Independent Exhibitors Film Bulletin (1959)

"The World, The Flesh and the Devil" 3cUUtC44, Ruti*? GOO i licist, atomic destruction elements can be exploited, terry Belafonte, Mel Ferrer, Inger Stevens entire cast. This Sol. Siegel production for M-G-M has a dimension \U greater than the science-fiction novel upon which it is Used. Produced by George Englund and directed by Ranald [jacDougall from his own screenplay, this three-character, i(nemaScope affair about the end of the world remains inH resting viewing throughout. With two dominant issues — heist pressures and world destruction — the film enjoys excel|]it exploitation possibilities and business prospects will deli nd on how well the M-G-M exploitation department is le to handle them. Harry Belafonte, with roughly one-third |( the film being devoted exclusively to his exploits, responds \th a strong performance and adds a measure of excitement H the film when he wanders the deserted streets of New prk City and then starts, in Robinson Crusoe fashion, to hild a new life. Inger Stevens is the lone female and she (rries off her assignment with extreme professionalism. The lue sour acting note is Mel Ferrer, and it is less his fault i an that of a screenplay which gives him only the fuzziest i definition. Direction by MacDougall is able and his painsking attempts at realism have paid off in added interest, though a firmer resolution of the issues raised by the screen [ ay would have been more desirable. The camerawork of arold J. Marzorati is one of the high points of the film, irticularly in his handling of the early sequences of the film hen the eerie quality of a deserted New York City is brought )me with painful impact. The story unfolds when Belafonte I irsts free from a Pennsylvania mine only to discover that ; is the only survivor in his sector of a world scourge. He ; kes himself to New York in search of life, and finding none, tempts to rebuild his life. There, he comes upon Miss evens, who explains that she had been in a decompression pamber at the time of the trouble. It is with the arrival of liss Stevens, curiously, that the impact of the film begins b disintegrate. When the question of procreation arises for pe continuance of the world it is Belafonte who becomes ely and rebuffs Stevens. The tensions thicken with the -rival of Ferrer, who declares war on Belafonte, leading to le final sequence when he stalks Belafonte through the de:rted streets of the city. But finally they agree to peaceful p-existence when Miss Stevens arrives on the scene. Condering the fact that so much time is devoted to the question I f who-gets-whom this lack of resolve is disappointing. -G-M. 95 minutes. Harry Belafonte, Inger Stevens, Mel Ferrer. Produced i Geoige Englund. Directed by Ranald MacDougall. "11 Happened To Jane" Scctiteu 1£<Uck? O O O Comedy about woman lobster dealer has strong appeal o all segments, Day, Lemmon, Kovacs for marqicc. The unrestrained effervescence of Doris Day plus the comedy alents of Ernie Kovacs and Jack Lemmon combine to make bis moderately funny Columbia comedy about the battle of Down East lass and a giant railroad tycoon an entertaining ilm that will carry strong appeal for all segments of the ludiencc. Since Doris Day is a known box office factor and Lemmon will be riding the crest of his popularity as a result bf his performance in "Some Like It Hot", this Eastman Color, | More REVIEWS Arwin production by Martin Melcher will experience happy box office returns. While the Norman Katkov screenplay contains some extremely funny lines, the single string to the bow of the plot makes the basic premise a trifle wearying, causing the film to run downhill after a refreshing beginning. But the total effect, bolstered by the directorial efforts of Richard Quine, is still strong and the film will leave a pleasant aftertaste in viewer's minds. Kovacs gets an opportunity to exhibit his brash brand of humor and superb sense of timing with his characterization of a cantankerous railroad tycoon who doesn't give a damn for anyone or thing and carries his assignment to perfection, gathering the major share of the laughs. Lemmon gives a good portrayal of a young, smalltown lawyer who is cowed by the legal-eagles of a big corporation, while Day excels as the Cape Ann lass who arouses the sympathy of the nation in her fight against the dictatorial Kovacs and his railroad empire. Story opens when Doris Day learns that the lobsters she shipped to a customer arrived dead and malodorous as a result of mishandling by the railroad. The line offers her a settlement based on the retail value of the lobsters but she refuses, demanding payment for the damage done to her reputation. When Kovacs threatens to fight until the Supreme Court Miss Day takes action and "attaches'' a train owned by the railroad. Immediately national attention is centered on the battle and the railroad is depicted as the villain. Things go from worse to terrible for Miss Day until Kovacs is forced to relent. Columbia. 98 minutes. Doris Day, Jack Lemmon, Ernie Kovacs. Produced and directed by Richard Quine. "The Hangman" Hackneyed western wastes talents of good cast, headed by Robert Taylor. Suited only for duals in action market. This western from the Paramount stable boasts the talents of Robert Taylor, Fess Parker and Tina Louise, but it has little else to recommend it. Even case-hardened sagebrush fans will find little in this hackneyed, slow-paced entry to please them. Mark it down as a supporting dualler. The screenplay by the veteran Dudley Nichols does try to add some new twists to the familiar lawman-seeking-killer theme, but the attempt misses fire. Taylor plays the grim-visaged title character in a monotone, as he consistently displays a bitter attitude toward life in general and people in particular. Fess Parker and Tina Louise are adequate as the ones who convince him finally that there is some good in people. Jack Lord does a nice job as the hunted, while Mickey Shaughnessy contributes a lively moment as his companion. Direction by Michael Curtiz is pedestrian and adds little to the script's deficiencies. Story concerns attempt by Taylor to make one last arrest and then retire to California and the life of ease. His last assignment requires him to find Lord, wanted in connection with a holdup killing. He tracks him down, but lacks someone who can identify the man. Lord's ex-girl friend, Tina Louise, finally agrees to turn him in for $500 offered by Taylor. In the interim, Taylor has discovered that his quarry is the mosl popular man in town and even attempt to corner him is frustrated by sheriff l ess Parker and the rest of the townsfolk. W hen he finally does capture l ord, Taylor finds that his victory gives him no satisfaction at .ill. Lord attempts an escape and Taylor deliberately fires wild, permitting him to flee. lor this act Taylor wins Tina's love. Paramount. B6 minutes Robert Taylor, Fess Parker, Tina Louise. Produced by Frank Freeman, Jr. Directed by Michael Curtil. on Pace 22 | Film BULLETIN April 27, 1959 Page 21