Harrison's Reports (1955)

90 HARRISON'S REPORTS June 4, 1955 "Othello" with Orson Welles (United Artists, June; time, 92 min.) Filmed on location in England, this Shakespearean drama has been produced skillfully; the direction is masterful, the acting artistic, and the black-and-white photography unusually good. But like most of Shakespeare's other classics that have been brought to the screen, this one will find its best reception in art houses that cater to selected audiences. It is not a picture for mass consumption, for the rank-and-file movie-goers will find it difficult to follow and understand the Shakespearean dialogue spoken by the players. In addition to his chores as producer and director, Orson Welles gives an outstanding performance as Othello, the Moorish general who woos and wins Desdemona, daughter of a Venetian Senator, only to murder her and kill himself when he falls victim to the devilish machinations of a disgruntled aide who arouses suspicions in him about the fidelity of his wife. The ancient settings are highly impressive, and the sombre photography is in keeping with the tragic mood of the story. The action unfolds in Italy, in the days of old, and centers around the unhappiness brought to Othello by Iago (Michael MacLiammoir), his adjutant, who is angered when the general appoints Cassio (Michael Lawrence) as his lieutenant. He sets out to avenge himself against Othello by arousing his suspicions about the fidelity of Desdemona (Suzanne Cloutier), and by providing him with false ciu cumstantial evidence that indicates that she had been having an affair with Cassio. This results in Othello becoming insanely jealous to the point where he murders Desdemona, a deed he commits shortly before he learns that Iago had lied to him and that she had actually been faithful and innocent. Heartbroken, Othello commits suicide. Meanwhile Iago is arrested and imprisoned in a cage that is suspended high in the air, sentenced to be slowly picked to death by vultures that hover hungrily around the cage. It is a Mercury production, produced and directed by Mr. Welles. "Son of Sinbad" with Dale Robertson, Sally Forrest, Lili St. Cyr and Vincent Price (RKO, June; time, 88 min.) Photographed in Technicolor and SuperScope, "Son of Sinbad" is one of those oriental fantasies of the Arabian Nights type and, as such, is only moderately entertaining and offers little that is unusual. It may, however, prove to be a strong box-office attraction in view of the extensive exploitation campaign that RKO is putting behind the picture, playing up the bevy of beautiful girls who appear throughout in revealing harem costumes and who execute some daring dance routines. The picture, though it has a Production Code seal, has incurred the wrath of the Legion of Decency, which has given it a "C" or condemned rating, but if we are to judge from past hostility, it may serve to arouse interest and draw people to the box-office. The story itself is weak, but the mood is light and the action melodramatic. The color photography is fine: — The story has Dale Robertson, as the son of "Sinbad," and Vincent Price, as Omar, the poet, captured and senz fenced to die when they visit the harem of the Khalif (Leon Askim) once too often. Their capture is a source of dismay to Lili St. Cyr, the harem queen, and Sally Forrest, her servant. Meanwhile the Khalif is panic-stricken because of an impending attack by Tammerlane, the barbarian leader. Raymond Greenleaf, an old Greek scholar imprisoned by the Khalif makes a deal with the ruler to give him the secret of Greek Fire, a secret weapon with which he can conquer Tammerlane, in exchange for the freedom of himself, Mari Blanchard, his daughter, Robertson, who had been her childhood sweetheart, and Price. The Khalif agrees, and Greenleaf hypnotizes his daughter, who held the formula of the Fire in her subconscious mind. Mari names the chemical ingredients and Greenleaf mixes them in the proportion named. Disbelieving that the liquid is destructive, the Khalif hurls it out of a window and is astounded when one-half of his garden is blown to smithereens. Jay Novello, the court jester, who was really a spy for Tammerlane, reports the incident to Ian MacDonald, Tammerlane's aide. MacDonald captures Mari with the chest containing the chemicals and flees into the desert after killing her father. Robertson pleads with the Khalif for an opportunity to rescue Mari and recover the chemicals before she can be brought to Tammerlane. The Khalif agrees, promising to name him second in command of Bagdad if he succeeds. Before departing, Robertson reveals to Sally that she is his true love, and she in turn discloses that she is a member of the daughters of the original Forty Thieves. She sends word to Joanne Jordan, the leader of the female thieves, to aid Robertson in his mission. After many complications, during which the female thieves recover the chemicals and rout MacDonald and his forces, Robertson rescues Mari. It all ends with Robertson becoming the co-ruler of Bagdad, after which he grants amnesty to the female thieves, who become palace guards. Robert Sparks produced it, and Ted Tetzlaff directed it, from a screenplay by Aubrey Wisberg and Jack Pollexfen. Adult entertainment. "A Day to Remember" with an all-British cast (Republic, March 29; time, 72 min.) Comedy, romance and some drama are blended to fair effect in this British-made production, which centers around the adventures of a group of middle-class Englishmen who go to France for a one-day holiday. It is doubtful, how« ever, if American audiences will find it more than moderately entertaining, for the pace is slow, the comedy mild and the romantic interest conventional. The trouble with the story is that it has too many by-plots, not one of which is particularly impressive. As is the case with most other British pictures, the players in this one are relatively unknown in this country. The photography is ordinary: — Included among the members of a British dart team who cross the Channel for a one-day outing in Boulougne, France, are Donald Sinden, a quiet young man, whose parting from Joan Rice, his vivacious sweetheart, had been strained; EcU ward Chapman, a widower, who had spent his honeymoon in France; Bill Owen, who was touchy about his short stature; Stanley Holloway, a gay blade with an eye for the ladies; and James Hayter, a genial, middle-aged man, who was determined to see that none of his pals got into trouble. Shortly after their arrival, Sinden comes upon Odile Versois and is amazed to discover that she is the little girl who had taught him French when he was billeted in her family's farm during the war. Both are attracted to each other, in spite of the fact that she is now engaged to a lawyer with a promising future. While Sinden spends the day with Odile, Hayter forgets his status as the team's chaperon and becomes involved in a saloon with a vivacious blonde. At the same time Owen gets drunk and defiantly fulfills a secret ambition to join the French Foreign Legion, despite the frantic efforts of the others to stop him. Meanwhile Joan, back in England, goes on a blind date with Vernon Gray, an American soldier, and finds in him everything that she had been looking for in a companionable husband. She makes up her mind to break away from Sinden upon his return. Back in France, Odile and Sinden realize that they were meant for each other. She breaks her engagement to the lawyer, and he in turn promises to clear himself from his arrangement with Joan. Thus the outing becomes a day to remember, for, in addition to the enjoyment had by all concerned, Owen had proved himself big enough to be accepted by the Legion, while both Joan and Sinden find happiness in their new engagements. The picture was produced under the J. Arthur Rank banner by Betty E. Box, and directed by Ralph Thomas from a screenplay by Robin Estridge, based on Jerrard Tickell's novel "The Hand and Flower." Family.