Harrison's Reports (1954)

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78 HARRISON’S REPORTS May 15, 1954 “Men of the Fighting Lady” with Van Johnson and Walter Pidgeon (MGM, June, time. 80 min.) Photographed in Ansco Color with prints by Technicolor, “Men of the Fighting Lady" is a stirring and thrilling war melodrama that pays tribute to the Navy jetplane pilots in the Korean war. It is one of the better pictures of its kind and should prove to be highly interesting to those who enjoy such films. It is doubtful, however, if it will appeal to women, for it has an all-male cast and no romantic interest. , • t. Based on events published in the Saturday Evening Pos under the titles “The Forgotten Heroes of Korea,^ by James Michener, and “The Case of the Blind Pilot, by Commander Harry A. Burns, USN, the picture details graphically the operations of a jet squadron based on a carrier off the Korean coast, and delves into the personalities ot the different pilots, their reactions to the dangers they face daily, their concern for each other's safety, and their dreams of returning to a normal way of life. All this is presented with considerable dramatic impact, and a realistic touch is given to the proceedings by the expert manner in which actual shots of combat footage, bombing operations, takeoffs and crash landings on the carrier's flight deck have been blended in with the staged action. One such actual shot, which shows a crippled jet exploding and bursting into flames as it crashes on the deck, is extremely awesome. A highly dramatic and harrowing sequence is the one in which a direct hit damages Dewey Martin's plane, bUnds him and leaves him frozen at the controls in a semi-conscious condition. The manner in which Van Johnson, another pilot, goes to his rescue and uses his inter-com radio to keep the blinded Martin awake and to guide him back to the carrier, eventually “talking him down to a safe landing, makes for one of the most gripping climaxes ever seen in a war picture. Walter Pidgeon, as the understanding ship's doctor; Frank Lovejoy, as the squadron leader; and Keenan Wynn, as one of the pilots, are among the other principals who turn in convincing portrayals. The direction and color photography are first-rate. It was produced by Henry Berman, and directed by Andrew Marton, from a screenplay by Art Cohn. Suitable for all. to clear himself. Duryea, aware of the ire of Payne's friends, grants the request. Payne goes to the telegraph office to send several messages to people who could check up on Duryea and on the murder charge, but he discovers that the messages could not be sent because the wires had been cut. In the complicated events that follow, Payne, aided by Dolores Moran, a saloon entertainer, learns from Harry Carey, Jr., one of Duryea's gang, that Duryea was not a Marshal and that he was wanted for murder. By this time Duryea wins support from a number of town people who had reason to dislike Payne because of his success as a rancher. He comers Payne in a barn and kills Carey. Shooting follows and Emile Meyer, the local sheriff, comes to Payne's defense only to be shot and killed by Duryea. Since no witnesses were present, Duryea accuses Payne of killing the sheriff and incites the town folk against him. They become an unruly mob, bent on lynching him, and he takes refuge in a church belfry. There, he is cornered and shot at by Duryea, but Duryea himself is killed when one of his bullets ricochets off the bell and strikes him. At this point an official message arrives confirming that Duryea was no Marshal and absolving Payne of the murder charge. Payne takes Lizabeth into his arms and peace comes to Silver Lode once again. It was produced by Benedict Bogeaus, and directed by Alan Dwan, from a story and screenplay by Karen DeWolf. Unobjectionable for the family. “Silver Lode” with John Payne, Lizabeth Scott and Dan Duryea (RKO, June; time, 80 min.) With a better script and smoother direction, this Technicolor western could have been an outstanding picture, for the story idea is off the beaten path. Unfortunately, Benedict Bogeaus, the producer, missed the boat by approving a script that is weak and full of inconsistincies. Alan Dwan is an old and experienced director, but his work in this picture looks as if it had been done by an amateur. It is so bad in many of the situations that people laughed at it in the theatre where it was shown. The acting fluctuates from fairly good to poor, but where there is no overacting the players appear convincing and one is held in tense suspense. Even now the picture could be improved by skillful editing. There is very little genuine comedy relief. The color photography is good; — As John Payne and Lizabeth Scott are being married in Silver Lode, Dan Duryea, posing as a U. S. Marshal and accompanied by three “deputies, " rides into town to arrest Payne for the murder of his (Duryea's) brother two years previously, after cheating him in a card game. Payne knows instinctively that Duryea is a fake Marshal but cannot prove it. The town folk come to Payne’s defense and threaten to shoot Duryea and his men if they should try to take him away by force, but Payne refuses to permit his friends to take such action. He admits the killing but insists that it was done in self-defense and asks for two hours in which “Drums Across the River” with Audie Murphy, Lyle Bettger and Walter Brennan (Univ.'Int'l, June; time, 78 min.) Like most of the Technicolor outdoor melodramas produced by Universal, this one, too, offers a satisfying round of action thrills and should find favor with the action fans and the family trade. Largely fashioned from a time-honored formula, the story has a lawless gang attempting to provoke an Indian war for their own benefit, and a fearless hero who risks his life to expose the plot and bring the villian to justice in order to restore peace with the redskins. It is a stock plot, but it is enlivened with plenty of gunplay, chases and skirmishes with the Indians. Audie Murphy is his usual competent self as the hero, and Lyle Bettger is properly sinister as the leader of the outlaws. Walter Brennan is effective as Murphy’s father, a courageous old man who opposes lawlessness. Lisa Gaye and Mara Corday provide the romantic interest, but it is unimportant. The color photography is fine: — Over the violent objections of his father, Audie joins Emile Meyer, a respected citizen of Crown City, and Lyle Bettger in a scheme to mine gold in the treaty-protected lands of the Ute Indians. Unknown to the others, Bettger had urged the expedition as part of a plan to provoke an Indian war for the benefit of himself as well as certain highly-placed men in Denver. The expedition leaves with Brennan’s threats to go to the authorities ringing in their ears. Bettger secretly orders one of his men to remain behind and give Brennan a beating as a warning, but this does not deter the old man, who gallops after the expedition. Meanwhile Audie and the others are cornered by a Ute hunting party. Meyer is captured by the Utes but one of their number is captured by Audie. Brennan shows up and arranges a truce for an exchange of the prisoners. Bettger, violating the truce, orders his men to fire on the Indians. Realizing that this treachery would provoke a war, Audie risks his hfe to go to the Ute camp and save the peace. He finds Morris Ankrum, the Ute chieftan, on his deathbed, and the understanding old man accepts Audie's explanation of the incident before he dies. Jay Silverheels, the new chief, permits Audie to attend the old man's funeral, then turns him loose with the warning that the burial place is secret and holy and that any who desecrate it will be killed. Audie returns to Crown City in time to stop the whites, incited by Bettger, from launching an attack against the Utes. In another attempt to foment a clash with the Indians, Bettger and his gang rob a stagecoach of a shipment of gold, kill the passengers, and leave evidence that