Independent Exhibitors Film Bulletin (1957)

"Woman In A Dressing Gown' Engrossing, if drab, domestic drama made in England. Lacks names, will interest adult audiences. Needs strong selling. "Woman in A Dressing Gown" is an above-average British film of the realism school, in which the world of everyday, inarticualte longings become the atmospheric background for an absorbing domestic drama. Produced by Frank Goodwin and released by Warner Bros., this down-beat, somew hat drab story is made notable by the bravura performance of star Yvonne Mitchell and the expert direction of Lee Thompson. If the lack of known names and the poor title can be overcome by promotional effort, it should attract — and will hold the interest of — adult audiences, especially in metropolitan areas. The storv itself is the classic one of the bedraggled, bovine housewife who loses her husband's love after twenty years of assorted devotions and drudgeries. Miss Mitchell plays the hapless lady with a fine sense of the theatrical touches; she is every bit the slatternly and rather stupid marital work horse, w ho is unable to see the doldrums and eventual despair, her husband Anthony Quayle, lives in. Married twenty years he realizes belatedlv his drearv job and drab home are leading up a blind alley and seeks solace with his secretary, Sylvia Sims. When he asks his wife for a divorce he finds that he cannot go through with it; twenty years is too much to chuck aside. Left where he began, he faces Miss Mitchell with renewed love and a promise neither one believes — things will be different from now on oat. Warner Bros, release. 93 Minutes. Yvonne Mitchell, Anthony Ouayle, Sylvia Sims. Produced by Frank Goodwin. Directed by Lee Thompson. "As Long As They're Happy" Fairly amusing British screwball farce with songs and dances. Will serve as adequate dualler in family houses. This Rank offering is a bit of English middle-class slapstick coupled with some song and dance blandishments and starring Jack Buchanan, Jean Carson, Jerry Wayne and the ubiquitous Diana Dors. Produced by Raymond Stross and directed by Lee Thompson, it is a rather bright and buoyant item bedecked with Eastman color, chorus girls galore, all sorts of w himsicalities and seven sentimentally antic songs by Sam Coslow. All tolled, it is a confection indeed, but unfortunately more suited for English than American consumption. For the fact is, despite a plot that revolves about a Yankee crooner invading a Chelsea suburban household and upsetting the classicallv phlegmatic routine, most of the humor derived from such a situation smacks of the London music hall. It should, however, draw a fair share of laughs from the American family audience. Alan Melville's screenplay, a screwball farce, depicts Jerry Wayne, a singing sensation who has women on both sides of the Atlantic delirious, arriving in London to play the Palladium and, through a fortuitous happening, moving into Buchanan's home. As it turns out, the young Miss Scott evinces he grand passion for her idol and it takes Wayne quite a bit of histrionics to convince her he's not at all romantic — in fact, he's married. After Buchanan puts on a sham sexplav with Miss Dors in order to bring her Wayne-infatuated wife to her senses, and after all the other characters come to theirs, the film ends with everyone smiling brightly for the fadeout. Rank Organiiation. 74 minutes. Jack Buchanan, Jean Carson, Jarette Scott. Diana Dors, Jerry Wayne. Produced by Raymond Stross. Directed by Lee Thompson. "Short Cut To Hell" Stitutcte 1R<tte*f O O Remake of "This Gun for Hire" lacks power of original. Marks Ccgney's first directorial effort. No marquee names. As his first directorial effort, veteran actor James Cagney has remade Graham Greene's taut and trim classic of a mayhemminded young man. "This Gun For Hire", and the results, sad to report, are lackluster. However, despite the absence of any names, it should find average returns in the action houses. And its new stars, Robert Ivers and Georgann Johnson (both making debuts, incidentally), while competent performers, fall far short of the supercharged punch delivered by their predecessors, Alan Ladd and Veronica Lake. Cagney turns in a professional job in his first try, one that holds promise of better efforts in the future. The story follows the Greene blueprint less with an eye towards characterization than contrivance. Ivers as a one man Murder, Inc. bumps off two city employees and is paid off unwittingly by crime syndicate flunkey Jacques Aubuchon with hot money. When police arrive to question him, he realizes he's been double crossed, and hops a train to Aubuchon's home. On route he meets singer Georgann Johnson, whom he proceeds to use as decoy in his bouts with Aubuchon's henchmen and skirmishes with police. Ivers succeeds in killing Aubuchon, dies himself in the ensuing gunplay. Paramount. 87 minutes. Robert Ivers, Georgann Johnson, William Bishop. Produced by A. C. Lyles. Directed by James Cagney. "Johnny Trouble" Sirupy bit of soap opera starring the wonderful Ethel Barrymore. Should please family trade. Any film which partakes of the inexhaustable Ethel Barrymore resoruces is bound to have its share of notable moments. She is currently the star of Warner Bros.' "Johnny Trouble ', a rather soggy bit of soap opera. Screenwriters Charles O Neal and David Lord and director John Auer have given it all a markedly professional tone, and a competent cast has peppered up its sugary atmosphere, making it a welcome offering for the family trade. In addition, the Barrymore name gives it some special value for class situations. To be sure, her performance amidst such "East Lynne" tapestries is hardly one of her most demanding or memorable, but since it gives so regal an artist an opportunity for full dress display of some pyrotechnics, however dignified, we should all be grateful for the entertainment. And entertaining it is, even with Miss Barrvmore dressed like Whistler's Mother, ensconced in an ancient apartment hotel, awaiting the return of her long prodigal son, vagabonding for twenty seven years. At any rate, Cecil Kellaway as an old retainer, formerly Miss Barrymore's chauffeur, still takes care of the old girl and aids her in her fight against eviction from her premises which are to be converted into a college dorm. When she refuses to move, a flabbergasted provost allows her to be a sort of Mother Hubbard for the oncoming freshman, among whom is young Stuart Whitman, whom Miss Barrymore believes to be her grandson. Soon she charms the pants off the recalcitrant Whitman, arranges his romance with pretty Carolyn Jones, saves him from scholastic melees and dies happily with his love. Warner Bros. 80 minutes. Ethel Barrymore. Cecil Kellaway. Carolyn Jones. Produced and Directed by John Auer. Film BULLETIN October 14. 1957 Page 15 [More REVIEWS on Page 18]