Independent Exhibitors Film Bulletin (1956)

"The Catered Affair" Scttutew ^atittf O O Plus Fair human interest drama. Should have appeal for family trade. Good marquee value in Bette Davis, Debbie Reynolds, Ernest Borgnine, Barry Fitzgerald. This domestic drama of a Bronx family, adapted from the TV play by "Marty" author Paddy Chayefsky, has been provided with a good cast, headed by Bette Davis, Ernest Borgnine, Debbie Reynolds and Barry Fitzgerald. The combination should prove fairly successful at the boxoffice. The humanness and tenderness of the Chayefsky brand of writing is again in evidence, and it promises to win over family audiences. However, the sophisticated trade probably will be irritated or amused at Miss Davis and song-&-dance star Reynolds essaying Bronx accents and mannerisms. As a matter of fact, because they fail to come across convincingly, the film lacks the credibility and substance that made "Marty" so outstanding. Nonetheless Davis is interesting to watch as the dowdy, embittered wife of a hack, fiercely fighting for a big wedding for her own daughter. Borgnine is again completely believable, this time as a taxi-driver caught in the middle of his family's squabbles. Reynolds and Rod Taylor have a few poignant moments as the young couple. Barry Fitzgerald registers in his comedy role as the uncle. Dorothy Stickney and Joan Camden are unusually good. Lensed in somber black-and-white, director Richard Brooks has deliberately eschewed all extraneous production values in seeking to depict life in a small, crowded Bronx apartment with utter realism. Borgnine has saved just enough to buy his own taxi and license, but wife Davis insists on giving their only daughter a big catered wedding to make up for their past indifference to her. Everything goes wrong and the family is torn asunder by bickering and quarreling. At last Davis concedes that a big wedding is out of the question. Reynolds and Taylor are married simply. Out of the chaos comes a better understanding between Borgnine and Davis and happier lives for all. MGM. 93 minules. Bette Davis, Ernest Borgnine, Debbie Reynolds, Barry Fitzgerald. Produced by Sam Zimbalist. Directed by Richard Brooks. "The Revolt of Mamie Stover" 'Scuitet* KatiH? O O O Good boxoffice values in sexy, entertaining story about ambitious gal of easy virtue. Sockful of selling angles. Jane Russell tops in title role. This adaptation of the William Bradford Huie novel about a very popular and businesslike girl, who operated loosely and freely in Pearl Harbor of 1941, is loaded with sexy implications. Set against an exciting background, and played hard and fast to the hilt, it shapes a fine boxoffice prospect. There's no end of exploitable material here in the very suggestive story-line and the Jane Russell name. But, in addition, it's a well-made, honest, and often provocative film. The script by Sydney Boehm projects characters and situations convincingly, and the production values set them off in fine style. Jane Russell is thoroughly convincing as a girl, short on morals, whose insatiable greed for money gets in the way of her happiness. The entire supporting cast, topped by Richard Egan, performs with style and understanding. Raoul Walsh's direction is fast and slick, and the Buddy Adler production is creditable from every point of view. CinemaScope and DeLuxe CO ror paint a glowing image of Honolulu and environs. Russell is run out of San Francisco for questionable activities, and on ship, headed for Honolulu, meets writer Richard Egan, who is returning home to fiancee Joan Leslie. Russell and Egan become mutually interested but each is conscious of their conflicting status and ambitions. In Hawaii, Russell takes a job in a shady "dance hall" run by Agnes Moorehead. When the war breaks out, Egan promises to marry Russell if he returns, but insists she leave Moorehead's. She agrees, but can't force herself to give up the money she's earning — and the life she's leading. Egan returns, discovers Russell's deceit, walks out on her. Sadly, she leaves Hawaii to return home. 20th-Fox. 92 minutes. Jane Russell, Richard Egan, Joan Leslie, Agnes Moorehead. Produced by Buddy Adler. Directed by Raoul Walsh. "The Maverick Queen" Sututeu IZatiKQ Q © Plus Fairly good Western with better-than-average marquee strength. New wide-screen process, Naturama, added exploitation value. Rating is for action houses. This Zane Grey Western is the occasion for Republic's introduction of their new anamorphic wide-screen process, Naturama (with a Trucolor print). While it is comparable in scope to CinemaScope, it lacks the definition of 20thFox's process. However, it is certainly an improvement over the standard-size screen Republic has been employing, and Naturama pives "The Maverick Queen" an added exploitation value. The picture is good enough as Western fare, tailored and suited to the outdoor market. An aboveaverage cast has been assembled, the marquee names supplying more appeal than the average Western offers. Action is good and of sufficient quantity, though the film runs a bit overlong at 92 minutes under Joe Kane's direction. Naturama gives the colorful Colorado countryside good eye appeal. The title song is sung satisfactorily by Joni James. Barbara Stanwyck, wealthy and powerful owner of a Wyoming hotel, has joined an outlaw gang. Barry Sullivan, a Pinkerton detective in disguise, arrives in town and joins the gang. Stanwyck almost immediately falls in love with him, arousing the jealousy of Scott Brady. Sullivan uncovers the gang and becomes involved in a gun battle before the sheriff's posse can arrive. Stanwyck, aiding Sullivan and Mary Murphy (they're in love) is shot, her sacrifice making their future possible. Republic. 92 minutes. Barbara Stanwyck, Barry Sullivan, Scott Brady, Mary Murphy. Associate Producer-Director, Joe Kane. f GutiHtte 1£<U£*$ OOOO TOPS O O O GOOD O G AVERAGE O POOrJ Page 10 Film BULLETIN May 14, 1956