Harrison's Reports (1954)

April 24, 1954 HARRISON’S REPORTS 67 ing to involve Dane Clark, the hero, for her own protection, or whether she is sincerely aiding him to find the murderer. The photography is clear but somewhat dark: — While in a hopelessly drunk condition in London, Dane Clark accepts $500 from Belinda Lee for a mysterious job. The following morning Clark finds himself in a strange apartment with blood on his clothes, and reads in the newspapers that Belinda’s wealthy father had been murdered. Realizing that he is an a predicament, Clark seeks out Belinda. She claims that her father had been found dead on the same evening that she had given him the money, and she explains the blood on his clothes as coming from the murdear weapon, a poker, which Clark had picked up. Belinda offers to help Clark find the murderer so as to clear himself. But when Clark finds her in the company of Andrew Osborn, her fiance, he thinks that she is double'crossing him. Later Osborn is found dead, killed at his (Clark’s) door. In a showdown at the' home of Betty Ann Davis, Belinda’s mother, Clark compels Miss Davis to admit that it had been she who had murdered both her husband and Osborn to prevent exposure of her real estate swindles. Michael Carreras produced it, and Terence Fisher directed it, from a screenplay by Richard Landau, based on a novel by Helen Nielsen. Adults. “Untamed Heiress” with Judy Canova, Donald Barry and George Cleveland (Republic, April 12; time, 70 min.) This program comedy seems best suited for the kids on Saturday matinees. Although the action is of the silly sort, children ought to go for it in a big way, particularly towards the last part, which unfolds in a castle in the desert, where Judy Canova and two scheming down-and'out theatrical agents had gone to find George Cleveland, an old prospector who wanted to share his wealth with her. Worked into the prO' ceedings are several songs that are sung by Miss Canova in her well known style. The photography is clear: — Cleveland, an old prospector, calls on Taylor Holmes and Chick Chandler, impoverished theatrical agents, and offers to pay them well to locate Judy; he wanted to give her half of his wealth because, years previously, her mother had grubstaked him. Seeing an opportunity for easy riches if they should adopt Judy and then bring her to Cleveland, the two agents, needing money for traveling expenses, swindle Donald Barry, a gangster, out of $200 and use the money to travel to Lambert’s Landing, where they find that Judy is a grown woman. Realizing that they cannot adopt her, they promise her a singing career and sign her to a contract that gives them a percentage of anything that she may collect. Before they can leave for Nugget City, where Cleveland lives. Holmes and Chandler are caught by Barry, who demands his money. They include Barry in their scheme to soothe his feelings, and all head for Nugget City. Arriving there, they find that Cleveland is living in a huge castle built in the desert. Everything looks rosy until Hugh Sanders arrives on the scene and identifies himself as Cleveland’s guardian, claiming that the court had ruled the old man to be incompetent. Judy learns that Sanders was up to trickery to obtain Cleveland’s gold hoard, and she enlists Barry’s aid to stop him. After a series of whacky events, Judy succeeds in foiling Sanders’ plot, and it all ends with her adopting Cleveland as her very own grandfather, while he in turn gets his wish to share his wealth with her. Sidney Picker produced it, and Charles Lamont directed it, from a scr&nplay by Barry Shipman, based on a story by Jack Townley. Family. “Playgirl” with Shelley Winters, Barry Sullivan and Colleen Miller (Univ.'Int’l, May; time, 85 min.) A fair adult entertainment. As indicated by the title, it is a lurid sensational type of melodrama and, as such, lends itself to exploitation. But its story of a small town girl who comes to the big city to make good, only to become involved with playboys, gangsters and killings, is unpleasant and unwholesome. The performances are competent enough, but the characterizations, even that of the heroine, are unsympathetic. Colleen Miller, a newcomer, is effective as the innocent girl whose shocking experiences with Manhattan cafe society turn her into a„ hardened “party girl.’’ Shelley Winters gives full rein to her characterization as a worldly night-club singer who takes to drink when Barry Sullivan, her married boyfriend, starts making a play for Colleen. In the main, the action revolves around unsavory people and around their unsavory conduct, but it is well done and should satisfy those who do not object to sordidness in picture entertainment:^ — Arriving in New York City, Colleen is taken in hand by Shelley, her friend, who undertakes to educate her to the pace followed by cafe society. She launches Colleen socially by getting her a date with Richard Long, a social ne’er-do-well, who made his living by introducing pretty girls to lonely clients. Colleen rejects the idea of becoming a party girl and obtains a job as a model for GHtter Magazine, through the influence of Gregg Palmer, one of the magazine’s editors. In this way she meets Barry Sullivan, the unhappily married publisher, who was carrying on an affair with Shelley. Sullivan shows an immediate interest in Colleen, who was unaware of his affair with Shelley, and he launches her on a successful career by featuring her photo on the magazine’s cover. Angered by Sullivan’s neglect, Shelley, intoxicated, storms into a swank party attended by Sullivan and Colleen and in a fit of temperament dehberately ruins Colleen’s evening gown. Sullivan whisks Colleen away and takes her to his private apartment. They are followed there by Shelley and, in an ensuing argument, Sullivan is accidentally shot by Shelley when he tries to restrain her. Both girls are absolved from legal responsibility, but the sordid episode ruins their careers. Shelley starts to drink heavily, and Colleen turns to Long, who sees to it that she becomes the most sought after “party girl” in town. To cancel a debt owed to a gang of racketeers. Long agrees to set a trap for the murder of Kent Taylor, a gambler, using Colleen as the bait. While a gimman holds Colleen at bay and waits for Taylor to enter her apartment, Shelley, having learned about the scheme, rushes into the apartment to warn Colleen. She is accidentally shot by the gunman, who in turn is killed by Taylor, who had just arrived. It all ends with Shelley recovering and absolving Colleen of any guilt in the sordid business, and with Colleen turning to Palmer to start a new and decent life. It was produced by Albert J. Cohen, and directed by Joseph Pevney, from a screenplay by Robert Blees, based on a story by Ray Buffum. Adults.