Harrison's Reports (1954)

66 HARRISON’S REPORTS April 24, 1954 “Fireman Save My Child” with Spike Jones and the City Slickers (Univ.'Int’l, May; time, 80 min.) The best way to describe this slapstick comedy is to liken it to the old Keystone Cops type of comedies, except that this one has firemen instead of cops and, of course, soimd. The slapstick is as broad and zany as the old'time comedies, and those who are willing to accept it for what it is should enjoy it. There is no doubt that it will make children squeal with delight. The popularity of Spike Jones and his band, who play the firemen, should be of considerable help at the box' office. The proceedings are highlighted by their whacky but highly amusing musical renditions, which come as welcome relief from most of the other slapstick com. Buddy Hackett, as one of the firemen, tries valiantly to be funny, but his antics are so forced that his efforts fall flat most of the time. The action takes place in San Francisco in 1910, during the days of fire horses. The completely silly story has to do with the head' aches encountered by Tom Brown, a fire department captain, when he is assigned to the task of motorizing Station 12, staffed by a group of dim'witted but well' meaning nincompoops, including Spike Jones and his band, Hugh O’Brian and Buddy Hackett, an addle' pated rookie, who spends most of his time in unsuc' cessful efforts to create a new type of fire extinguisher. Worked into the crackpot doings is the burning down of the fire house itself, as well as a running gag in which one of the firemen always falls off the fire truck when it turns a certain corner and lands in an apartment containing scantily'clad Adele Jergens and her irate husband, a big bruiser. Worked into the plot also is Hackett ’s perfection of the new ex' tinguisher, only to have it stolen by a pair of crooks who were trying to pawn off their own inferior ex' tinguisher. This leads to a mad pursuit that comes to a climax when the fire truck itself catches fire. After much confusion, it ends with Hackett extinguishing the fire with his own invention and with his being hailed as a hero. It was produced by Howard Christie, and directed by Leslie Goodwins, from a screenplay by Lee Loeb and John Grant, based on a story by Mr. Loeb. Family. “River of No Return” with Marilyn Monroe, Robert Mitchum and Rory Calhoun (20th Century'Fox, May; time, 91 min.) Although the names of the leading players provide this CinemaScope outdoor melodrama with a potent box'office asset, what is even more important is that it is a vastly exciting entertainment, tightly written, well directed and acted, and embellished with eye' filling Technicolor photography. The picture was shot on location in Jasper and Banff National Parks in the Canadian Rockies and, thanks to CinemaScope, the spectacular scenic backgrounds are nothing short of breathtaking. The scenes that show Mitchum, Miss Monroe and young Tommy Rettig journeying down a treacherous mountain river on a raft, battling the rapids and whirlpools and at the same time fighting off maurauding Indians who attack them from the banks, are highly thrilling. The story, which takes place during the gold rush days of 1875, is taut and engrossing, and is highlighted by warm touches of human interest. Miss Monroe is as sexy as ever as a barroom entertainer who becomes involved in a peril' ous adventure with Mitchum, yet her characterization is warm and sympathetic. Mitchum is convincing and effective as a quiet but fearless young widower, and a fine performance is turned in by Tommy Rettig, as his young son. The touching devotion between Mitchum and the youngster is deeply appealing. The direction is expert, and the photography first'rate : — Having arranged for the delivery of Tommy, his lO'year'old son, to a primitive tent city in the North' west, Mitchum picks up the lad, whom he had not seen in years, and heads for the open country to make a fruitful life for himself and his boy by farming. Before departing, he thanks Marilyn for watching over the boy until his arrival. Despite the threat of Indian attacks, things go well at the farm and Tommy learns to idolize his father. One day Mitchum spies a raft, out of control, coming down the surging river and he throws a line to the two occupants, who prove to be Marilyn and Rory Calhoun, a gambler. They explain that they were on their way to Council City to register a gold field claim that Calhoun had won in a poker game. After Mitchum advises them that the trip by raft is too dangerous, Calhoun knocks him unconscious and steals his only gun and horse in order to reach Council City, Marilyn, angered by this action, refuses to accompany Calhoun. Aware that he cannot defend himself against the Indians without a gun, Mitchum hustles Tommy and Marilyn aboard the raft and sets out on the dangerous trip to Council City. The trip is marked by many dangers and narrow escapes from death, as well as a personal conflict be' tween Marilyn and Mitchum because of his determ' ination to even matters with Calhoun. They finally reach Council City after many hardships, but by this time Marilyn and Mitchum love each other, although neither admits it. Using her influence, Marilyn ar' ranges for a peaceful meeting between Mitchum and Calhoun, but the sneaky gambler pulls a double'cross and tries to shoot the unarmed Mitchum. Tommy, examining rifles in the general store, sees his father’s danger and quickly shoots and kills Calhoun. Marilyn assures the dazed youngster that his action had been justified, then heads for the local saloon to obtain work as an entertainer. Later, Mitchum, loaded with fresh supplies, storms into the saloon and, without a word, throws Marilyn over his shoulder and carries her out. She becomes his willing captive and joins him and Tommy in an effort to rebuild the farm, which had been destroyed by the Indians. It was produced by Stanley Rubin, and directed by Otto Preminger, from a screenplay by Frank Fenton, based on a story by Louis Lcuitz. Family. “Blackout” with Dane Clark and Belinda Lee (Lippert, March 19; time, 87 min.) A fair program melodrama, suitable for the lower half of a double bill. Although the action holds one’s interest fairly well, a better script could have held it more tense. The story revolves around a hapless fellow who finds himself enmeshed in the murder of a wealthy man and, even though he was intoxicated when he became involved, he is sure that he had not committed the murder and sets out to find the crim' inal. The action unfolds in and around London, Eng' land, where the picture was photographed and pro' duced. One particular drawback is the fact that the characterizations are not clearly defined. At times one is not sure whether Belinda Lee, the heroine, is schem'