Harrison's Reports (1951)

May 26, 1951 HARRISON’S REPORTS 83 ‘‘Excuse My Dust” with Red Skelton, Sally Forrest and Macdonald Carey (MGM, June; lime, 82 min.) Photographed in Technicolor, this is an enjoyable mixture of comedy, music and romance, set in the days when the horseless carnage was a subject of ridicule. The comedy stems from the trials and tribulations, romantic and otherwise, suffered by Red Skelton, inventor of a “gasamobile.” His mishaps with his homemade car, which is looked upon as a menace by the community, provoke considerable laughter. There is much hilarity in the early sequences, where Skelton’s car catches fire in a barn and a volunteer fire department puts out the blaze after many slapstick antics. Extremely funny, too, is the auto race at the finish between early-make automobiles. The action drags somewhat in the romantic interludes, but it is not a serious defect. Worked into the proceedings to good effect are the musical numbers, featuring the sultry singing of Monica Lewis, and a dance sequence by Sally Forrest. William Demarest, as a stubborn livery stable owner, and Raymond Walburn, as the mayor, add much to the comedy values: — Skelton persistently tries to make his gasamobile run, despite being laughed at by the town. Leading the ridicule is Demarest, whose daughter, Sally Forrest, loved and believed in Skelton. His devotion to his speed machine, hows ever, interferes with his social and romantic life, and one day, when he gives up a hay ride with Sally to prepare his auto for a $5,000 horseless buggy race, they have a serious quarrel. Angered, Sally turns to Macdonald Carey, a wealthy playboy. Meanwhile Monica Lewis, a flirty young lady, sets her bonnet for Skelton. Demarest, concerned lest the horseless carriage ruin his livery stable business, talks the Mayor into agreeing to prohibit them in the town, but the Mayor changes his mind when Carey buys one to enter in the race. On the day of the race, Skelton gets off to a bad start and runs into much trouble because of dirty work on the part of Carey. The race turns into a furious duel between Skelton and Carey for the lead, with things looking bad for Skelton when he is knocked unconscious by an accidental blow on the head. Sally revives him and, with his aid, helps drive the car. As the two cars near the finish line, Sally leaps from Skelton's gasamobile, thus lightening the load and enabling him to win. It was produced by Jack Cummings and directed by Roy Rowland from a screenplay by George Wells. Fine for the family. “Lorna Doone” with Barbara Hale and Richard Greene ( Columbia , June; time, 84 min.) A fair costume melodrama, photographed in Technicolor. Freely adapted from Richard D. Blackmore’s classic of 17th Century England, its story about a subjugated people’s struggle against an oppressive ruling clan offers little that is novel. Moreover, the direction and acting are ordinary, and the dialogue unnatural for the period. Despite its hackneyed plot and situations, however, it should get by with the undiscriminating picture-goers, for the action is fast and exciting throughout, with plentiful swordplay and battles between the opposing forces. The color photography is a definite asset: — When Charles II ascends the throne, he outlaws the arrogant Doone family, headed by Sir Ensore (Carl Benton Reid), who ruthlessly ruled the countryside from their castle domain. The family, however, continues to exact tribute from the farmers, who are helpless because the King's troops were being used in the war against France. John (Richard Greene), whose father, a farmer, had been murdered by the Doones years previously, returns home after service with the King and finds the plight of the farmers worse than ever. He organizes a resistance movement with the aid of Ron Randall, a highwayman, who was in love with Annie (Ann Howard), John’s sister. In the course of attacks on the castle, John meets Lorna (Barbara Hale), a member of the Doones. Their friendship, which started when they were children, ripens into love. In discussing the farmers' uprising, Lorna and Sir Ensor, her uncle, arc against the use of^violence, but Carver and Charleworth (William Bishop and Sean McClory), Lorna’s evil cousins, determine to hang John’s followers. They undermine Sir Ensor’s authority and take command of the castle. Carver plans to make Lorna his bride, but she escapes when she learns that she is not really a Doone. Carver’s troops, however, recapture her. After a number of skirmishes, John receives permission from the King to lead the royal dragoons against Doone castle. Meanwhile Carver, by threatening to hang several of John’s captured followers, compels Lorna to agree to marry him. John and the dragoons storm the castle on the day of the wedding and capture it. Carver and Charleworth escape, but John pursues them and kills them in a duel. With the Doone's power eliminated, John marries Lorna. It was produced by Edward Small and directed by Phil Karlson from a screen play by Jesse L. Lasky, Jr. and Richard Schayer. Suitable for the family. “The Guy Who Came Back” with Paul Douglas, Joan Bennett and Linda Darnell (20th Century'Fox, July; time, 91 min.) An interesting drama, revolving around the ruptured domestic happiness of a once famous football star because of his inability to face the fact that age had taken its toll. Marked by many touches of humor, the story is not too strong dramatically, chiefly because the hero's attitude does not create a sympathetic response. On the whole, however, it holds one’s attention well, for it unfolds with considerable feeling and sentiment, particularly in the relationship between the hero and his young son. The closing reels, where the hero distinguishes himself in a charity football game before coming to the realization that his athletic prowess had faded away, are somewhat “corny,” but it should please most picture-goers. The direction and acting are competent: — Told partly in flashback, the story has Paul Douglas, a former All-American and professional football star, refusing to be convinced that he was now too old to play the game. Despite the objections of Joan Bennett, his wife, Douglas trains for the coming season, confident that he will be given a contract by Edmon Ryan, his former coach. He receives instead an offer as an assistant coach, and turns it down. He soon finds himself in financial difficulties and talks Ryan into giving him a chance to try out for the team, but he is out of condition and his efforts are a fiasco. Depressed, he visits a cafe owned by Zero Mostel, his close friend. There he meets Linda Darnell, a model, who sympathizes with his disappointment and suggests that he become an entertainer to cash in on his fame. He is delighted with the idea and, though Joan does not like it, starts rehearsals under Linda's management. On opening night, his act is a total flop. Completely humiliated, he goes on a three-day drunk, which results in a break between him and Joan. He finds some solace with Linda, but the separation from Joan and Billy Gray, their little son, makes him unhappy. He is further depressed when Joan indicates a desire to marry Don De Fore, a family friend, to whom his son had become attached. He gives the proposed marriage his blessing and tells Joan that he is going to San Francisco to accept a job with a shipbuilding firm. Within a few days, Joan realizes that both she and her son cannot be happy without Douglas. She visits Linda and, with her help, finds Douglas working in a cheap wrestling arena. They become reunited and, swallowing his pride, he accepts a coaching job on Ryan's team. In a charity game against the Navy, Ryan gives Douglas a chance to play and his prowess wins the game. The Navy, which had rejected him for service because of a minor injury, decides that they can use him to advantage. It was produced by Julian Blaustein and directed by Joseph Newman from a screen play by Allan Scott, based on the Saturday Evening Post story by William Fay. Unobjectionable morally.