Harrison's Reports (1955)

208 HARRISON'S REPORTS December 24, 1955 before the cameras and will bow in the fall of 1956. Sequences from the two forthcoming releases, considered among the most important attractions ever presented by 20th-Fox, have been selected to illustrate the marked advances in screen clarity, depth of focus, elimination of distortion and greater audience participation achieved by CinemaScope 55. Every exhibitor who can possibly do so should make it his business to attend one of these demonstrations, for he will see the most magnificent form of motion picture photography yet devised. "Diane" with Lana Turner, Pedro Armendariz, Roger Moore and Marisa Pavan (MGM, January; time 110 ntin.) Embellished with lavish production values, CinemaScope and fine Eastman color, this 16th Century romantic costume melodrama is a fairly good, if not outstanding, picture of its kind. It should appeal chiefly to the female picture-goers, however, not only because it is given more to talk than to action, but also because the story centers mainly around the conflict between two powerful women in the life of France's King Henry II, one being Catherine de Medici, his Queen, and the other the Countess Diane de Brezc, his mistress. Lana Turner is sympathetic as Diane, and Marisa Pavan is effective as the heartbroken and embittered Catherine, who finds herself relegated to the background because of her husband's open relationship with Diane. Impressive performances are contributed by Pedro Armendariz;, as King Francis I, and by Roger Moore as Prince Henry, his son, who later becomes Henry II. A tournament sequence involving jousting with lances provides a few exciting moments. The picture's running time is overlong and could stand some judicious cutting: — When her husband (Torin Thatcher) is arrested on suspicion of plotting against King Francis, Diane visits the ruler to plead for his life. She sueceeds in her mission, but in so doing is wrongly suspected of infidelity by her husband. He feels his suspicions are fully confirmed when the King sends for her to "pay her debt," which proves to be the assignment of teaching Henry, his second son, the graces that befit a prince. During the course of her tutoring, she and Henry fall deeply in love, but, because of political considerations, she is instrumental in urging that he marry Catherine de Medici, the Italian princess, so that his father would have the backing of the powerful House of Savoy against the Duke of Bourbon. In the course of events, King Francis is wounded mortally in a battle with Bourbon's forces, and the Dauphin (Ronald Green), his eldest son, becomes the new French ruler. But the Dauphin's reign is shortlived when he dies from poisoned wine, the result of a de Medici intrigue engineered by Gondi (Henry Daniell), who had been assigned by the Italian rulers to act as chief advisor to Catherine. Upon taking over the throne, Henry makes Diane his mistress and for the next seven years makes no secret of his relationship with her. Catherine, relegated to the background, despite her status as Queen, bides her time for the day of reckoning. Meanwhile she bears Henry three sons. Gondi finds opportunity for his greatest stroke of treachery when he manages to have Henry wounded fatally in a friendly jousting tournament. Catherine, truly in love with Henry, turns against Gondi who takes his own life to avoid punishment. With Henry gone, death seems certain for Diane. But she faces Catherine's wrath unflinchingly and reminds her that everything she did was motivated by her loyalty to France and love for Henry. Catherine, relenting, decides to spare her life and banishes her from the court. It was produced by Edwin H. Knopf, and directed by David Miller, from a screenplay by Christopher Isherwood, based on "Diane de Poitiers," by John Erskine. Adult fare. "The Littlest Outlaw" with Pedro Armendariz and Andres Velasquez (Buena Vista, January; time, 75 mm.) Walt Disney has fashioned a simple but heartwarming story of a boy and his horse in this liveaction feature, a pictorially beautiful production that has been photographed in Technicolor and shot entirely in some of the most picturesque rural regions of Mexico. Revolving around a 10-year-old stable boy who runs off with a thoroughbred horse that had been ordered destroyed by its owner, the story is a persuasive dramatic account of the strong attachment a youngster has for an animal and of the risks he takes to defend and protect it. The surprise of the picture is young Andres Velasquez, an appealing Mexican lad, who acts like a veteran and is completely natural before the cameras even though he has had little previous experience in films. In addition to its appealing dramatic quality, the story has some good touches of comedy and considerable suspense and excitement. The native color and backgrounds, and the folk manners of old Mexico, add much to the entertainment values : — Andres, a stable boy, attends the mighty jumper, Conquistador, in the paddocks of Pedro Armendariz, a famed army general and sportsman. Mistreatment on the part of a savage trainer breaks the horse's courage and causes him to refuse to take a high jump at an international meet, much to the embarrassment of the general. When his little daughter is injured in an unsuccessful attempt to make Conquistador go over a high barrier, the general, in a blind rage, orders that the horse be shot forthwith. Andres, horrified by this order, steals the horse and runs away. A reward is offered for the capture of the lad and the animal and, in the course of his aimless flight, the youngster outfaces a pair of cutthroat bandits into whose lair he had blundered, and wins the protection of Joseph Calleia, a compassionate priest, who gives him and the horse sanctuary in a cathedral to prevent their capture. The boy and the horse are separated when the animal is frightened off by a wild bull. Aided by the priest, the lad traces the horse to a bull ring, to which it had been sold by a roving gypsy. They arrive at the arena just as Conquistador, who had unhorsed his rider, is attacked by a raging bull. Andres, heedless of his own safety, leaps into the ring and onto the back of the bewildered stallion, and in an incredible leap jumps the horse across a high barrier to safety, winning the thunderous applause of the astounded crowd. As a result of this feat, the general, who had been present in the arena, not only forgives the lad but permits him to keep Conquistador and to honorably resume his place in the stables. It was produced by Larry Lansburgh, and directed by Roberto Gavaldon, from a screenplay by Bill Walsh, based on a story by Mr. Lansburgh. Family.