Harrison's Reports (1951)

158 HARRISON’S REPORTS October 6, 1951 “Silver City” with Edmond O’Brien, Yvonne De Carlo and Barry Fitzgerald (Paramount, December; time, 90 min.) A good Technicolor outdoor melodrama, designed to deliver satisfactory entertainment to those who like plenty of action in their screen fare. Although the plot has a familiar ring, it holds one's interest throughout, for it is garnished with a dash of romance that does not clutter up the proceedings, and it offers a plentitude of rip-snorting action as it moves rapidly through a series of typically melodrai matic incidents, including some lusty hand-to-hand brawls, gun fights, and a highly thrilling chase at the finish through a lumber mill. The direction and acting are capable, and the outdoor scenery, enhanced by the fine color photography, a treat to the eye: — Having once been involved in a crooked deal by which he helped get an important ore assay into illicit hands, although he himself did not benefit, Edmund O'Brien, an assayer, finds it impossible to hold down a job because Richard Arlen, his former partner, had spread the word that he was not to be trusted. He finally settles down in Silver City, where he leads an honest life as an assayer. He brings much joy to Yvonne De Carlo and Edgar Buchanan, her father, when the result of his assay shows that they had struck a rich silver vein in a mine they had leased from Barry Fitzgerald, a crooked skinflint. With only twelve days left on their lease, Yvonne offers O’Brien a share of the profits to supervise the mining of the lode, but he declines. He changes his mind, however, when Fitzgerald, aided by Michael Moore, a slimy henchman, resorts to violence to prevent any of the silver from being mined until he regained possession of the property, and when Arlen, seeking to buy the mine, arrives in town and joins Fitzgerald's scheme to thwart the mining operations. Matters are complicated further by the fact that Arlen is accompanied by Laura Elliott, his flirtatious wife, formerly engaged to O’Brien. She tries to lure him to her but is unsuccessful because of this developing romance with Yvonne. In the complicated events that follow, O’Brien constantly battles to overcome the many obstacles set up by Fitzgerald and his cohorts. Meanwhile Moore and Fitzgerald cook up a scheme to have O’Brien killed by a local badman under the circumstances that would place suspicion on Arlen. The scheme misfires, however, and in the resulting confusion Moore kills Fitzgerald and Arlen before he himself is shot down by O’Brien after a wild chase. It all ends with Yvonne and her father gaining permanent control of the mine, and with a marriage between Yvonne and O’Brien in the offing. It was produced by Nat Holt, and directed by Byron Haskin, from a screenplay by Frank Gruber, based on a story by Luke Short. Unobjectionable for the family. “Jungle Manhunt” with Johnny Weissmuller ( Columbia , October; time, 66 min.) This latest in the "Jungle Jim” series is a routine program picture with a comic-strip story that is best suited for the small fry at Saturday matinees. Most adults probably will find its hokum conducive to sleep, for its melodrama tics are tediously uninspired, and matters are not helped much by the inept writing, direction and acting. The whole thing is cut to so formula a pattern that it cannot boast of one single surprise. Bob Waterfield, the professional football player, makes his debut in this picture as an actor, but his performance leaves much to be desired: — Sheila Ryan, a free lance photographer, comes to the jungle to search for Waterfield, who had disappeared nine years previously while piloting his Army plane on a routine flight. She had been commissioned by Waterfield’s wealthy uncle to make the search. Sheila meets Weissmuller, a guide, who agrees to take her into the jungle, where he was headed in response to a plea from tribal chiefs whose people were being raided by an unfriendly tribe headed by a mysterious white man. Surprised by the maruading tribe, Sheila and Weissmuller flee for their lives when Waterfield suddenly appears and takes them to a peaceful village, where he lived. He tells Sheila that he is happy and that he has no desire to return to civilization, even to inherit his uncle's millions. The enemy attacks the peaceful village and Sheila, Waterfield and Weissmuller are captured. The renegade white leading the marauders proves to be Lyle Talbot, who was forcing the natives to mine a poisonous material with which he made synthetic diamonds. Because the natives kept dying off from the reaction of the poisonous mineral, Talbot raided the other tribes to capture more slave labor. Freed by his pet chimpanzee, Weissmuller in turn frees Waterfield and sends him after his own warriors. In the battle that follows, Waterfield’s warriors subdue the enemy and free the slaves, while Talbot, pursued by Weissmuller, falls to his death from a cliff. Sheila, now in love with Waterfield, decides to remain in the jungle with him. It was produced by Sam Katzman, and directed by Lew Landers, from a screenplay by Samuel Newman. Harmless for the children. “Detective Story” with Kirk Douglas, Eleanor Parker and William Bendix (Paramount, November; time, 103 min.) This is a superior, thought-provoking drama, one that leaves nothing to be desired on the counts of writing direction, acting and realism. Adapted from Sidney Kingsley’s successful stage play of the same name, the story, which has several by-plots, centers principally around a tough detective with an almost fanatical hatred for all criminals, a selfrighteous fellow who is shocked beyond endurance when he discovers that, prior to his marriage, his wife, whom he loved dearly, had been the mistress of a petty racketeer, and had once been treated by an abortionist, whom he particularly despised. The story is highly dramatic, but it is neither pleasant nor wholesome, it pulls no punches, and there is no happy ending. Although the action for the most part is confined to one set, — the detective squad room of a New York police precinct — William Wyler's masterful direction keeps the proceedings moving at an exciting and suspenseful pace, while at the same time capturing realistically the atmosphere of a smelly precinct, as well as the comedy and pathos attached to the incidents that take place at the station. The picture is studded with fine characterizations, with a sharp individuality in even the smallest role. Kirk Douglas comes through with another top performance as the ruthless detective whose fanatical hatred of evil eventually destroys him when he cannot find forgiveness in his heart for his wife, warmly and humanly played by Eleanor Parker. William Bendix, as a soft-hearted detective; Horace McMahon, as the lieutenant in charge; Craig Hill, as a young theif who had been caught committing his first crime; Cathy O’Donnell, as a neighborhood girl who comes to his aid; and George MacReady, as the abortionist, are among the others in the fine cast who help to make this picture outstanding. Special mention is due Lee Grant for her highly amusing yet pathetic characterization of a Brooklyn shoplifter. The picture should do exceptionally well in the big cities, but audiences in the smaller towns may find it too grim, depressing and brutal for their tastes. Briefly, the development of the main plot establishes Douglas as a man who does not believe in giving law-breakers a second chance, and who is particularly interested in gaining a conviction against MacReady, a known abortionist, who had managed to evade punishment by the law. After bringing about MacReady’s arrest for malpractice, Douglas learns that the slick doctor and his lawyer had shattered his evidence by bribing an important witness. Furious, he beats up MacReady, injuring him seriously. MacReady's lawyer charges that Douglas had a personal motive in mistreating his client, indicating that the motive involved his (Douglas’) wife. A subsequent investigation by McMahon, Douglas’ superior, discloses the mistake Eleanor had made before her marriage to Douglas. Stunned by this disclosure, Douglas gives Eleanor a severe tongue-lashing and then attempts a reconciliation, but, when this leads to another torrent of abusive words, she leaves him, realizing that he could never forgive her. Shortly thereafter Douglas is fatally wounded preventing the escape of a criminal. Dying, he asks his colleagues to find Eleanor and ask her to forgive him. It was produced and directed by William Wyler, from a screenplay by Philip Yordan and Robert Wyler. Strictly adult fare.