Harrison's Reports (1954)

January 9, 1954 HARRISON’S REPORTS 7 amnesia and refuses to talk. Aumont is assigned to the task of rescuing Stapley, but before he can start on his mission the Russians launch a surprise attack and force the British to retreat. Accompanied by Charles Irwin, a buddy, Aumont flees into the forest and comes up>on a gypsy family, including Paulette Goddard and her parents. When a Russian patrol approaches, Paulette gives the two men gypsy clothes, enabling Aumont to pose as her husband and Irwin as her brother. The Russians order them to proceed to Sebastapol for induction into a labor squad. To insure their safety, Aumont convinces the leader of the patrol that Paulette is a favorite of Ben Astar, the Russian general in command at Sebastapol. Upon reaching their destination, Paulette is brought before the general and she frankly tells him the story had been concocted to protect her from his soldiers. The general, taken in by her charms, orders the whole group housed in a cottage next to his mansion. While Paulette toys around with the general, Aumont obtains valuable information about the Russian defenses. Meanwhile a group of British nurses are permitted to come to Sebastapol to care for wounded prisoners, and among them is Karin Booth, Stapley's sweetheart. Aumont tells her about the information that he had obtained so that she may carry a message back to the British, but she proves to be a Russian spy and places both Stapley and Aumont under arrest. Both men overcome their guards and, in a swift series of events, send a message to the Allies to attack, rescue Paulette from the general, and escape with her to safety while the Allies accomplish the overthrow of Sebastapol. It was produced by Sam Katzman, and directed by William Castle, from a story and screenplay by Robert E. Kent. Adults. “Border River” with Joel McCrea, Yvonne De Carlo and Pedro Armendariz (Univ.'Int'l, January; time, 80 min.) A good western-type melodrama, photographed in Technicolor. Set in the days of the Civil War and dealing with the efi^orts of a Confederate oflScer to purchase ammunition and supplies from a powerful Mexican renegade leader, the picture is filled with excitement and suspense and is a notch above most melodramas of its type, thanks to the interesting story and the competent direction and acting. Joel McCrea does his usual good work as the stalwart and fearless hero, and Yvonne De Carlo is effective as a cynical Mexican beauty who falls in love with him and comes to his aid. Pedro Armendariz turns in a fine portrayal as the sinister and crafty Mexican renegade general, who seeks to appropriate McCrea's gold without delivering the promised merHot, the least tfaa .filfp's -4^1^ ^ aSMBc values-, enhanced by the first-rate color pbotog , Having stolen two million dollars in gold from the Union Wee^wtSca, a TTonTe Jersrte mapjf,' makbs bis way across the Rio Grande to Zona Libre, governed by Armendariz, who headed a polygot army in defiance of the Mexican legislature. McCrea contacts Armendariz in an effort to purchase ammunition and supplies that were needed desparately by the South. Armendariz agrees to sell the merchandise, but, when he insists upon getting the gold before releasing the supplies, McCrea becomes suspicious and the deal reaches a stalemate. Meanwhile he further antagonizes Armendariz by falling in love with Yvonne, the general’s co-owner of a local saloon. Several nefarious characters accost McCrea in an effort to learn where the gold is hidden, but all are soundly thrashed by him, including Howard Petrie, a fellow American, whom he unmasks as a private detective in the employ of the Union. Petrie, however, proves to be a Southern sympathizer and throws in with McCrea. Together with Petrie and the remaining members of his band of raiders, McCrea secretly transports the gold to the Mexican side of the Rio Grande and hides it. He then makes a deal with Ivan Triesault, Armendariz’s chief aide, to double-cross his employer and furnish the supplies. But Armendariz learns of the deception and kills Triesault before he can carry out the deal. When McCrea rides off to pick up the gold, he is followed by Alfonso Bedoya, Armendariz's lieutenant. Yvonne learns of this and warns McCrea, who kills Bedoya when he arrives. In the events that follow, Armendariz and his men go in search of the gold and, just as they find it, McCrea launches an attack and kills Armendariz in the ensuing battle. Mexican Federal Forces take over Zona Libre and, in gratitude for eliminating Armendariz, they sell him his direly needed supplies. McCrea then sets out for New Orleans, with Yvonne, his bride, by his side. It was produced by Albert J. Cohen, and directed by George Sherman, from a story by Louis Stevens, who collaborated on the screenplay with WiUiam Sackheim. Unobjectionable morally. “The Long, Long Trailer” with Lucille Ball and Desi Arnaz (MGM, February; time, 9“) min.) A highly amusing comedy, photographed in Ansco color with prints by Technicolor. It should do outstanding business, not only because it is extremely funny, but also because of the vast popularity of Lucille Ball and Desi Arnaz, whose “I Love Lucy" television program has won them millions of fans. The story, which follows the adventures and misadventures of the couple after they decide to make their home in an oversized super-streamlined trailer, is crammed with laughs from start to finish even though much of the comedy is of the slapstick variety. The unexpected problems that arise when they start out on their honeymoon in the trailer, their hair-raising experiences as they guide the huge trailer up and down narrow mountain roads that wind around steep cliffs, and Miss Ball s travails as she tries to cope with household duties both while the trailer is in motion and when it is off balance, keep the proceedings on a high note of hilarity throughout. The subject matter is ideally suited to the talents of this comedy team, and they make the most of every opportunity to garner a laugh. Keenan Wynn, as a policeman, and Marjorie Main, as a nosey trailer-neighbor, contribute amusing bits, but their appearances are very brief. Worked into the mirthful doings are fascinating scenic shots of Yosemite National Park; — Shortly before her marriage to Desi, whose job required him to spend considerable time away from home, Lucille decides that living in a trailer would not only be more economical than buying a house but would also enable Desi to live at home no matter where he traveled. Desi reluctantly accepts her suggestion, and ends up by paying three times as much as he had anticipated in order to obtain a suitable trailer. And to make matters worse, he discovers that his old car is not powerful enough to haul the trailer and is compelled to buy a new car. Immediately after their marriage, they set out oa fheir. hon«ymoon -widi Ac loaded trailer and .soon discover that a house-o^herfs-. preset^ maow unfortaqeo ptobleiEs. Tbit^ themselves into first mess when they stop to visit >f LudJle4^ refertwas.Desi; -while attfefffiiShg to back tte^uge trailer into the driveway of the relatives’ house, ruins ^heir garden and almost demolishes the building. Continuing'their trip, they get stuck -'a a muddy road and are forcea'to spend an uncomfort dffe night in the off-balance trailer. This incident costs Desi more money for towing and cleaning the trailer than if he and his bride had spent the night in* a first-class hotel. In the course of events, Lucille keeps collecting rocks from the different places they visit, with the result that the trailer becomes overloaded. Desi orders her to dispose of the rocks before they attempt a dangerous mountain climb. Unwilling to part with the mementos, she conceals them in various parts of the trailer and tells Desi that she had disposed of them. The rocks fall out of their hiding places during the perilous drive over the mountains and the shifting weight within the trailer almost leads to disaster. Desi, exasperated, throws out the rocks and has a heated quarrel with Lucille. He decides to sell the trailer and she in turn decides to leave him, but true love cools their tempers and they decide to continue life in the trailer for better or worse. It was produced by Pandro S. Berman, and directed by Vincente Minnelli, from a screenplay by Albert Hackett and Frances Goodrich, based on the novel by Clinton Twiss. Good for the family.