Harrison's Reports (1954)

2 HARRISON’S REPORTS January 2, 1954 ‘‘French Line” with Jane Russell and Gilbert Roland (RKO, January; time. 102 min.) “French Line,” which has been photographed in 3'D and in Technicolor should prove to be a money' maker because of the sex appeal and of the public’s curiosity concerning the withholding of a seal of ap' proval from the picture. The controversy about the seal has been furthered considerably by Miss Russell herself, who has announced in the newspapers that she sides with the decision of the Breen Office to withhold the seal until certain cuts are made, which cuts Howard Hughes refuses to make. The story itself is very weak, with the first three' fourths slow and uninspiring. It becomes lively in the model scenes in the last onc'fourth, where flesh is displayed promi' nently, and in the dance sequences, where Miss Russell is tantalizing as she prances about in as scanty a costume as it is possible for a girl to wear. Her vio' lent wiggling and movements are indeed scandalizing. On the whole the picture has been directed and acted well, and the settings, enhanced by the gorgeous Tech' nicolor photography, are lavish. There is considerable comedy relief. Exhibitors who can book it without much opposition should do well at the box'office : — Jane, a Texas beauty worth millions, is jilted by Craig Stevens on the eve of their wedding because he was wary of being married to a wealthy “corpora' tion.” This naturally cancels their projected honey' moon to Paris aboard the Liberte, a palatial steamship. As consolation, Arthur Hunnicutt, Jane’s guardian, suggests that she take the trip incognito, with him as her traveling companion, so that she may be sure that any man she might attract would be after her and not her money. Travehng incognito proves impossible, however, for Jane is mobbed by reportes and photog' raphers upon her arrival in New York. Learning that Mary McCarty, a childhood friend, was sailing aboard the Liberte with a group of models to take part in an International Fashion Show in Paris, Jane persuades Joyce MacKenzie, a newlywed and one of the models, to switch identities with her for the crossing. Jane then informs Hunnicutt that he must not accompany her. He objects on the ground that she should not go unchaperoned, but Jane is adamant, particularly be' cause she had just met Gilbert Roland, a dashing French musical star, who seemed to like her for her' self. On the eve of the sailing, Roland’s visa is can' celled because he had failed to pay his income tax. Hunnicutt, unknown to Jane, pays Roland’s taxes with the understanding that he is to watch over Jane and protect her from unscrupulous males. Unaware of Jane’s true identity, Roland romances her aboard the ship and the two fall in love. To test him, Jane introduces him to Joyce as the wealthy Texas girl. Roland, remembering his deal with Hunnicutt, begins to monopolize Joyce’s time, primarily to protect her from Robert Neill, a seemingly persistent male but in reality her husband. Jane misunderstands Roland’s interest in Joyce and is led to believe that he is just another fortune hunter. Roland, however, wants to marry Jane, and when he learns the truth from Joyce he immediately telephones Hunnicutt and calls off their deal. But Joyce does not give hm a chance to explain. At the big fashion show in Paris, however, Jane learns the truth from Hunnicutt, who had flown over, and it all ends with her becoming reconciled with Roland. Edmund Grainger produced it, and Lloyd Bacon directed it, from a screenplay by Mary Loos and Richard Sale, based on a story by Matty Kemp and Isabel Dawn. Adults. “The Limping Man” with Lloyd Bridges (Lippert. December 11; time, 75 min.) This English'made production is not a bad murder mystery melodrama; it holds one’s attention well until the end. What spoils it, however, is the fact that, at the finish, the spectator is told that it was all a dream. Why the producer should have turned an interesting action story into a dream is difficult for one to understand. In any event, the exhibitor, in these days of a product shortage, may book it as a support' ing feature, with its box'office value governed by Lloyd Bridges popularity. The direction is good and so is the photography. There is no comedy relief : — Lloyd Bridges, an American, arrives in London to visit Moira Lister, with whom he had fallen in love six years previously. Though he expects her to meet him at the airport, he does not find her there. While standing next to Bruce Beeby, a fellow passenger, some one takes a shot at Beeby and kills him. Scotland Yard takes over in an effort to find the murderer, and Bridges offers his cooperation. Unknown to all, a limp' ing man, using a shotgun disgmsed as a cane, had com' mitted the murder. Bridges learns that the dead man had been blackmailing Miss Lister and offers to help her recover a letter she had written to him. Mean' while the police question Helen Cordet, assistant to a magician appearing at a variety theatre, and learn that she was the wife of the murdered man. The chase eventually leads to the variety theatre, where Miss Lister is held under the stage. The police arrive, and Bridges chases the limping man into the balcony. It comes to light that the murderer is Robert Harbin, the magician, and as they struggle Bridges wakes up on the plane and realizes that it was all a dream. When he arrives at the airport. Miss Lister is waiting there to meet him. Donald Ginsberg produced it, and Charles de Lau' tour directed it, from a screenplay by Ian Stuart and Reginald Long, based on a story by Anthony Verney. Harmless for family audiences. “Saadia” with Cornel Wilde, Rita Gam and Mel Ferrer (MGM, February; time, 82 min.) Photographed on location in French Morocco, with color by Technicolor, this desert melodrama offers the picture'goer a visual treat from the scenic point of view, but as an entertainment it is no more than mod' erately interesting. The story, which is a curious blend of conflict between modern medical science and witch' craft, and of a native girl’s mixed feelings for a young French doctor and her modern'minded young ruler, unfolds at a slow pace, for it is given more to talk than to action, with the result that the proceedings become somewhat tedious at times. It has its moments of exciting action in the several clashes between the sympathetic characters and desert bandits, but these are not enough to overcome the story’s general lack