Independent Exhibitors Film Bulletin (1956)

"Glory" Scuitete Rate*? O O O ■u Margaret O'Brien returns in romantic horse-racing yarn that is diverting. Figures above average in general market. > Margaret O'Brien's first "grown-up" film appearance is :j pound to arouse interest in those who flocked to her films v of a decade ago. This vehicle is a colorful, amusing, and a generally diverting picture that has an appealing locale . ind theme — Kentucky and horse-racing fever. While -s ,:here's little that is inventive about Peter Milne's screentj olay, it is both cute and corny, and the racing scenes pack jxcitement and verve. Good comedy dialogue is allotted o veterans Walter Brennan and Charlotte Greenwood, and : Vliss O'Brien handles the romantic angle quite adequately. This is pleasant, escapist fare for the general run of audi0j :nces, and the family trade especially. Another factor in -; ts favor is outstanding lensing-work in wide-screen Super... icope and Technicolor. It captures nicely the fairy-land r quality of the "Blue Grass" and the excitement of the race. .. David Butler's production and direction are first-rate, the jace is good. A filly is foaled at Charlotte Greenwood's 'a jitable, and O'Brien, her step-granddaughter, names it ... 'Glory". She falls in love with wealthy, young stablet^ iwner John Lupton. Despite the faith of O'Brien and rainer Walter Brennan (who constantly bickers with jreenwood), the horse fails to win consistently. O'Brien oins Byron Palmer's band as vocalist, to finance "Glory's" ipkeep. O'Brien insists on entering the horse in the Kenucky Derby, sees the fee money raised by a host of enhusiasts, and is present when the filly wins. O'Brien also vins Lupton, who finally realizes he loves her. — KO. (David Butler Production). 100 minutes. Margaret O'Brien, Walter Brennan, harlotte Greenwood, John Lupton, Byron Palmer. Producer-Director David Butler. "Texas Lady" Gutbteu Rati*? O O outine, implausible meller about a lady newspaper owner. Maudette Colbert will draw fair returns in family situations. A refreshing performance by that "old pro" Claudette Colbert doesn't quite manage to overcome the handicap of generally implausible situation — in which a woman takes ver the newspaper of a small Western town and liberates ne town of its tyrannical overlords. The competent actig and a fine Superscope-Technicolor lensing job do mange, however, to lift this melodrama to a satisfactory level, ieturns should be about average in the general market, 'im Whelan's direction is adequate, given the disadvanage of a rather talky script by Horace McCoy. The Holtiosen production is pleasing to eye and ear. Miss Colert wins a large sum of money from Barry Sullivan, a rofessional gambler, in a New Orleans poker game. She nen leaves for Texas, where she is taking over a small)wn newspaper. The town's surrounding area is owned y two ruthless land barons, who proceed to set up a series f obstacles in the path of Colbert, who opposes them, ullivan arrives, pursuing her, and is soon in on the fight, 'he town elects their own officials, but the "baddies" set p a blockade — allowing no one to enter or leave. With :arvation imminent, rangers arrive, the town is freed, and ullivan and Colbert prepare to start a new life therein. IO (A Holt-Rosen Production). 84 minutes. Claudette Colbert, Barry Sullivan, oduced by Nat Holt. Directed by Tim Whelan. "Joe Macbeth" Rating O O Modern paraphrase of Shakespeare is too self-conscious and plodding to fully satisfy action fans. Action exploitables. In the manner of "Carmen Jones", a classic story has been turned into contemporary drama, with the outlines of the original still intact. In this Frankovich production, Shakespeare's "Macbeth" is transformed into a modern underworld meller. The basic idea is a good one, but scripter Philip Yordan has followed the original remorselessly, and his screenplay is a highly mechanical and selfconscious affair, lacking the directness and hard conviction of good crime fare. Moving slowly and deliberately under Ken Hughes' direction, it figures to disappoint the action fans for whom it was intended. Boxoffice prospects are only fair. Photography is generally good and imaginative at times. Bonar Colleano (Macduff-Fleance) and Sidney James (Banquo) deliver the best performances. Paul Douglas (Macbeth) is a member of a New York gang headed by Gregoire Asian (Duncan). Douglas marries Ruth Roman, a girl of strong ambition, who soon goes to work on her husband, reminding him of the insecurity of his job. The upshot is that the couple murders boss Asian when he pays them a visit. One crime leads to another, and Douglas is forced to kill his best friend, Sidney James. Colleano, James' son, seeks safety but vows revenge. He shoots down Douglas and the now deranged Roman, but gives up his rights of succession in the gang hierarchy. Columbia I A Frankovich Production). 90 minutes. Paul Douglas, Ruth Roman, Bonar Colleano, Sidney James. Produced by M. J. Frankovich. Directed by Ken Hughes. "Three Bad Sisters" Unconvincing meller has sadistic violence galore. Lacks names, but exploitation should make it OK for action spots. The team of Schenck and Koch, producers of consistently reliable action fare, have departed from their norm in this Bel-Air production for United Artists, and the result is a turgid, unconvincing meller, but one loaded with violence and unsavory (and exploitable) characters. It deals with three rich, spoiled and unpleasant sisters, in conflict with each other about money and men. The acting by a cast of little-knowns and the direction, by Gilbert L. Kay, have an intensity about them that's arch and unnerving. Exhibitors will have to rely on the exploitation angles in the plot's unpleasant aspects and the repugnant characters who people it. Photography — and technical credits in general— are okay._ Acting is on the mechanical side and fails to supply the very much needed note of conviction. John Bromfield is the pilot of a plane in which a millionaire industralist is killed. One of his three daughters (Kathleen Hughes) approaches Bromfield to suggest that he romance sister Sara Shane, executor of the estate which Hughes wants to control. Maniacal Hughes drives a third sister, Maria English, to suicide by disfiguring her, and turns her fury on Bromfield, who has betrayed her by really falling in love with Shane. Bromfield and Shane are married, but Hughes soon convinces the disturbed Shane that she is having an affair with Bromfield. Latter rescues his wife as she attempts suicide ; Hughes dies in auto crash. United Artists (A Bel-Air Production). 74 minutes. Maria English, Kathleen Hughes, Sara Shane, John Bromfield. Howard W. Koch Producer. Gilbert L. Kay Director! [More REVIEWS on Page 18] Film BULLETIN January 23, 1954 Page 17