Harrison's Reports (1954)

March 13, 1954 HARRISON’S REPORTS 43 “Riding Shotgun” with Randolph Scott, Wayne Morris and Joan Weldon (Wdmer Bros., April 10; time, 75 min.) A good Randolph Scott western, photographed in WarnerColor. The story, which revolves around Scott’s efforts to prove that he was innocent of a stage holdup, and that his warning that the town of Deepwater would be attacked by the outlaw gang was correct, has plentiful action and heroics, of the kind that should please the western fans. There is a mild but pleasing romance, because Joan Weldon, the heroine, never loses her faith in Scott s innocence. Scott is his usual competent self in a sympathetic characterization. The story is light, despite the killings. The color as well as the photography are good: — Scott, a guard on the Deepwater stage, is tricked into leaving his post to go in pursuit of a member of a gang of outlaws headed by James hlillican. Scott rides into a trap and is captured and bound securely by the gang. He learns that the gang planned to attack the stagecoach as a means of drawing the sheriff of Deepwater and a posse out of town so that they could then slip into the unprotected town and hold up the local gambling club. Shortly after the gang shoots up the stage and kills the driver, Scott frees himself and heads for Deepwater, where he informs the citizens of the gang’s contemplated attack on the town and urges them to recall the posse. The townspeople, however, are hostile to him in the belief that he was in league with the gang and that he was trying to save the outlaws from the pursuing posse. Several incidents result in Scott becoming a victim of mounting suspicion and condemnation, and he is eventually forced to take refuge in a cheap saloon to save himself from a mob bent on lynching him. But none of his would'be lynchers risks going in after Scott because of his prowess with a gun. Joan Weldon, his sweetheart, enters the saloon and warns Scott to escape because of the rising mob spirit. Just then the outlaw gang rides into town to carry out the holdup of the gambling club. Aware of the gang’s intentions, Scott escapes from the saloon and heads for the club. He arrives in time to interrupt the robbery, shoot out the lights and kill Millican, while the rest of the gang is rounded up by the townfolk. Having proved his innocence, Scott walks away from the sheepish citizens and joins Joan. It was produced by Ted Sherdeman, and directed by Andre de Toth, from a screenplay by Tom Blackburn, based on a story by Kenneth Perkins. Mainly for adults, but suitable also for the youngsters. “Bitter Creek” with Wild Bill Elliott (Allied Artists, Feb. 21; time, 74 min.) “Bitter Creek” should prove a highly satisfactory entertainraent in theatres where western melodramas are played, for it is an above-average picture of its kind. It starts off with fast action and continues at a speedy pace right to the end. There are, of course, many killings, but Bill Elliott, the hero, never violates the western code — he always gives his opponents a fair chance to draw, even though his brother had been shot in the back and killed. The acting is good, thanks to the skillful direction. One attention is held tight all the way through because of the danger to the lives of the sympathetic characters. The photography is good : — Elliott goes to Bitter Creek country to avenge the death of his rancher-brother, shot in the back. Indications are that he had been killed by some worker on the Lazy Q Ranch, owned by Carleton Young. En route to Bitter Creek by stagecoach, Elliott meets Beverly Garland, a young girl engaged to Young, and Dan Mummert, her young brother. Young hires a gunman to kill Elliott. John Harmon, an old stage driver, takes a liking to Elliott but is killed trying to protect him. Beverly watches Young while John Pickhard, his ranch hand, beats Forrest Taylor almost to death after Taylor informs Elliott that Young had killed his brother. Young surprises Elliott in a cabin and is about to shoot him when Taylor, feigning drunkenness, comes to life and throws a whiskey bottle at Young, giving Elliott a chance to shoot and kill him. It ends with Beverly persuading Young to remain in the territory because she loved him. Vincent M. Fennelly produced it, and Thomas Carr directed it, from a screenplay by George Waggner. Though it is mainly for adults, children should like it as well, and perhaps more, because of the fast action and the heroics. “Yankee Pasha” with JefiF Chandler, Rhonda Fleming and Mamie Van Doren {Univ.'lnt’l, April; time, 84 min.) Those who enjoy romantic swashbuckling melodramas should get full satisfaction out of this one, which is based on the best-selling novel of the same name, and which has been photographed in Technicolor. Set in 1800, and revolving around a rugged New England frontiersman who follows the girl he loves to Morocco, where she had been spirited away by Barbary pirates and put in a Sultan’s harem, the story is too contrived to be believable, but it is adventurous and exciting from start to finish and makes for a package of actionful and colorful so-called “escapist” entertainment. Not the least of the film’s assets is the bevy of beautiful harem girls, as played by the Miss Universe Beauties and by the shapely Mamie Van Doren. And, needless to say, the beauteous Rhonda Fleming in scanty harem costumes is easy on the eyes. Jeff Chandler, as the frontiersman who risks his bfe to rescue Miss Fleming, has a field day in a characterization that gives him ample opportunity to be dashing and heroic. The production values are lush, and the color photography of the best: — Chandler, a frontiersman, decides to give up life in the wilderness and comes to Salem, Mass. There he meets and falls in love with Rhonda Fleming, who is engaged to Harry Lauter, her father’s wealthy and arrogant employer. Rhonda reciprocates Chandler’s love but refuses to marry him lest she endanger her father’s position. Chandler, disillusioned and heartsick, goes back to the wilds. When her father discovers Rhonda’s true feelings, he insists that she break her engagement to Lauter. He promptly loses his job, but makes arrangements to represent an American firm in Marseilles. Learning of this. Chandler gallops back to town but arrives after Rhonda and her father have departed. He follows them on the next boat and upon his arrival in France learns that the packet carrying Rhonda had been attacked by Barbary pirates who had killed her father and had carried her off. Determined to find and free his love. Chandler traces her to Morocco and learns that she had been purchased as a harem girl by Burt Roberts, right hand man of Lee J. Cobb, the Sultan, who was aware that Roberts was always a threat to his throne. By dint of his outstanding marksmanship with a rifle. Chandler endears himself to the Sultan and is appointed to train his soldiers. To make Chandler’s stay pleasant, the Sultan arranges for Mamie Van Doren, a gorgeous blonde chatterbox, to become his slave. Mamie is pleased, but Chandler shows little enthusiasm for the plan. In the events that follow. Chandler provokes Roberts into a rifle duel, with the stakes being his slave against Roberts’ slave. He wounds Roberts and wins the duel, thereby winning back Rhonda. But when Roberts learns that Chandler’s only reason for being in Morocco is to free Rhonda, he kidnaps her, aided by the jealous Mamie. But Mamie, repentent, uses her wiles to get into Roberts’ palace and exchanges places with Rhonda while Chandler waits outside to flee with her. The ruse is discovered before they can escape, but, after a furious battle in which he kills Roberts and bests his guards. Chandler, with the Sultan’s blessing, is permitted to return to America with Rhonda. It was produced by Howard Christie, and directed by Joseph Pevney, from a screenplay by Joseph Hoffman, based on the novel by Edison Marshall. Suitable for the family.