Harrison's Reports (1958)

102 HARRISON'S REPORTS June 28, 1958 "White Wilderness" (Buena Vista, August; time, 72 min.) All the True'Life Adventure pictures thus far presented by Walt Disney have been highly entertaining and fascinating, but none more so than "White Wilderness,1'1 which covers a study of birds and animals in their free wild state in the Arctic regions and depicts their problems of competitive survival. From the opening to the closing scenes, one is held enthralled by the truly remarkable shots of polar region wild life, both large and small, made all the more interesting by the fine Technicolor photography, the clever editing and the appropriate back' ground music, which heightens both the comic and dramatic aspects of the different scenes. This is informative entertainment at its best, and exhibitors who book it should exploit it to the hilt, safe in the knowledge that it will prove to be a rare treat for all who see it. Filmed against majestic backgrounds of snow, glaciers, ice floes, rivers and tundra, the picture opens with amazing shots of a herd of walrus, swimming and loafing until they are panicked by their natural enemy — the polar bear. After scenes of the beguiling antics of two polar bear cubs at play, the camera catches beautiful shots of the graceful ringed seal and white beluga whales as they cavort in the glacial deeps. The camera next observes the lemmings, little furry mammals who commit mass suicide by plunging headlong into the sea in a blind and pitiable frenzy induced by overcrowding; the jaeger, a feathered predator who lives on other birds and small animals; the raven; the sleek, blood-thirsty ermine; a variety of migratory waterfowl; and the herd life of the shaggy musk ox. The camera has captured also unusual shots of the grey Arctic wolf, the most intelligent of the Northland predators, depicting the animals in their family devotion and their tactics and resourcefulness in their hunt of the caribou. Among the most fascinating shots are those of the wolverine, a ferocious, gluttonous animal who is a bundle of fighting fury and who terrorizes all the other animals, including the wolves. The life and habits of many other birds and animals are shown, but, as in the case of those already mentioned, a brief synopsis cannot do justice to the vivid depiction of their struggle for existence and their often violent competition for food. It has to be seen to be appreciated. It was produced by Ben Sharpsteen, written and directed by James Algar and narrated by Winston Htbler. Family. "Imitation General" with Glenn Ford, Red Buttons and Taina Elg (MGM, July; time, 88 min.) A mirthful farcical Army comedy, the kind that should register strongly with the rank-and-file moviegoers, for its nonsensical doings provoked much laughter at a sneak preview in a New York neighborhood theatre. Needless to say, the names of Glenn Ford and Red Buttons should be of considerable help at the box-office. As indicated by the title, the story, which t ikes place on a French battlefield at the height of World War II, centers around a master sergeant whr>, to boost morale among groups of disorganized American soldiers, masquerades as a one-star general who had been killed in action but whose death had not yet been reported. The story is, of course, completely far-fetched, but the whacky happenings and complications should garner a rich harvest of laughs even though nothing makes sense. Ford is highly amusing as the psuedo-general who gets away with his deception, and Buttons, as his worried aide, is in his element as a comedian and makes the most of the mirthprovoking gags and situations, giving the sometimes forced comedy a decided lift. Taina Elg adds a touch of sex as a wary French girl whose farmhouse is used by Ford as headquarters. The black-and-white CinemaScope photography is first-rate : — When Kent Smith, a one-star general is killed in action, Ford, his aide, takes note of the fact that groups of American soldiers, separated from their divisions, were disorganized and were roaming the French countryside. To make order out of chaos and to save the soldiers from the enemy, Ford decides to masquerade as Smith to boost morale and to organize a plan that would set back the enemy. Buttons, a corporal and Ford's buddy, is against the idea and warns Ford of the penalty if he should be caught, but the latter refuses to be deterred. Ford sets up headquarters in a farmhouse owned by Taina, who agrees to cooperate in the deception, and by donning Smith's clothes he quickly enlists the aid of John Wilder, a young lieutenant, in setting up missions that knock out a German machine gun nest and destroy several enemy tanks. No one questions Ford's authority and he gets by with the masquerade, even winning the admiration of the soldiers for his bravery. Trouble looms, however, when Tige Andrews wanders into the farmhouse. A former sergeant who had been busted to a corporal as a result of a scrap with Ford, Andrews long had been seeking vengeance. Buttons informs Andrews that Ford had been killed in action and manages to get rid of him, but Ford finds his operations hampered because of Andrews' presence in the vicinity. During one successful ambush that turns the tide of battle, Ford is knocked unconscious and Buttons manages to get him back to the farmhouse before Andrews can spot him. The victorious soldiers are sent back to a rest area, leaving none around to identify Ford, who meanwhile reports the death of Smith and gives him credit for guiding the victory. When Andrews suddenly makes an appearance at the farmhouse, Buttons plies him with wine, after which Ford leers at him through a hole in the roof. Thinking that he is seeing a ghost, the frightened Andrews flees for his life, leaving Ford and Buttons free to return to their home base. It was produced by William Hawks and directed by George Marshall from a screenplay by William Bowers, based on the story by William Chamberlain. Family. "Wild Heritage" with Will Rogers, Jr., Maureen O'SulIivan and Rod McKuen {Univ.'lnt'l, August; time, 78 min.) Above-average program fare is offered in this interesting western melodrama, which is enhanced by CinemaScope and Eastman color photography. The story is different from most westerns in that it puts the accent on youth in its dramatic depiction of the hardships undergone by the members of two small families while they seek to establish themselves in the rough-and-tumble West during the pioneer days. It is, for the most part, a sentimental type of story, but it offers considerable excitement in the scenes that are concerned with the murderous machinations