Harrison's Reports (1954)

May 15, 1954 HARRISON’S REPORTS 79 point's to an Indian attack. He then kidnaps Audie and his father, and uses the old man as hostage to force Audie to deliver the gold to the gang's hideout. In a series of swift' moving events, Audie outwits the gang and manages to lead them to the secret Indian burial ground, where the Indians come to his aid and help him to wipe out the outlaws. All this leads to a new and stronger treaty between the Indians and the whites, and peace reigns once again in the territory. It was produced by Melville Tucker, and directed by Nathan Juran, from a screenplay by John K. Butler and Lawrence Roman, based on a story by Mr. Butler. Suitable for the family. “Three Coins in the Fountain” with Clifton Webb, Dorothy McGuire, Jean Peters, Louis Jourdan and Maggie McNamara (20th Century' Fox, May; time, 102 miri.) A thoroughly delightful romantic comedy-drama, rich in humor and warmly appealing, and without a doubt the most pictorially effective CinemaScope picture yet produced. Favorable word-of-mouth “advertising should make it a top box-office attraction. Photographed in what is described as DeLuxe color, the story, filmed in Italy, is set against present-day backgrounds of Rome and Venice and it affords the spectator with some of the most interesting shots ever taken of the famous landmarks in those cities, among them being St. Peter's, Vatican City, the Fountain of Trevi, the Villa Madama, the Spanish Steps and many others of equal universal fame. The shots of Venice are particularly interesting, a dramatic pictorial highlight being the approach to that famed city by air. The story, which revolves around the romantic yearnings of three love-struck American secretaries who work in Rome and live together, is rather lightweight in substance, but bright dialogue and the expert touches given to the proceedings by Jean Negulesco, the director, endow it with a sprightly and warm quality, and with a number of situations that are genuinely dramatic. The acting is outstanding, and the color photography superb. The picture’s title finds its origin in the Roman legend that he who tosses a coin into the Fountain of Trevi and wishes to return to Rome will have his wish granted. Briefly, the story has Maggie McNamara, who will be remembered for her fine performance in “The Moon is Blue," arriving in Rome to work as a secretary for an American business firm and to replace Jean Peters, who had decided to return to the United States. Both girls share an apartment with Dorothy McGuire, who had been working in Rome for the past fifteen years as secretary to Clifton 'Webb, a middle-aged, debonair American author, known for his impeccable taste and caustic wit, for whom Dorothy had unrequitted affection. In the development of the story, it comes out that Jean’s decision to return to the States was motivated by the fact that she was in love with Rossano Brazzi, a young Italian translator employed by her firm, but company rules did not permit her to go out with local employees. The couple's defiance of this rule costs Brazzi his job. Jean quits her pKDsition and decides to marry him, but their plans come to naught because he did not earn enough to properly support himself. Meanwhile Maggie becomes romantically involved with Louis Jourdan, a handsome but notorious playboy-prince, whose efforts to take advantage of her are frustrated by Dorothy. Maggie, however, sets out on a shrewd campaign to win Jourdan’s heart and before long he asks her to become his bride. She then confesses the deceits she had employed to win his love and as a result loses him. In the meantime Dorothy, anticipating that her friends are about to be married, decides to leave Webb lest she remain an old maid. Her decision to leave awakens Webb’s love for her and he asks her to become his wife. But their plans, too, hit a snag when he learns from his doctor that he had but one year to live. He tries to get out of the marriage proposal through a flimsy excuse, but Dorothy sees through it and convinces him that they should remain together come what may. At the same time she tells him of the romantic problems of Maggie and Jean. Using his influence, he sees to it that Brazzi is reinstated in his job and that Jourdan makes up with Maggie. It all ends with the three couples meeting and embracing at the Tervi Fountain, where each of the girls had made a wish at the start of the story. It was produced by Sol C. Siegel and directed by Jean Negulesco, from a screenplay by John Patrick, based on the novel by John H. Secondari. Adults. “Magnificent Obsession” with Jane Wyman, Rock Hudson and Barbara Rush (Univ.'Int'l, August; time, 108 min.) When first produced by Universal in 1935 with Irene Dunne and Robert Taylor as the stars, “Magnificent Obsession” was analyzed by this paper as a deeply stirring drama with a great appeal to women. The same may be said of this new version, which is further enhanced by Technicolor photography. Except that the time is the present, practically no change has been made in the story, which was one of the late Lloyd C. Douglas’ best-selling novels. It grips, one’s, attention from the very start and is filled with situations that tear at one’s heartstrings. A sensitive and deeply moving portrayal is turned in by Jane Wyman as the young widow who is blinded accidentally. And much credit is due Rock Hudson for his very fine performance as an irresponsible playboy who changes his ways and devotes himself unselfishly to Miss Wyman’s welfare after realizing that he was indirectly responsible for the misfortunes that enter her life. The closing scenes, where Hudson, after becoming a surgeon, performs a delicate operation that saves Miss Wyman’s life and restores her sight are emotionally stirring. The production values are of the first order and so is the color photography: — Jane, a bride of a few months, is left a widow when her husband, a famous doctor and philanthropist, dies from a heart attack. By an ironic twist of fate, the inhalator kept at the doctor’s home for his personal emergency use had been sent to revive Hudson, who had wrecked his speedboat on the lake nearby. After recovering in the hospital owned by Jane’s husband, Hudson, feeling somewhat guilty, tries to make amends by offering Jane $25,000, but she refuses it. Hudson continues his wild way of life and one day, while on a drunken binge, he wrecks his car near the home of Otto Kruger, a famous artist and friend of Jane’s. Kruger sobers up the unhappy young man and suggests that he would get more satisfaction out of life if he followed the formula of living that had been followed by Jane’s de-. ceased husband — to help some one in need and to refuse repayment. This advice inspires Hudson and he seeks to have a talk with Jane. She attempts to evade him and in doing so is struck by a car and her injuries result in blindness. Beside himself with grief, Hudson manages to cultivate her friendship under an assumed identity and she gradually learns to love him. He secretly sees to it that she is kept financially solvent, and arranges for her to go to Switzerland, accompanied by Barbara Rush, her 20-yearold stepdaughter, and Agnes Moorehead, a family friend, to undergo tests with three eminent eye specialists. Meanwhile Hudson resumes the medical studies he had given up years previously. Jane is heartbroken when the doctors inform her that they can do nothing to help her. Hudson rushes to Switzerland, confeses his true identity and his love for her, and begs her to marry him. Not wishing to be a burden, she disappears with Miss Moorehead and keeps her whereabouts a secret. With the passing years Hudson becomes a top surgeon and one day, through Kruger, he learns that Jane is deathly ill in a New Mexico hospital. He rushes to her side and performs a delicate operation that not only saves her life but also restores her sight. Thus reunited, the two face the future with courage and anticipation. It was produced by Ross Hunter, and directed by Douglas Sirk, from a screenplay by Robert Blees. Suitable for all.