Harrison's Reports (1958)

92 HARRISON'S REPORTS June 7, 1958 licensing to TV stations, for, as pointed out in these columns recently, these older films are just as damag' ing to theatre attendance as are the post' 1948 films sold to TV. It is doubtful, however, if the executives of the film companies in question will accede to such a request, for, even if they would be personally in' clined to do so, they in all probability will encounter strong stockholder opposition, particularly because similar restrictions could not be imposed on other companies that have sold their backlogs outright to TV syndicators. For the present, the best approach to the TV prob' lem seems to tbe the decision reached by the board to have an Allied committee meet with different company heads to seek extensive clearance over television on all future pictures, without abandoning the organization's firm stand against the sale of any pictures to TV. As stated by Horace Adams, Allied's president, those top executives who now admit that a grave mistake was made in disposing of the pre1948 backlogs to television should prove the sincerity of their statements by agreeing to the proposal that extensiye clearance over TV be stipulated in theatrical exhibition contracts. "The Lone Ranger and the Lost City of Gold" with Clayton Moore and Jay Silverheels (United Artists, June; time, 80 min.) Photographed in Eastman color, this outdoor program melodrama should give ample satisfaction to youngsters and undiscriminating, action-minded adults, for the story moves along at a brisk pace and offers plenty of excitement. Clayton Moore, as the Lone Ranger, and Jay Silverheels, as Tonto, his Indian pal, are properly heroic and courageous as they go about the business of successfully combatting the villainous deeds of a gang of hooded outlaws, who murder friendly Indians to obtain clues that would lead them to a lost city of gold. It is fanciful adventure stuff, but it has the ingredients to please those who enjoy this type of entertainment, regardless of story values. The actions of the trick horses ridden by the two heroic characters should prove particularly fascinating to the youngsters. The color photography is fine: — After chasing off hooded riders who had murdered an Indian and had stolen a small medallion from him, the Lone Ranger and Tonto learn that two other Indians had been murdered in like fashion and that medallions had been taken from them. They investigate further and learn from John Miljan, an old Indian chief, that five such medalions existed, and when placed together would reveal the location of the lost city of gold. The purpose behind the killings soon becomes apparent to the Lone Ranger, but he is unaware that the leader of the raiders is Douglas Kennedy, sweetheart of Noreen Nash, a powerful ranch owner, who had hatched the plot to steal the five medallions. In the course of the eventful story, the Lone Ranger saves a fourth Indian from being killed by the raiders although they obtain his medallion. Meanhile he captures one of the raiders, who is forced by angry Indians to identify Kennedy as their leader. Shortly thereafter, Norman Frederic, a young doctor, ashamed by the insults of a bigoted sheriff against an Indian mission girl, reveals that he is part Indian and, to prove it, displays the fifth medallion, which was given to him by his mother. This information reaches Kennedy and he gathers the hooded raiders to go after the doctor s medallion. The Lone Ranger and Tonto combat this move in a gun battle in which all the raiders are killed except Kennedy, who manages to get away with the medallion, only to be murdered by Noreen when he grabs the other medallions from her. The Lone Ranger witnesses this killing, which proves Noreen's involvement in the plot. It all ends with the Lone Ranger and Tonto locating the lost city of gold from clues on the assembled medallions, after which they turn the property over to the Indians and ride off to further adventures. It is a Jack Wrather production, produced by Shermand A. Harris and directed by Lesley Selander from a screenplay by Robert Schaefer and Eric Freiwald. Family. "Rooney" with John Gregson, Muriel Pavlow and Barry Fitzgerald (Ran\ Film Distr., June; time, 88 min.) There is little that is unusual in this British-made romantic comedy, but it has a jovial, warm-hearted Irish quality and should make a pleasing supporting feature. The name of Barry Fitzgerald, who is the only cast member known to American audiences, should be helpful in attracting customers. Set in Dublin, the story centers around an amiable garbage collector who successfully avoids matrimony until he becomes a lodger in the home of a shrewish woman and finds romance with a drab young girl who is mistreated in the household. It is an engaging and amusing tale, with broad Gaelic humor and a touch of the Cinderella theme. John Gregson, as the hero, and Muriel Pavlow, as the girl who wins his heart, are very good, as are the other Irish character actors. Barry Fitzgerald is ideally cast as a cantankerous but loveable old man who enjoys an occasional drink: — Gregson, a handsome garbage collector who was constantly moving to escape the amorous attentions of widowed landladies, finds lodging in the home of Marie Kean, a highly genteel widow, who looks upon him with contempt when she learns about his occupation. June Thorburn, her pretty daughter, treats him in like fashion, but he is welcomed by Muriel, Marie's penniless niece, whom she treated like a drudge, much to the resentment of Fitzgerald, Marie's father-in-law, whom she treated as a burden, even though he owned the property. The contempt for Gregson evaporates when he is chosen to play in an important hurley game and becomes a national figure. Doreen now warms up to him, but he favors Muriel, who had blossomed into an appealing and pretty miss with the secret financial aid of Fitzgerald. When Fitzgerald dies and leaves his modest possessions to Muriel, Marie heaps abouse on her and is instrumental in having her wrongly charged with stealing a necklace that Gregson had given to her. After many complications, Gregson proves to the police that he had found the necklace in a trash pile, clears Muriel of the theft charge and makes her his bride. It was produced by George H. Brown and directed by George Pollock from a screenplay by Patrick Kirwan, based on the novel by Catherine Cookson. Family.