Harrison's Reports (1951)

June 23, 1951 HARRISON’S REPORTS 99 “Secrets of Monte Carlo” with Warren Douglas, Lois Hall and June Vincent (Republic, June 20; time, 60 min.) This is a surprisingly good jewel robbery program melodrama, in which the action holds the spectator in pretty tense suspense throughout. The direction and acting are good, and so is the atmosphere — one feels as if the action was actually staged in Hong Kong instead of at the studio. The photography is clear and pleasing to the eye: — Warren Douglas, an American on his way to Hong Kong to buy firecrackers, stops briefly at Monte Carlo and becomes involved in a jewel theft when he innocently offers to carry a small suitcase owned by June Vincent, whose luggage exceeded the limit allowed on a plane. Actually, June was a member of a ring of international jewel thieves headed by Stephen Bekassy, and her suitcase contained an imitation jewel. When the customs guards examine the suitcase and discover the fake jewel, Douglas is arrested as a smuggler. In the meantime the jewel thieves pass the gate unnoticed, carrying with them the real jewel, which had been stolen from a wealthy Rajah. Robin Hughes, investigator for the firm that held an insurance policy on the Rajah’s jewelry, clears Douglas by proving that the jewel found in his possession was an imitation. Douglas resumes his trip to Hong Kong and on the plane meets Lois Hall, Hughes’ sister, who had been accompanying her brother to the Orient. In Hong Kong, Hughes locates Philip Ahn, who had made the imitation jewel and, through him, meets June and Otto Waldis, her confederate. Seeing Hughes with the imitation jewel gives June an idea for a perfect doublecross; aided by Waldis and Ahn, she knocks out Hughes, robs him of the fake jewel, and holds him captive in a deserted warehouse. She then drugs Bekassy, takes the real jewel from him, and replaces it with the fake one. Unaware of the double-cross, Bekassy tries vainly to contact Hughes in an effort to sell the jewel back to his insurance company. Lois and Douglass go to Ahn’s shop in response to Bekassy's call to examine the jewel. June and Waldis attempt to leave before Bekassy discovers the double-cross but are halted when he realizes their swindle. Forgetting Lois and Douglas, the thieves start to fight one another and only the timely arrival of Hughes, who had escaped from captivity and had brought the police, saves the couple from certain death. It was produced by William Lackey and directed by George Blair, from and original story by John K. Butler. Harmless for family audiences. “Happy Go Lovely” with David Niven, Vera-Ellen and Cesar Romero (RKO, no rel. date set; time, 88 min.) This English-made Technicolor musical comedy is a good lighthearted entertainment that should go over fairly well with the general run of audiences in this country. Its farcical story of mistaken identity has a familiar ring, but it moves along at a merry pace, has good comedy situations, and is endowed with a pleasing romantic interest. Moreover, the production numbers are imaginatively staged, with Vera-Ellen outstanding in several dance sequences. The fan deal twists of the plot, which have David Niven, a Scottish millionaire, posing as a reporter and impersonating himself because of an erroneous belief that he was engaged to VeraEllen, are highly amusing. Cesar Romero, as a brash American producer who is constantly fighting off his creditors, contributes much to the entertainment values: — Set in Edinburgh during the Festival of Music and Drama, the story has Romero in a financial jam while trying to stage a revue. Matters become involved when Vera, an American girl working in the chorus, accepts a lift to the theatre from Niven’s chauffeur, leading Romero to assume that she is Niven’s girl-friend. Deciding to use her “friendship” with Niven to forestall the creditors by leading them to believe that Niven is backing the show, Romero pulls the bewildered Vera out of the chorus and makes her the leading lady. Niven, learning that Vera is thought of as his girl friend, goes to the theatre to see her and is mistaken by her for a reporter. Amused, he plays along with the deception and falls in love with her. Romero, finally forced to the wall by his creditors, appeals to Vera for help. She, not having deined that she was the millionaire’s girl-friend, arranges with Niven to impersonate himself, for she was still unaware of his true identity. In the complicated events that follow, Niven finally gives Romero a check for the show. Vera, fearing that he might go to jail, tells Romero that Niven is just a reporter and that his check is a forgery. All this happens on opening night and, when Romero sees Niven sitting in a stage box, he quickly calls the police. A chase follows, with Vera doing her utmost to protect Niven. Finally caught, his true identity is revealed, much to Vera’s amazement and happiness when he asks her to become his wife. It was produced by Marcel Heilman and directed by Bruce Humberstone, from a screenplay by Val Guest, based on a film story by F. Dammann and Dr. H. Rosenfeld. Suitable for the family. “Peking Express” with Joseph Cotten, Corinne Calvet and Edmund Gwenn (Paramount, August; time, 85 min.) A fair enough action melodrama. It is a remake of “Shanghai Express,” which Paramount produced in 1932, starring Marlene Dietrich and Clive Brooks. Basically, the story remains substantially the same, except that it has been given a tpocial slant by making the hero a United Nations doctor instead of a British one, and by making the Chinese rebel chief a Communist who turns against the party for materialistic gains. To add to its timeliness, the different characters are given ample opportunities to spout ideologies and to state their views for or against Communism. On the whole, however, the story is dramtically ineffective, mainly because the characterizations do not ring true. But it should satisfy the action fans who are not too concerned about story values, for it has more than a fair share of thrills excitement and suspense: — Among the passengers boarding the Peking Express in Shanghai are Joseph Cotten, a United Nations doctor; Corinne Calvet, a French adventuress; Edmund Gween, a Catholic priest; Benson Fong, an arrogant Communistic Chinese reporter; Marvin Miller, a prosperous Chinese importer; and Soo Young, a distraught Chinese woman. On the train it develops that Cotten and Corinne had been lovers five years previously, but had parted because of her loose morals. Both attempt a reconciliation. After several incidents on the train, during which Fong insults the white passengers, and Miller attempts to murder Miss Yong, who turns out to be his wife, the train is halted halfway to Peking by armed rebels who kill the soldiers guarding the train and take the white passengers into custody. Miller then revals himself as the leader of the rebels. Communists who were double-crossing the government for material gain. It develops also that Miller had stabbed his wife because their son, due to her interference, had been kidnapped by the Nationalists. After deciding to hold Gwenn for ransom. Miller, having learned that Cotten was headed for Peking to operate on an important Nationalist official, holds him as hostage to guarantee the return of his son. When the boy returns. Miller compels Corinne to agree to remain with him lest he kill Cotten and the other whites. Cotten is dis« gusted with Corinne, misunderstanding that she had made the sacrifice to insure his safety. As Cotten prepares to leave, Miss Yong staggers into Miller’s hideout and kills him. Cotten, acting swifty, uses Miller’s son as a protective cover and gets Corinne and Gwenn aboard the train. Miller’s forces give chase and attack the moving train, but after a running battle, in which Gwenn sacrifices his life to shield the others from an exploding grenade, Cotten and Corinne escape safely. It was produced by Hal B. Wallis and directed by William Dieterle from a screenplay by John Meredyth Lucas, based on a story by Harry Hervey. Adult fare.