Independent Exhibitors Film Bulletin (1956)

"The Prisoner" Suduteu Rotate O O Engrossing, but complex and subtle film about the imprisonment of a Catholic cardinal by a totalitarian regime. Alec Guinness name for marquee. Should draw well in the arthouses and serve as adequate dualler generally. This British film, being released by Columbia, has already become the object of political censorship abroad. Although everything in the film is clothed in anonymity, the plot deals with the "brainwashing" of a Catholic cardinal by a totalitarian power. It should prove provocative for class audiences, but may be too subtle and complex to be generally appealing. With Alec Guinness offering good marquee power, "The Prisoner" is sure to draw well in art and class houses. It has enough exploitation angles to make it good dual bill fare in the general market. The story is almost wholly concerned with the explication of ideas, providing in static and highly stylized form, an intellectual debate between two protagonists — Guinness as the cardinal, and Jack Hawkins as the relentless interrogator. It explores profoundly and leisurely the ideas of self-knowledge, justice, power, and loyalties — and more. The production is topflight. Guinness and Hawkins are superb (as is Wilfred Lawson, a jailer), and Peter Glenville's direction is thoughtful and imaginative, and Bridget Boland's script is thought-provoking. The black-and-white lensing achieves a variety of striking effects through stylization. High credit is also due the marvelous score by Benjamin Frankel. The conclusion of the "story", in which Guinness, thoroughly broken, confesses to crimes he did not commit, will surely be the subject of comment. Columbia IB & D Film Corporation). ?l minutes. Alec Guinness, Jack Hawkins. Produced by Vivian A. Cox. Directed by Peter Glenville. "Fury at Gunsight Pass" Scuutett ReitiHf O O First-rate western has interesting plot and direction. Lacks marquee names, but should do OK in action situations. This brief (68 min.) and unpretentious western, under the Columbia banner, is an uncommonly good entry in its field. Well plotted and ably directed, the film is tightlyknit and well-paced and should hold viewers with its measured suspense. David Lang's screenplay is highly serviceable, and under Fred F. Sears' skilled direction, comes alive with plot tensions and excitement. Over-all effect is of much action and movement and of just the necessary amount of talk. Photography is also a cut above the average for black-and-white, particularly in the last third of the film, played in a blinding — and exciting — dust storm. ' While the cast lacks marquee strength, the acting is convincing, with David Brian and Neville Brand believable villains, and Richard Long effective as the hero. On the day of Long's wedding to Lisa Davis, Brian, Brand, and their gang, plan to rob the bank of Long's father, Addison Richards. Brian double-crosses partner Brand by staging the hold-up before he arrives, and Richards is killed. Brian is captured, Brand escapes, and the money is hidden. Long attempts to clear his father's name, when it is suggested that he was in cahoots with the outlaws. Brand and his men capture the posse that's sent out in search of them, and take over the town, searching for the hidden money in a fierce storm. Brand discovers Brian's double-cross but is shot by him. Katherine Warren, discovering the money, is killed trying to escape with it. The remaining outlaws are eventually captured, and the loot is retrieved. Columbia. (8 minutes. David Brian, Neville Brand, Richard Long. Produced by Wallace MacDonald. Directed by Fred F. Sears. GcuiHtM teaUHf O O O O TOPS Q Q Q GOOD © O AVERAGE © POOR] SHOWMEN . . What Are YOU Doing? Send us your advertising, publicity and exploitation campaigns — with photos — for inclusion in our EXPLOITATION & MERCHANDISING DEPARTMENT Page 14 Film BULLETIN January 23, 1 956