Harrison's Reports (1951)

May 5, 1951 HARRISON’S REPORTS 71 to show him how the lions feel to be caged. Meanwhile, the natives are driving the lions to the camp of the whites to avenge the death of the chief’s son. Ankrum finds Kennedy caged and frees him, but he is attacked by the lions and torn to pieces. As the lions prepare to attack Ann and her father, Johnny rushes to their rescue by calling back the animals in a language they understand. Ankrum and his party leave the region empty-handed. Walter Mirisch produced it, and Ford Beebe directed it, from a screen play by himself, based on the “Bomba” books by Roy Rockwood. Suitable for the family. “Fighting Coast Guard” with Brian Donlevy, Forest Tucker and Ella Raines ( Republic , no rel. date set; time, 86 min.) This tribute to the Coast Guard and the part it played in World War II is a good action melodrama. It will probably do better-than-average business by virtue of the star names and of the fact that the subject matter lends itself to extensive exploitation. The story itself is routine and there is little about the characterizations that is novel, but this should make little difference to the undiscriminating picturegoers who do not mind a contrived formula melodrama so long as there is plenty of excitement and movement, as well as romantic interest. The battle scenes are realistic, with much of the footage made up of actual war clips, which have been worked into the staged action expertly:— With the bombing of Pearl Harbor, Brian Donlevy, a Coast Guard comamnder in charge of a west coast shipyard, urges the qualified civilian workers to enlist for officers training in the Coast Guard. Forrest Tucker, the yard’s foreman, prefers to remain in his profitable job, but John Russell, a welder who disliked him, leads him to believe that Donlevy had arranged for him to be drafted into the army unless he enlists. Rather than have that happen, Tucker joins the Coast Guard training group, but he believes that Donlevy had forced the situation in reprisal for his making a play for Ella Raines, an admiral’s daughter, with whom Donlevy was in love. Tucker, through further trickery on the part of Russell, loses out on his commission. He again believes that Donlevy is responsible, unaware that Donlevy had pleaded with the governing board to reverse its decision. Given a bosun's rating, Tucker, still nursing his bitterness, heads for the South Pacific under Donlevy's command to man the landing craft carrying soldiers and marines ashore. Their ship is attacked at sea, and Russell, mortally wounded, confesses to Tucker before he dies. Tucker's courage and resourcefulness compel him into acts of bravery and selfsacrifice, beyond the call of duty. Upon his return, he is awarded a commission on the recommendation of Donlevy, and with Donlevy’s further help, his romance with Ella is brought to happy climax with their marriage. It was produced and directed by Joseph Kane, from a screen play by Kenneth Garnet, based on a story by Charles Marquis Warren. Good for the entire family. “Bullfighter and the Lady” with Robert Stack, Joy Page and Gilbert Roland (Republic, no rel. date set; time, 87 min.) This is a fascinating and thrilling romantic melodrama, revolving around the colorful adventures of a young American who visits Mexico and learns the art of bullfighting. Like “The Brave Bulls,” which, too, deals with bullfighting, this picture has been shot against actual Mexican backgrounds and it captures the full flavor of all the excitement, courage and pageantry connected with the ancient art. But unlike that picture, which has an arty approach that will best be appreciated by class patrons, this one will appeal to the rank-and-file, for the story’s mixture of romance, drama, tragedy and some comedy has been handled in a way that is designed to please the popular taste. Moreover, the bullfighting scenes in this picture are not as gory as those in “The Brave Bulls,” and its depiction of the methods employed to train matadors, and of the bullfighting itself, is more informative and thrilling. The effective direction, the sensitive performances, and the superb photography help to make this one of the better Republic productions. Not the least of its assets in the fine background music: — Vacationing in Mexico, Robert Stack, a young Broadway producer, is attracted to Joy Page, daughter of a bull breeder, when she comes to a night club with a party headed by Gilbert Roland, Mexico’s greatest matador. Stack, who had admired Roland's performance that afternoon, introduces himself to him as a means of meeting Joy, but she repulses him. Roland and Stack become fast friends, and Stack, seeking to impress Joy, persuades the matador to teach him bullfighting. Under Roland’s patient tutelage. Stack not only becomes proficient as a bullfighter but he begins to understand the dignity, courage and sincerity associated with the sport. He eventually shows so much promise that Roland agrees to allow him to serve as an assistant matador. Once in the ring, however, Stack becomes too confident and puts himself in danger. Roland rushes to his rescue, but dies in the effort. Stack's carelessness brings the hate of all Mexicans down upon him, and Joy urges him to flee for his safety. Instead, he decides to appear at a benefit performance for Roland’s understanding widow (Katy Jurado). Those who come to boo him and see him die stay to cheer him when, with the spirit of Roland at his side, he disposes of the bull in the finest tradition, thus proving his courage and sincerity to the satisfaction of the crowd in general and Joy in particular. It is a John Wayne production, produced and directed by Budd Boetticher from a screen play by James Edward Grant. Suitable for the family. “Oliver Twist” with Robert Newton, Alec Guinness and John Howard Davies (United Artists, April 27; time, 105 min.) Like “Great Expectations,” which was also produced by Ronald Neame and directed by David Lean, this Britishmade version of Charles Dickens’ “Oliver Twist” is at once an artistic achievement as well as an excellent period melodrama. It should please not only class audiences and the lovers of Dickens’ works, but also the masses, for its vivid depiction of the cruelties endured by an underprivileged orphan in 19th Century England is a spellbinding mixture of pathos, drama and human interest. The costumes and the settings of the period have been reproduced with such authentic detail, and the characters are modeled so closely to the Cruikshank illustrations, that it brings to life the picture formed in one's mind after reading the novel. John Howard Davies is superb as the young orphan, and much sympathy is felt for him because of the calloused treatment he is subjected to. Robert Newton, as the brutal “Bill Sikes,” and Alec Guinness, as the leering “Fagin,” are among the others in the fine cast who contribute flawless performances. Suspense is well sustained throughout because of the murderous nature of “Sikes” and “Fagin,” and of their determination to make a criminal of the young orphan. The closing sequences, where an unruly mob descends on the hideout of the criminals and “Sikes” comes to a violent end, are highly exciting. The picture, as most of you no doubt know, has been the subject of considerable controversy because of claims that the “Fagin” characterization is anti-Semitic. Although some cuts have been made to meet these objections, the characterization remains overdrawn and many persons may still deem it to be an offensive caricature of a Jew. Consequently, the exhibitors will do well to watch what protests, if any, will be brought against the picture in its early runs. Briefly, the story opens with the death of Oliver's mother in a Parish Workhouse shortly after she gives birth to him. Nine years later, the cruel heads of the workhouse apprentice Oliver to a coffin-maker because he had the audacity to ask for a second helping of oatmeal and water. Mistreated by the coffin-maker's wife and hired help, Oliver runs off to London. There, tired and hungry, he accepts the invitation of an unscrupulous youngster to go to a friend’s home, which turns out to be none other than that of Fagin, a repulsively filthy old man who trained boys in the art of stealing. He sends Oliver out with two boys to watch them operate. They pick the pockets of Mr. Brownlow (Henry Stephenson), a wealthy old gentleman, who gives chase and catches Oliver. Convinced that the lad had no hand in the robbery, the old man takes him to his home and cares for him. Fagin, fearing that Oliver will betray the gang, arranges with Sikes, a vicious thief, to kidnap the boy when he is sent on an errand by Mr. Brownlow. They force the boy into a life of crime, but Nancy (Kay Walsh), Sikes’ mistress, feels sympathy for Oliver. She communicates with Mr. Brownlow and gives him information that helps him to discover that Oliver is his long-lost grandson. Mr. Brownlow puts the police on the criminals’ trail. Meanwhile Sikes murders Nancy for betraying him. At the climax, the police, at the head of a mob if irate citizens, break into the gang’s hideout and capture Fagin. Sikes tries to escape over the rooftops, taking Oliver with him as a hostage, but through a freak accident he slips off the roof and is strangled by a rope. Oliver returns home to his joyful grandfather. It is a J. Arthur Rank presentation. David Lean and Stanley Haynes wrote the screen play. Suitable for the family.