello Meet Dr. Jekyll and Mr. Hyde", on Howard Christie's production slate. "Streets of Cairo", to be produced by Richard Wilson. "Men of Iron", "It Happens Every Thursday" (Loreita Young); and "Spin the Glass Webb" — Anthony Leader productions. Four pictures are now before the cameras, the first three named being in Technicolor: "Prince of Bagdad" (Victor MatureMa ri Blanchard), George Sherman directing for producer Albert J. Cohen; "East of Sumatra" (Jeff Chandler-Marilyn Maxwell), Cohen again producing, Budd Boetticher directing, and "The Stand At. Apache River" (Stephen McNally-Julia Adams), Lee Sholem directing for producer William Alland. The black-and-white film is "Stop over" (Barbara Stanwyck-Richard CarlsonMaureen O'Sullivan), Ross Hunter producing, Douglas Sirk directing. WARNER BROTHERS Warners First Major In 3-Dimensional Field After some hush-hush activity on the Warner lot, the announcement was made by Jack L. Warner just before Christmas that this studio will be the first major to enter the three-dimension field. After negotiations with Milton L. Gunzberg, president of Natural Vision Corp., Warner confirmed Unreports that had been floating around that the company had made a deal with NV to use its process for production of a feature in WarnerColor. He added that choice of a property will be made shortly and production is expected to start by January 15. The early starting date indicates that the script, casting and other production details are pretty well settled. Natural Vision will provide Warners with a third dimensional expert, possibly Gunzberg himself, for the production. It was Gunzberg who worked with Arch Oboler on "Bwana Devil" and the sensational showing of that film made it certain that one of the film companies would grab up the process. It was just a question of who would be the first. As with talking pictures, it was Warners who took the plunge and if the grosses are anything like "Bwana Devil" has rolled up, it shouldn't be too much of a risk. Warners will give a big boost to its musical slate during 1953, and it appears that they are going to rely heavily on the loan out of MGM stars to cast the productions. Since MGM adopted its new policy of farming out top stellar talent, the WB studio has snapped up the opportunity of latching onto some really top musical talent by casting Jane Powell, Howard Keel and Kathryn Grayson, each in a different picture. Although Miss Grayson is no longer under exclusive MGM contract, this marks her first picture away from the Culver City company. Miss Powell will star opposite Gene Nelson in "Three Sailors and A Girl", which also marks Sammy Calm's initial chore as a producer at Warners. Roy Del Ruth will direct, starting some time around mid-January. Keel will co-star with Doris Day in "Calamity Jane" also expected to roll by the end of January. Miss Grayson is now working in "The Grace Moore Story", which Gordon Douglas is directing for producer Henry Blanke. Miss Grayson has already completed "The Desert Song" for the Burbank company and will start "Mile. Modiste", shortly after she completes "The Grace Moore Story". Still another Metro star, Fernando Lamas, is under consideration for the co-starring role opposite her. In addition to "The Grace Moore Story", two pictures for Warner release are curently in front of the cameras: WayneFellows' production of "Plunder of the Sun" (Glenn Ford-Diana Lynn), which John Farrow is directing for producer Fellows; and Alex Gottleib's production of "The Blue Gardenia" (Anne Baxter-Richard Conte-Ann Sothern), which Fritz Lang is directing. A new distribution deal was inked this month with Frank Melford for release of his inde production, "The Diamond Queen". The picture will be lensed in the new Eastman Three-Color process and is expected to get underway in mid-January. Review THE MAN BEHIND THE GUN' TOO MUCH TALK BOGS IT DOWN Rates • • + for action houses; fair dualler elsewhere Warner Bros. 81 minutes Randolph Scott, Patrice Wymore, Dick Wesson, Philip Carey, Lina Romay, Roy Roberts, Morris Ankrum, Katharine Warren, Alan Hale, Jr., Douglas Fowley, Tony Caruso, Clancy Cooper, Robert Cabal Directed by Felix Feist The action fans who patronize this type of fare are apt to become squirmy while waiting for "The Man Behind the Gun" to start shooting. Far too much of the footage in this Warner offering is devoted to talk, and more of the same. All the elements of a good, big western are here: a topflight production by Robert Sisk, nature's' lavish backgrounds embellished by Technicolor's generous hues, some lusty humor anfl a fair romantic angle. There are occasional flashes of gunplay and fisticuffs, too, but not enough to maintain the pace one expects in a film like this. A few songs by former Cugat vocalist Lina Romay are welcome interludes. With the Randolph Scott name for the marquee and a good title, this should draw above-average grosses where action is preferred. However, "The Man Behind the Gun" will disappoint. Randolph Scott's performance, as an Army major on a secret mission, is no better nor worse than the many others that went before. He is given an able assist by Dick Wesson and Alan Hale, Jr. — two stalwarts who provide much of the action and humor. Patrice Wymore and Lina Romay nicely manage the romantic sequences. Sure to be noticed in a minor role is young Robert Cabal who checks in with an interesting portrayal of a killer. Director Felix Feist might have edited some of the excessive dialogue to good advantage. STORY: On a stagecoach to Los Angeles with his sidekicks Dick Wesson and Alan Hale, Jr., Randolph Scott meets State Senator Roy Roberts and Patrice Wymore. The stagecoach is met by Philip Carey, commander of the local Army post, who is engaged to Wymore. Carey believes Scott to be an Army major who is wanted for desertion and murder. In reality, Scott is on a secret mission to break up a rebellion thought to be brewing in Southern California. During his investigation, Scott learns that Carey is in love with Lina Romay, one of the leaders in the rebellion. When Scott's real identity is learned by the rebels, he takes over command of th Army post and raids the rebel arsenal. Meanwhile, W'ymorc learns that Senator Roy Roberts is a traitor and real leader of the rebels. Scott leads a raid on the revolutionists in which Romay and Roberts are killed. The end finds Wymore and Scott revealing their love for each ether. NEIL FILM BULLETIN December 2?, 1952 Page 13