Harrison's Reports (1962)

18 HARRISON'S REPORTS February 10, 1962 "Madison Avenue" with Dana Andrews, Eleanor Parker, Jeanne Crain (2Qth-Fox, January; 94 mins.) GOOD. Some of the glamour, excitement, intrigue, methods of operation and double-dealing to be found in the advertising and promotion business are gone into quite fully as the camera follows one such Madison Avenue hustler making his rounds, scheming his skulduggery, plotting the "kill." Add to this the value of such cast "names" as Dana Andrews, Eleanor Parker, Jeanne Crain and Eddie Albert plus some lavish settings, capable performances, smart direction and the result is one that could be exciting and interesting for many people in all kinds of situations. This is a phase of commercial life that has its magnetic appeal. The behind-the-scenes manipulations to create na' tional figures, personalities and images may prove a revelation to the uninitiated. In addition to the business aspects of the story, there are also some romantic scenes for window dressing and for women in the audience. This is a plus that pays off at the box office. The photography is brisk, slick. Highly successful account executive Dana Andrews is sent to Washington by advertising agency owner Howard St. John to work on a government project. Primarily it's to get him away from client David White, who heads an organization known as Associated Dairies. St. John is fearful that Andrews being in so solid with White could steal the account away from the agency. When he completes his work in the capital, Andrews finds that St. John sabotaged his position with government officials after which he fires Andrews even though the latter denied St. John's accusations. Andrews finds some solace in Jeanne Crain, a reporter on a local paper. He foresees difficulty in getting a job should he return to New York following St. John's efforts. He is determined to get back on top by doing an impressive job in Washington where he gets Eleanor Parker, owner of a failing advertising agency, interested in a promotion plan he has for a local milk firm owned by Eddie Albert which she still has as an account. Miss Crain is helpful in planting an article on Albert in the papers and with Andrews' know-how and manipulations, Albert soon becomes a recognized local and then national figure. White picks him as his successor when he moves on and the Parker Agency gets the big account because he is interested in Miss Parker and also because of Andrews' ability. St. John is incensed because he lost the account, but there is little he can do about it until a neglected Miss Crain shows up to check an article with him on "the build-up boys" wherein Andrews and his methods are cited prominently. He is so impressed he even gives her a job. Andrews sees her again, but doesn't ask her to hold up publication. She does so just the same. Andrews finally has enough of Miss Parker, who has changed into an overbearing and ruthless executive also with Albert and his methods. He resigns and interests St. John in rehiring him and Miss Crain in marrying him after assuring both that he has decided to start out afresh. Produced and directed by Bruce Humberstone; screenplay by Norman Corwin based on the novel "The Build-Up Boys" by Jeremy Kirk. General patronage. "Brushfire" with John Ireland, Everett Sloane, Jo Morrow {Paramount, March; 80 mtro.) FAIR. Audiences are asked to believe that the events pictured herein take place in a small Southeast Asian Country and that ex-commando ranchers John Ireland (American) and Everett Sloane (Australian) go after a kidnapped American couple, wrench them from the Red-commanded rebels and return home for a more or less happy ending. As all this is going on, there's an implied sexual assault. While there's a goodly amount of talk, the piece is not without a fairly reasonable amount of action. Performances are average. The direction and production are effective with the end result emerging as a fair supporting feature for the program. The photography is ordinary. American planter Al Avalon and his attractive wife, Jo Morrow, are forcibly abducted from their plantation in Southeast Asia by a band of Red-controlled rebels led by ex-SS staffer, Carl Esmond and by Russian Howard Caine. A ransom consisting of guns and ammunition is requested. A government representative comes to planter, ex-Australian commando Everett Sloane to ask his help and that of American John Ireland in going after the couple. They cannot deal with the rebels which would be the equivalent of recognition. They reluctantly reach some sort of agreement. With a handful of men (as they are watched) they penetrate the deeper, more dangerous depths of the jungle. At the hideout, Esmond rapes Miss Morrow while Avalon remains helpless at the point of Caine's gun. Their feelings about each other are quite different, to say the least, after this terrible incident. The rescuers are successful in their raid. Caine is killed and the pair are saved, but Esmond awaits them down the trail. Another battle ensues in which Esmond and Avalon are killed. The others return with Miss Morrow more than impressed with Ireland, obviously a bachelor. Produced and directed by Jack Warner, Jr. The associate producer is Irwin Blacker. Both co-authored the screenplay which was based on a story by Blacker. General patronage. "The Underwater City" with William Lundigan, Julie Adams, Roy Roberts (Columbia, February; 78 mins.) FAIR. While most science fiction-type dramas are setting their sights skyward these days, this one does an upside down and settles on the ocean floor as its area of operations. The script maintains that this is particularly important because the future of the country and its people could lie here particularly in the event of an atomic war after which survivors protected by the ocean could emerge to start anew. The building of a city under water is accomplished with a minimum of action or suspense and with a maximum of conversation. The cast, direction and production are adequate with the film best suited for the lower half of the double bill. Perhaps the piece has a sluggish tempo to it because the movements underwater are so slow and deliberate. At any rate, the special effects are in the film's favor and the photography is efficient. Engineer William Lundigan is placed in charge of