Harrison's Reports (1950)

February 11, 1950 HARRISON'S REPORTS 23 "Conspirator" with Robert Taylor and Elizabeth Taylor (MGM, March; time, 87 mm.) Produced by MGM in England, this is a fairly interesting but tragic melodrama, revolving around a young bride's horror when she discovers that her husband, a British officer, is a secret Communist agent .The story is somewhat weak in that the characterization of the husband lacks proper motivation. Moreover, the part of the story that deals with his efforts to "liquidate" his bride because of her discovery is lacking in sufficient suspense. Elizabeth Taylor, as the bride, does very well in her first mature role, but Robert Taylor, as her traitorous husband, is handicapped by a role that lacks conviction. His suicide at the finish makes for an unhappy ending: — Elizabeth, an American girl visiting England, falls madly in love with Taylor, a Major in the British Army, after meeting him at an elaborate ball. They marry after a whirl' wind courtship, but before long Elizabeth's happiness is marred by Taylor's strange behavior every time he receives an unsigned postcard bearing a photograph of the Tower of London. At such times he immediately left home for the night, explaining that he had to visit a sick friend. Actually, Taylor was a Communist spy in the pay of the Soviet Government, to which he delivered top military secrets, and the postcards were a summons to a meeting. One day Elizabeth accidentally comes across a letter revealing Taylor as a traitor. Disillusioned and shocked, but still in love with him, Elizabeth makes him promise to quit the Party immediately. Instead, Taylor notifies the Party leaders that his wife now knew his secret, and asks for instructions. They direct that he kill his wife immediately. He arranges to take her on a hunting trip, during which he fires his gun at her, but the shot goes wild. He dismisses the shooting as an accident, but Elizabeth suspects the truth. Displeased at his failure, the Party leaders warn Taylor to either "liquidate" Elizabeth at once or prepare to lose his own life. He goes home to carry out the instructions, but Elizabeth escapes from him and returns later with his regimental colonel. Aware that she had turned on him, Taylor commits suicide. The colonel then informs Elizabeth that Army Intelligence had long been aware of Taylor's activities, and had planted fake information for him to transmit to the Russians. He asks, however, that she keep this information secret along with the true reason for his suicide, and to let the world believe that he had killed himself because she had left him. It was produced by Arthur Hornblow, Jr., and directed by Victor Saville, from a screen play by Sally Benson, based on the novel by Humphrey Slater. Unobjectionable morally. "The Eagle and the Hawk" with John Payne, Rhonda Fleming and Dennis O'Keefe (Paramount, May; time, 104 min.) Although photographed in Technicolor, this western-type melodrama is only mildly diverting. The story, besides being flimsy, is too long drawn out and is developed in the main by dialogue instead of by action; for this reason one's interest lags. Moreover, the characterizations are trite and unbelievable. The picture has its quota of gunplay and fisticuffs, but in between such action moments the proceedings are rather dull. It may get by with those who are not too exacting in their demands, but discriminating movie-goers are likely to be less tolerant of its faults: — In the development of the story, which takes place during the Civil War, Dennis O'Keefe, a Yankee spy captured by the Confederates, is rescued by John Payne, a Texas Ranger, who delivers him to the Governor of Texas. Both are assigned on a mission to investigate an army formed on the Mexican border by General Thomas Gomez for the purpose of fostering an attack on Texas in behalf of Juarez, the Mexican patriot. O'Keefe and Payne were to obtain evidence to prove to Gomez that the aid he was getting in the way of money and arms came, not from Juarez, but from the French, who were plotting to down Juarez and bring in Maxmillian as emperor. On their way to Corrales, both men encounter Rhonda Fleming and help her to repair her carriage, which had lost a wheel. Later they learn that she is the wife of Fred Clark, who was supplying the money for Gomez's army. In the events that follow, Payne obtains a job with Clark and breaks into a "forbidden" building where he discovers a huge supply of French arms hidden. He is almost caught, but Rhonda, by this time in love with him, helps him to escape. Payne heads for Gomez' camp to meet O'Keefe, who had gone there to talk to the General. Amazed by what they tell him about Clark, Gomez demands proof. Both men return to Clark's encampment, and while O'Keefe blows up the ammunition building Payne goes through Clark's files and obtains letters proving him to be an agent of the French. In the ensuing excitement Clark captures Payne, but O'Keefe comes to his rescue, sacrificing his life in the process. A gun duel takes place between Gomez and Clark, with both men dying. Rhonda, now free, heads for Texas with Payne. It was produced by William H. Pine and William C. Thomas, and directed by Lewis R. Foster from a screen play he wrote in collaboration with Geoffrey Homes, based on a story by Jess Arnold. There are no objectionable situations. "Champagne for Caesar" with Ronald Colman and Celeste Holm (United Artists, no rel. date set; time, 99 min.) A mirthful comedy farce. It should go over well with all types of audiences because of the highly amusing ribbing it gives to radio and television double-or-nothing quiz shows. The satirical story is, of course, far-fetched, for no less than a $40,000,000 prize hinges on the correct answer to a question, but those who are willing to stretch the imagination a bit should find the proceedings pleasantly funny and at times quite hilarious. Ronald Colman is smooth as the scholarly gentleman who wants to put an end to quiz shows by winning everything the sponsor owns. In contrast to Colman's quiet humor, the broad slapstick antics of Vincent Price, as the frantic soap tycoon and sponsor of the show, are extremely laugh-provoking, as are the tricks employed by Celeste Holm, a sort of "Mata Hari," hired by Price to upset Colman emotionally : — Colman, whose chief interest in life is the pursuit of knowledge, lives with Barbara Britton, his sister. While watching a television quiz show with Art Linkletter, Colman, disgusted, calls him the forerunner of intellectual destruction in America. On the following day Colman applies for a job with a soap company owned by Vincent Price, but he fails to get the job when their personalities clash. He discovers, however, that Price's soap company sponsored Linkletter's quiz show, and decides to even matters. He shows up on the next show as a contestant and, after answering all the questions correctly, refuses to accept his winnings of $160, insisting upon returning the following week to try and double the winnings. Linkletter accepts the proposition at the urging of the audience. For several weeks Colman keeps doubling his money and Price is delighted because of the resultant publicity and the increase in sales, but when the winnings reach a total of more than $40,000 he becomes concerned and cancels the program. But the public's refusal to buy his soap compels him to resume the program. Colman continues to double his winnings, and when he reaches $2,000,000 Price becomes frantic. He engages Celeste Holm to make Colman fall in love with her and then to drop him abruptly in the hope that the shock will muddle his mind. But the effort fails, and in due time Colman works himself up to the $40,000,000 question, which, if answered correctly, would give him the soap company. The final program is staged in the Hollywood Bowl, where Colman, after having answered the most complex questions, misses when he is asked what his social security number is. It all ends happily, however, with Colman and Celeste heading for Las Vagas to be wed, accompanied by Barbara and Linkletter, who, too, had fallen in love. It is a Harry M. Popkin production, produced by George Moskov and directed by Richard Whorf from a story and screen play by Hans Jacoby and Fred Brady. Unobjectionable morally.