Independent Exhibitors Film Bulletin (1960)

"The Great Impostor" Engrossing, unusual and humorous true-life story of wonderful faker. Tony Curtis heads fine cast. Good b.o. entry. This Universal-International release is one of the most unusual truth-is-stranger-than-fiction stories yet to reach the screen in some time. Rich in humor and warm in its personal drama, it emerges fresh and first-rate entertainment of solid boxoffice caliber. Based on the life of Ferdinand Demara, Jr., Liam O'Brien's delightful script documents the many identities assumed by the brilliantly-gifted and personable impersonator who sought success and renown by taking a short cut through life. Although Demara's formal education ended with his sophomore year in high school, he successfully posed as a penologist who reformed one of the country's toughest cell blocks, a highly respected grammar school teacher, a Trappist monk who took a vow of silence, and a Royal Canadian Navy surgeon who saved many lives during the Korean war. Thanks to an engaging performance by marquee powerful Tony Curtis, the character comes off a loveable rogue destined to win the hearts of audiences everywhere. He makes him a man who meant no harm, who actually did a great deal of good, and in this lies the charm and appeal of the film. Robert Mulligan's swiftly-paced and polished direction has contributed greatly to the blithe spirit of the story. Although it's Curtis' film from beginning to end, splendid contributions come from Edmond O'Brient, the Canadian naval captain who becomes Curtis' first patient; Arthur O'Connell, the penitentiary warden; Gary Merrill, Curtis' father; Joan Blackman, the pretty nurse Curtis with whom falls in love; Raymond Massey, head of the Trappist monaster}-, and Karl Maiden, Curtis' parish priest friend and adviser. The story opens with Curtis being arrested for posing as a teacher. Flashbacks tell the rest of the story. When his educational record disqualifies him from officer's training, Curtis forges credentials, goes AWOL from the Army and joins the Marines. But an essential FBI check forces him to pretend he has drowned. He discovers he cannot fit into monastery life and upon leaving is arrested by the Army and Marines and sent to prison. Discharged, he puts this knowledge to use and obtains a warden's position at O'Connell's prison where he wins the confidence of the toughest men and the admiration of a psychology professor. About to be exposed, he goes to Canada, joins the Navy as a doctor, and falls in love with Miss Blackman. Refusing to tell her what he reallly is, he volunteers for Korean duty, operates on 19 men successfully, and becomes known as the "Miracle Doctor." This new fame forces national exposure and he is discharged from the Navy. Returning to the present, the ending finds Curtis escaping from his captors and appearing at the State Department as a state policeman, the last man to have seen Demara. Universal-International. 112 minutes. Tony Curtis, Edmond O'Brien. Arthur O'Connell, Gary Merrill, Joan Blackman. Raymond Massey. Karl Maiden. Produced by Robert Arthur. Directed by Robert Mulligan. "The Virgin Spring" GuAiHCte 1£<lti«$ OOO One of Bergman's finest. Great art house attraction. Ingmar Bergman has taken a 14th century folk legend about raoe and revenge and turned it into an absorbing and powerful motion picture. The Swedish director's immense popula it" with art audiences, critical reception and word-of-mouth will insure this Janus release strong boxoffice returns in its market, and some of its fame should spill over into some class houses. Violence and religious beliefs (both Christianity and the wor [ More REVIEWS shipping of ancient gods) are the themes he has chosen, and while "The Virgin Spring" is unfolded with greater simplicity than some of his previous works, like "Wild Strawberries" and "The Seventh Seal", the dramatic impact is the same, if not stronger. Three sequences in particular — the tapemurder of a young maiden by two sadistic herdsmen while their youthful companion looks on; the reaction (vomiting) to the deed by the overwrought lad; and the trio's violent death at the hands of the girl's father — are among the most potent to yet reach the screen. But Bergman's purpose is not simply to shock for shock's sake. His classic tale justific> each and every scene, and his superb mastery of mood-evoking, blatk-and white images is evident once again. He also elicits magnificent performances from his entire cast. Max von Sydow, the stern and avening father; Birgitta Valberg, the religiously fanatical mother; Birgitta Pettersson, their pretty and vivacious only child; and Gunnel Lindblom, the pregnant and bitter stepsister who watches the act without interfering. The two herdsmen are chilling, while the youth commands great sympathy. Ulla Isaksson's screenplay has Miss Pettersson enroute for church to light candles to the Holy Virgin, encountering the trio and offering them part of her food. After the rape-murder, the trio appear at von Sydow's farmhouse and are given shelter. When one of them offers Miss Pettersson's robe to Miss Valberg, she recognizes it but conceals her knowledge. She tells von Sydo* and then Miss Lindblom describes in detail what happened. After von Sydow kills the trio, the family go to Miss Pettersson's body where von Sydow vows to expiate his deed of vengeance by building a church on the very spot. As the body is removed, a stream suddenly bursts forth. Janus. 88 rrvnutes. Max von Svdow, Birgitta Valberg. Gunnel Lindblom, Birgitta Pettersson. Directed by Ingmar Bergman. "Jazz Boat" 3u4l*UA4 IZtXtiK? O PLUS Mixed-up potpourri of crime and jazz from England. The main trouble with this minor item from Britain's Warwick Films, which Columbia is releasing, is that apparently neither director Ken Hughes nor scripters Hughes and John Antrobus were quite able to make up their minds as to what type of picture they wanted to make. For the most part, the story deals with the mischievous antics of a bunch of rowdy and petty-thieving Teddy Boys, and the innocent nice guy who finds himself forced into the gang after pretending to be a notorious burglar. Most disturbing is the injection of certain serious sequences (one of them quite sadistic) into what is obviously a comic effort. Also adding to audience confusion is the haphazard insertion of musical numbers, seemingly unrelated to any of the action. The market will be very slim for this in the U.S. James Booth is sinister enough as the ringleader, while his three sidekicks come off as a "beat" English version of the old Bowery Boys. Anthony Newley is adequate as the nice innocent, and Lionel Jeffries gives a strong performance as a tough cop. Anne Aubrey supplies the sex as Booth's "doll," while Joyce Blair makes a pleasant contrast as New ley's girl friend. Pressured by Booth and his mob, Newley gives them information he has obtained while working as an electrician on a burglar alarm system at a local jeweler's. The robbe_y is a success, but conscious-stricken Newley makes off with the loot and is hunted by the gang. He and Miss Blair seek escape on a jazz boat outing, where they are joined by Booth, the gang and Jeffries. Confusion runs rampant as Newley plays hide-and-seek with the gang and the jewels keep changing hands. After Booth attempts to kill Miss Aubrey for doublec-ossing him, he is eventually captured in a chase through an amusement park. Columbia 90 nvnutes. Anth-ny New'ey. Anne Aubrey James Booth Lionel Jeffries. Produced by Irving Allen and Albert R Broccoli. Directed by Ken Hughes. on Paga 1 8 ] Film BULLETIN November 28. 1940 Page 15