Independent Exhibitors Film Bulletin (1956)

"World In My Corner" ScuiKeu 'Rating 0 0 0 Good prize-fight film, with strong portrayal by Audie Murphy. Has fast pace, action, appealing story. Returns well above average in action spots; OK in general market. Benefitted by a coherent and sensible story, strong dramatic appeal, fast-paced direction, an attractive production, and a first-class performance by Audie Murphy, this Universal offering figures to realize good returns generally. Murphy making his first appearance since the great financial triumph ("To Hell and Back"), gives further evidence of his improved talent in a convincing role as a young fighter searching for integrity. The fast-moving story, with its romantic an^le to the point and not overly obtrusive, should play particularly well in action spots, although the appeal should be wide. The Aaron Rosenberg production is neatly executed, and director Jesse Hibbs can be credited with the film's snappy pace and overall credibility. John Mclntire and Tommy Rail, contribute good supporting performances. Fight sequences are well done (for which cameraman Maury Gertsman deserves credit) and should satisfy sports fans. Murphy decides to take up boxing when former fight manager Mclntire is impressed with his work. They train on the estate of wealthy Jeff Morrow, where Mclntire is employed, and both Morrow and daughter Barbara Rush become interested in the fighter. As the Murphy-Rush romance develops, Murphy, in need of money, agrees to throw a fight when tempted by Rail. Morrow encourages him, knowing this decision will break up the romance, of which he strongly disapproves. At the last minute Murphy, realizing his responsibility to Mclntire, Rush, and himself — and despite a severe beating at the hands of Rail's associates — plays it straight, wins the fight, and decides to give up boxing for Rush. Universal-International. 82 minutes. Audie Murphy, Barbara Rush, Jeff Morrow John Mclntire, Tommy Rail. Producer, Aaron Rosenberg. Director, Jesse Hibbs! "Red Sundown" ScctiHedt 'Rati*? O O Technicolor Western follows too-familiar story line. Should serve as OK dualler in action spots, fair support generally. Concerned with the too-familiar situation of the gunslinger who wants to give up killing and settle down, "Red Sundown" has its fair share of action and some attractive Technicolor photography to recommend it, but not much else. Under Jack Arnold's direction, the pace is somewhat uneven, but there's a sizeable quantity of gunplay and fisticuffs to satisfy the avid action patronage. Exhibitors in the general market might use it as a supporting dualler. Story finds gunslinger Calhoun promising his dying companion, outlaw James Millican, that he'll give up the wild life. True to his promise, he rides into a small town, is hired by sheriff Dean Jagger as a deputy, and soon is charming Jagger's daughter, Martha Hyer. Calhoun quickly becomes involved in fireworks when crooked cattle baron, Robert Middleton, makes trouble for the small land owners in town. Calhoun humbles Middleton and, in film's climax, kills hired assassin, Grant Williams, leaves town, promising to return to Hyer when he's earned some money. Universal-International. 81 minutes. Rory Calhoun, Martha Hyer, Dean Jagger, Robert Middleton. Produced by Albert Zugsmith. Directed by Jacic Arnold. "The Court Jester" GutiKCM Rati*? O O O Spoof of medieval romance, a la Danny Kaye, is a good romp. Witty script, great production values, fine cast, add up to topflight entertainment. Big B.O. where Kaye clicks. This latest Danny Kaye starrer is sumptuously produced, with great eye-appeal, and diverting in its comedy. A spoof of the conventional medieval romance, it is, in addition, filled with the kind of hilarious patter songs and routines that Kaye is justly famous for. The half dozen Fine-Sammy Cahn tunes are witty and engaging. Norman Panama and Melvin Frank — who wrote, produced, and directed this one — have come up with a script that, despite occasional lapses, is well stocked with laughs. In the hands of a master like Kaye, and an unusually capable supporting cast, including Glynis Johns, Basil Rathbone, Cecil Parker and Mildred Natwick, it fairly sparkles. One sequence, in which Natwick, attempting to poison Kaye's enemy, warns Kaye that the poison is in the "vessel with the pestle, not the flagon with the dragon" is a show-stopper. And a scene featuring the American Legion Zouaves drill team in double time will also get howls. The Panama-Frank production is a real eye-filler, resplendent in Technicolor, and in Edith Head-Yvonne Wood costumes. Mixed-up plot concerns the attempt of a group, which includes Kaye and Glynis Johns, to restore the rightful king to the English throne (12th century), and depose pretender Cecil Parker. Kaye enters the court disguised as a jester and the hilarity begins. He unintentionally wins princess Angela Lansbury's love and falls in with traitor Basil Rathbone. After untold complications, the true king is recognized (he's an infant), Kaye and Johns plan to marry. Paramount. IA Dena Production). 101 minutes. Danny Kaye, Glynis Johns, Basil Rathbone, Angela Lansbury, Cecil Parker. Written, produced, and directed by Norman Panama and Melvin Frank. "Cash on Delivery" ScrtutCM Rotittf Q Plus Lightweight British comedy will serve only as supporting dualler. Shelley Winters' name best selling point. The situation in this tepid British comedy, being released by RKO, is an amusing one — Shelley Winters inherits two million dollars if her ex-husband (John Gregson) doesn't have a male heir by a certain date. The catch is that Gregson's wife, Peggy Cummins, is expecting "any minute". There is some funny byplay, along farcical lines, but the thin gag is heavily over-worked, and comedy has too much "British humor" for American audiences. While Miss Winters' name gives this import a slight lift, it will serve only on the lower-half of twin-bills in non-action spots. In addition to the script deficiencies and Muriel Box's frenetic and uneven direction, the photography and soundtrack are fuzzy, in spots. Winters, a nightclub singer, learning of a dead uncle's will, is off to London to track down Gregson. When she finds he's an expectant father, the farce begins — with a variety of false alarms, accusations, and recriminations. After much to-do, upshot is that Cummins exceeds the time limit and Winters gets the money. But in a burst of generosity she gives the new parents half of it. RKO IA Welbeck-Gina Film). 82 minutes. Shelley Winters, John Gregson, Peggy Cummins. Directed by Muriel Box. Produced by Peter Rogers and Ben Schrift. Pag* 12 Film BULLETIN February 4. 1 9S6