Harrison's Reports (1959)

Britered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879. Harrison's Reports Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by T, j m »ir n/1 Harrison's Reports, Inc., United States $15.00 New York 20, N. Y. Publisher U. S. Insular Possessions. 17.00 HARRISON Canada and Mexico 17.00 A Motion Picture Reviewing Service ' ' Founder Great Britain, South Devoted Chiefly to the Interests of the Exhibitors DAVID MARTIN Editor America, Australia, * New Zealand, India, t. i„ 1 mm t, . . ,„ .„ Established July 1, 1919 Europe, Asia 17.50 its Editorial Policy: No Problem Too Big for Its Editorial 35c a Copy Columns, if It is to Benefit the Exhibitor. Circle 7-4622 A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING Vol. XLI SATURDAY, OCTOBER 10, 1959 No. 41 "The Last Angry Man" with Paul Muni and David Wayne (Columbia, October; 100 minutes) To the best of our knowledge, "The Last Angry Man" is the first motion picture, in over forty years of publication, to receive a front page review in HARRISON'S REPORTS. There are several reasons why we have chosen the film for this, if we may call it thus, "distinction." For the first, "The Last Angry Man" is a deeply moving, intense and magnificent film that will, when the final analysis is made, stand head and shoulders above the Hollywood product of the year — and an accomplishment of this magnitude should not go unrewarded. The citation of the National Legion of Decency, which placed the film in its A-l classification, echoes our feelings about the film. "The self-sacrifice and dedication to humanity which characterized the life of the protagonist are intellectually rewarding as well as heartwarming. The film can serve as an inspiration to people of all races and creeds." But still another reason has motivated us to this attempt to do honor to the film — "The Last Angry Man" is an "adult" film in an era in the film industry when the panderers are running riot and the classification "adult" no longer means "mature" but has become synonymous with the crass and often-times vulgar exploitation of sex. Let us hasten to add that we do not condemn the use of adult exploration of the topic of sex in films, but rather that we violently oppose the indiscriminate and gross use that has been made of the topic in many recent films where the intent has been something less than adult or honest. But sex, extra-marital or intra-marital, does not exist as subject matter in "The Last Angry Man." Instead, the producer, Fred Kohlmar, the director, Daniel Mann, the writer, Gerald Green, and the cast have combined to create a film that poignantly and delicately depicts a genuine human tragedy without offering offense to the sense and sensibilities of the viewer and at the same time, enriching his life and uplifting the spirit of man. There are some who have said, because the film deals with the death of a Jewish doctor, and lacks the exploitation values so common in today's market, that the film will have little box office potential. The test of this is yet to come, and we fervently hope that these prophets of gloom are incorrect. And, having already thrown caution to the winds, we will go one step further — We strongly suggest, nay urge, exhibitors to give this film as much assistance as humanly possible and exploit the real values of the film in order to prove, to the betterment of the entire industry, that the public will react as well to quality as it will to other forms of enticement. Let not virtue be its own reward. No critical examination of the film can begin with' out first offering hosannahs to Paul Muni, who, after an absence of twelve years, returns to the screen with a dynamic, gripping performance as the Jewish doctor who gives his life in the service of his fellow man. Equally powerful are the performances of David Wayne as the television producer who becomes involved with the doctor, and Luther Adler, who stir' ringly portrays Muni's best friend. Credit has already been extended to the producer, director and writer, but further praise would not be without cause. In addition, James Wong Howe contributes a memorable photographic experience. The major fault with the film, and this is quite something in these days of overextended films, is that it is a trifle too short. This viewer, having read the novel, would have been even more enthusiastic had the filmmakers decided to explore some of the incidents in the past life of the doctor. The synopsis follows: — Paul Muni, a doctor, still lives and practices in the now shabby Brooklyn house and neighborhood, where 45 years before, he first hung out his shingle. His patients are a combination of slum people and old time residents of the area. Some are honest, hardworking people, some are juvenile delinquents, and all have the same problem, inability to pay for the services of their doctor. The stillness of the night is broken by the ringing of the doctor's doorbell. Three neighborhood toughs have deposited the unconscious, bleeding body of a girl on the doctor's doorstep. Muni treats the girl and summons an ambulance. Muni's nephew, Joby Baker, a copy boy for a New York tabloid, sieves the opportunity to write a human interest story about the incident and it is printed the following morning. The scene then switches to the comfortable surburban home of David Wayne and Betsy Palmer. Wayne, a television executive, is saddled with the twin problems of an oversized mortgage and the need to come up with a worthwhile program idea by noon. He spies the article about Muni and the idea comes to him — a program called "Americans — USA" in which the unsung heroes of the country will be honored. Wayne visits Muni before going to his office to gain permission to use him as the subject for the first program. But Muni wants no part of it. His tastes are simple and publicity is not among them. All he wants is a new house in a better neighborhood. But Baker promises to deliver Muni, and Wayne returns to his office where he outlines the idea for the new program. The idea is received enthusiastically and Wayne returns to Brooklyn to complete the negotiations with Muni. (Continued on bac\ page)