Harrison's Reports (1954)

14 HARRISON’S REPORTS January 23, 1954 “Jubilee Trail” with Joan Leslie, Vera Ralston and Forrest Tucker (Republic, January; time, 103 mtn.) Based on the popular novel of the same name, “Jubflee Trail” is a big scale drama of the old West, handsomely produced and beautifully photographed in the Trucolor process. Unfortunately, it is undistinguished as a dramatic offering, mainly because of a rambling script that wanders all over the lot without ever reaching any appreciable emo' tional heights. The routine treatment and direction does not help matters. Another drawback for this type of picture is the fact that the action highlights are few and far between. In many spots it has a tendency to drag because of the excessive dialogue. Generally, the characterizations are not convincing and the acting is somewhat stilted, but the players are not to blame, for neither the script nor the direction gives them much of a chance. The running time is much too long: — John Russell, a California trader, marries Joan Leslie, a New York girl, and on their way back to California they stop in New Orleans. There, they become acquainted with Vera Ralston, a cafe entertainer wanted by the law for murder. Convinced of her innocence, they help her to escape. They meet her again in Sante Fe, where they meet also several of Russell’s friends, including Forrest Tucker, a quiet but rugged westerner; Pat O'Brien, a doctor who had been dishonorably discharged from the army for drunk' eness; and Jim Davis, an elegant gambler. Russell learns from Tucker that Ray Middleton, his elder brother, had planned a marriage between him and a wealthy California landowner's daughter, who had borne Russell’s illegitimate child. Tucker urges Russell to prepare Joan for the situa^ tion, but he refuses. All continue on to California, accom' panied by Vera. When they arrive at Russell's family ranch, Middleton reacts bitterly to Russell’s marriage, particularly because his marriage to the wronged girl would have included a huge dowry. Matters end tragically when the unwed mother commits suicide and her enraged father shoots and kills Russell. Joan, heartbroken and expecting a child, heads for Los Angeles with Russell’s friends and sets up living quarters above a saloon opened by Vera and Davis. There she gives birth to a son. Unable to persuade Joan to return to the ranch with her son, Middleton makes two unsuccessful attempts to kidnap the child and is finally shot dead by O’Brien, who was himself dying of alcoholism. Meanwhile a strong love had grown up between Tucker and Joan, while Vera falls for the sincere love offered to her by Buddy Baer, a gentle Russian-born giant, who recognizes a heart of pure gold beneath her tough exterior. When gold is discovered at Sutter's Mill, Joan and her baby join Tucker and together they plan a new life in the gold fields of California. It was produced and directed by Joseph Inman Kane, from a screenplay by Bruce Manning, based on the novel by Gwen Bristow. Adults. “Taza, Son of Cochise” with Rock Hudson and Barbsu'a Rush (Univ.'Int’l, February; time, 79 miti.) Available to the exhibitors in either 2-D or 3-D, this is an acceptable melodrama of the Indians-U.S. Cavalry variety, photographed in Technicolor. Its story of a young Indian chief’s efforts to maintain the peace his father had established with the white men follows a familiar pattern and offers few surprises, but it should find favor with those who enjoy fast action and melodramatic situations. The strongest thrills come toward the finish, where the bloodthirsty faction of the Apaches ambush and viciously attack a cavalry unit, which is in turn rescued by the timely arrival of the peaceful Apache element, led by the hero. The direction and acting are capable. The outdoor scenery is a treat to the eye, particularly because of the fine color photography: — Just before he dies, Cochise (Jeff Chandler), chief of the Apaches, hands over leadership of the tribe to Rock Hudson, his eldest son, and makes him promise to continue the work for p>eace between his people and the white men. Bart Roberts, Hudson’s brother, hates the white men and plots to take the Apaches on the warpath again. The feud between the two brothers reaches murderous heights when Hudson rescues Barbara Rush, an Apache maiden, from Roberts’ unwelcome advances. Complications arise when Roberts and several of his followers murder three white California-bound immigrants, and are tracked down and arrested by a cavalry detachment led by Gregg Palmer, despite Hudson’s protests that Apaches should be punished by Apaches. Determined to win his point, Hudson and a group of Apaches invade the fort, disarm the sentries and demand that Robert Burton, the commanding general, choose between permitting Apaches to punish Apaches or having Hudson join forces with Geronimo (Ian MacDonald), a tribal Apache chief who long favored the warpath. The general agrees to give Hudson’s ideas a fair trial and authorizes him to set up an Apache police force to maintain order and to punish rebellious Apaches. Hudson and Palmer become firm friends when this plan is put into operation. Meanwhile Roberts, in league with Geronimo, wins the support of Barbara’s father (Morris Ankrum), who demands that Hudson bring him arms and ammunition in return for permission to marry Barbara. When Hudson refuses, Ankrum compels Barbara to become Roberts’ wife. In the events that follow, Roberts and Geronimo obtain guns from a renegade white and go on the warpath. Ignor-. ing his promises to Hudson, Burton leads the cavalry in pursuit of the rebellious Indians, only to be ambushed by them. But Hudson and his followers come to their rescue and put down the uprising. Geronimo surrenders, but Roberts, bitter to the end, fights until he is killed. His death leaves Barbara free to marry Hudson, and they set out together to restore peace to the reservation. It was produced by Ross Hunter, and directed by Douglas Sirk, from a screenplay by George Zuckerman, based on a story by Gerald D. Adams. Unobjectionable morally. “Go, Man, Go!” with Dane Clark and The Harlem Globetrotters (United Artists, Jan. 22; time, 82 rnin.) Fact and fiction have been blended to good advantage in this highly entertaining sports drama, which details the rise of the fabulous Harlem Globetrotters professional basketball team from their barnstorming days to world-wide fame as the greatest attraction in the history of the sport. Rich in human interest values, the story is told through the struggles and heartaches experienced by Abe Saperstein, who organized the all-Negro team and tenaciously guided them to fame and success, despite the opposition of the big league interests. Without preachment, the script clearly implies that this opposition stemmed from the racial discrimination practiced against his players. The manner in which he overcomes the obstacles put in his way and wins recognition for his team is dramatically effective and satisfying, for the spectator’s sympathy is with him from start to finish. Dane Clark, as Saperstein, turns in a first-rate portrayal and is completely credible in the role. His romance with Patricia Breslin, as Sylvia Saperstein, and their eventual marriage is tender and pleasing, and his personal relationship with the members of his team is heart-warming. The Globetrotters, including such famed players as "Sweetwater” Clifton, “Goose” Tatum and Marques Haynes, play themselves, and their mastery of the game and their clowning on the court is a delight to watch. In fact, one does not have to be a basketball fan to enjoy their antics. The manner in which they win their first big league tournament in the final minutes of the climactic game is as thrilhng and exciting as any sport event ever seen on the screen. The direction is very good, and so is the photography. Briefly, the story traces Saperstein’s efforts to build up his team from the early days when he loaded them into a brokendown jalopy and, as the only substitute player, barnstormed from one end of the country to the other for very small money, barely making enough to meet expenses but grimly fighting for a chance to play the big arenas in the major cities — a chance that seemed to be denied because of the color of the team’s skin. Immediately after his marriageto Sylvia, Saperstein books a crowded, ambitious schedule against the toughest opposition that he could find but by mid