Harrison's Reports (1954)

30 HARRISON’S REPORTS “Bait” with Cleo Moore, Hugo Hass and John Agar (Columbia, March; time, 79 min.) Like the previous films produced by Hugo Haas, this one has been made on a modest budget with a story that places the accent on sex. As an entertainment it is only moderately interesting and somewhat unpleasant, but the subject matter has strong exploitation ingredients and for that reason should do as well at the box-office as Haas’ previous efforts. Following the formula he has used m his other films, Haas once again plays the role of a middle-aged man who becomes involved with a young woman, this tune marrying her for the sole purpose of using her as “bait” by which he can find an excuse to murder a young man under the “unwritten” law and thus do him out of an equal share in a gold mine. Haas is acceptable in his role, as are Cleo Moore, as his buxom young wife, and John Agar, as his intended victim. A brief prologue in which Sir Cedric Hardwicke appears as the devil and sets the stage for Haas’ wickedness adds nothing to the story: — Haas, a Northern California prospector whose stories about a lost gold mine had given him the reputation of a crackpot, makes a deal with Agar, a young farmer, to search for the mine. Working hard and fast to beat the winter snows in the mountain area, the two men succeed in finding the mine. The thought of giving up half the gold to Agar irks Haas, and he conceives the idea of marrying Cleo Moore, a waitress with a shady reputation, who was in need of security and protection. Haas reasoned that, if he could tempt Agar to make love to Cleo, he could murder him under the “unwritten” law. Cleo accepts Haas’ proposal of marriage and goes with him to the one-room mountain cabin where the three spend the winter, and where Haas watches his diabolic plot develop with satisfaction. Cleo and Agar do fall in love, but they do nothing wrong and give Haas no reason to suspect his wife’s mfidelity. In a final effort to force the issue, Haas pretends to go on a trip to town and leaves them alone in the cabin. But they discover his scheme and expose him. Taking Agar’s share of the gold, the two young people leave Haas to start a new life for themselves, unaware that he had been left behind with a broken leg and would die of cold and hunger. Hugo Haas produced and directed it, from a story and screenplay by W. Taylor. Adults. “New Faces” with Eartha Kitt (20th Century'Fox, March; time, 98 min.) Based on the Broadway hit of the same name, and photographed in Eastman color, this CinemaScope production is a bright and brisk musical show that should go over well with the general run of audiences. The picture may best be described as a photographed musical revue, presented as it was on the stage, even though the different numbers have been knit together by a thin, backstage story. The picture stars the original New York cast headed by Ronny Graham, Eartha Kitt and Robert Clary, and though all the players, except perhaps Miss ICtt, are relatively unknown to movie audiences, they are attractive personalities, have considerable talent, and put over the songs, dances and comedy sketches in a highly entertaining manner.' From the exploitation point of view ,the most important player in the cast is Miss Kitt, whose February 20, 1954 fresh singing style has won her great popularity in the past year. Included among the songs sung by Miss Kitt are “C’est Si Bon,” “Santa Baby,” “Uskadara,” “Bal Petit Bal” and “Monotonous,” all of which she made famous and which are constantly being featured by the disc jockeys on their programs. While Miss Kitt’s renditions were greeted with loud applause by a sneak preview audience in a neighborhood theatre, considerable enthusiasm was shown also for many of the other musical numbers and comedy skits. Among the highlights is an extremely funny burlesqued skit of “Death of a Salesman,” featuring Ronny Graham and Paul Lynde, who both handle broad comedy in fine style. Other highlights include an amusing satire on an explorer-lecturer, enacted by Lynde, and GraLam’s comical impersonation of a “bop” musician at a Congressional hearing, as well as his equally amusing takeoff on a decadent Southern novelist. Not the least of the picture’s highlights is the work done by Robert Clary, whose singing of several of the songs, mcluding “Lucky Pierre,” "Alouette” and “I’m in Love with Miss Logan” is decidedly entertaining. The one criticism that one may make is that the editing is very choppy; the picture flits from one number to another without dissolves and with an abruptness that is disconcerting. Needless to say, the color photography and the Cinemabcope process do much to enhance the proceedmgs as a whole. What there is in the way of a story has to do with the financial difficulties faced by Graham, as actorproducer of the show, and his putting a beautiful but dumb blonde into the show because of her promise to obtain the badly needed funds from her father, a wealthy Texan. The difficulties he encounters before he induces her father to come through with the cash makes up the rest of the plot. It is lightweight stuff, but serves well enough as a means of tying the different numbers together. It is an Edward L. Alperson production, produced by Berman Swarttz, and directed by Harry Homer. Suitable for the family. “Tennessee Champ” with Dewey Martin, Kennan Wynn and Shelley Winters (MCM, March; time, 72 min.) A better-than-average program comedy drama, which offers an entertaining mixture of religion and prizefighting. Photographed in Ansco color, the story, which revolves around a young boxer whose firm belief in the Lord brings about the reformation of his conniving manager, holds one’s interest all the way through and keeps one chuckling. Dewey Martin does very good work as the young fighter, and Kennan Wynn is tops as his fast-talking manager. Shelley Winters is cast in a sympathetic role as Wynn’s wife. A compelling characterization is turned in by Earl Holliman as a punch-drunk fighter associated with Wynn. The fight sequences are well staged. The direction is very good, and the color photography is sharp and clear: — In the mistaken belief that he had killed Charles Buchinsky, a bully, with a blow to the jaw, Martin, a religious-minded yourth, dives into the Mississippi to escape from Buchinsky ’s gang. He is saved by Wynn, a fight manager, who takes him to Natchez where they are joined by Shelley, Wynn’s wife, and Holliman, his veteran fighter. Unable to find an opponent for a match with Holliman, Wynn persuades