Independent Exhibitors Film Bulletin (1962)

"The Counterfeit Traitor" gutiHCM IRntutf O O O Rousing spy melodrama, taut with suspense, from Perlberg-Seaton camp. Holden heads fine cast. Good grosser for all markets. Producer William Perlberg and scripter-director George Seaton have turned out an exciting and suspenseful, if overlong, spy meller in "The Counterfeit Traitor". It's based on the true exploits of a naturalized Swedish citizen (born in New York) and prominent oil man, blacklisted by the Allies for doing business with Nazi Germany, and blackmailed by British intelligence into obtaining essential information about German ail refineries. With William Holden, Lilli Palmer and Hugh Griffith heading the international cast, imaginatively filmed in Technicolor on location in Sweden, Germany and Denmark, ind containing some rousing adventure sequences, this should prove to be a strong grosser, especially in the action market. Despite its lengthly running time (judicious scissoring would make it an even better film), "The Counterfeit Traitor" will appeal to audiences of all tastes. Holden's performance as Eric Erickson, the "counterfeit traitor," is one of his best to date. With the emphasis on humanism, he presents us with a complex portrait of a man moving stubbornly from neutrality to belief in the Allied cause. Miss Palmer is equally as persuasive as another Allied spy torn between the death of innocent people as a result of her information, her Catholic faith and her duty to the Allies. Griffith's portrayal as the cynical, food-loving British agent, who blackmails Holden into co-operating, also is top-drawer. The entire supporting cast provide sharp insights into the personalities caught up in the deadly conflict of war. Much of the credit belongs to Seaton. His script is rich in humor, touching on the ill-fated romance between Holden and Miss Palmer, gripping in its cat-and-mouse melodrama. His direction is a skillful building of mood, culminating in one of the most breathtaking climaxes ever put on celluloid. And what makes all of this such a fascinating experience is Erickson's personal stamp of authenticity on the incident presented. Among the most effective sequences are these: Holden being forced to insult his closest friend, a Jew; Miss Palmer in a confessional with a Nazi hidden on the other side; an imprisoned Holden helplessly watching her execution; Danish patriots on bicycles slowing down a Nazi truck so Holden can escape. After losing all of his friends and his wife, Holden gains the confidence of the German government. The information he brings backs to Griffith helps shorten the war. On a final trip to Hamburg he is betrayed by a Nazi youth. With the aid of the underground he stays one step ahead of the Nazis through Germany and Denmark and finally reaches the safety of Sweden. "Harold Lloyd's World of Comedy" Harold Lloyd is back in clips from his great comedies. Should delight young and old. May be "sleeper". Harold Lloyd, one of the screen's great comic talents, is back with us once again in this compilation of sequences from some of Lloyds most famous films, which Continental is releasing. Imaginatively put together by Lloyd himself, this bright and fresh motion picture could turn out to be one of the big comedy hits of the year. "Old timers" will certainly be induced to come and see one of their favorites from the silent screen era and the modern generation will be introducd to a comic personality of the highest level. This is the kind of film which could catch on and roll up some really impressive returns. Lloyd has edited the sight gags, mugging and embarrassing situations into a free-flowing 94 minutes of hilarious laughter, and he has also presented us with a fascinating composite of a man who can be timid and brassy with equal aplomb. And on top of being a man of many faces and his own stunt man, Lloyd also poses some extremely wry comments on society (as applicable today as when they were created). "The Freshman" sequence shows us quick-witted Lloyd on the football field. From "Hot Water" we see him wrecking havoc on a crowded streetcar after his live turkey gets loose, and then taking his new car out for a spin accompanied by wife and know-it-all mother-in-law. Two riotous chase sequences are on hand from "Girl Shy" and "Professor Beware," and from "Movie Crazy" we see what happens to Lloyd in a restaurant when he accidentally puts on a magician's coat. The two highlights surround Lloyd caught in the middle of a Mexican Revolution with a giant suffering from an unbearable toothache ("Why Worry"), and the most famous of Lloyd antics, his building climbing sequence from "Feet First." Welcome back Harold Lloyd. Continental Distribution. 94 minutes. Produced by Harold Lloyd. "Tomorrow Is My Turn" ScuUeu Rati*? OGO Rating is for art market. Good French import. Launched into the top moneymaking category in New York by outstanding reviews, and the subject of excellent word-ofmouth, this World War II French import seems destined for big boxoffice along the art house circuit. Sensitively depicting the adventures of two French soldiers captured by the Germans and ordered to help out on the farms, "Tomorrow Is My Turn" emerges one of the better war dramas of recent years. The overly grim aspects of war have been avoided by director Andre Cayatte ("Justice Is Done"), and he has deftly blended a little sex, romance and quite a bit of humor into his overall dramatic canvas. The story begins on a rather simple level — the somewhat timid pastry cook, glad to be away from his nagging in-laws, accepts his lot; the handsome journalist dreams only of escape. Then the film begins fanning out onto several different levels, skillfully exploring the relationship between enemies. By the time the ironic ending rolls around, we are aware that we have been witness to a brilliant little tapestry about the complexities of humans functioning under strained situations. Charles Azvanour is superb as the pastry cook who appreciates the hospitality of the German family, and eventually finds himself heading the family when the father is called to serve. Georges Riviere is excellent as the patriotic journalist who unashamedly uses the family as a means to escaping. Cordula Trantow, the farmer's daughter, and Nicole Courcel, a French collaborator, provide fine contrasts as females caught up in the struggle. All of the support is first-rate. Riviere forces Miss Trantow to fall in love with him, then tricks her into helping him escape. Azvanour is happy for the first time in his life, and when the war ends, he sadly returns to France. Riviere, now the editor of a liberal newspaper, is forced to choose between his job and marrying Miss Courcel. Azvanour and Riviere meet, and the latter helps Azvanour return to Germany where he plans to settle on the farm. Riviere, unaware that Miss Courcel has left him, resigns from the paper. Showcorporation. 117 minutes. Charles Azvanour, Georges Riviere, Cordula Trantow. A Franco-London Films Production Directed by Andre Cayatte. BUSINESS RATING $$$$ — Tops $$$ Good $$ — Average $ — Poor Film BULLETIN April It 1942 Page 15