Harrison's Reports (1962)

February 10, 1962 HARRISON'S REPORTS 19 building an underwater city by his boss Roy Roberts even though he is less than enthused about it preferring, instead, to work on space projects. He does a good job and soon the first of the buildings are resting on the ocean's bottom. He's grown a bit friendly with Dr. Julie Adams, medical officer and niece of project head, scientist Carl Benton Reid. She and her uncle are among the first volunteers to live in the buildings conducting needed experiments. After sufficient time has elapsed to label it a success, government and legislative inspectors arrive from Washington. Shortly afterwards one of the project engineers finds that the floor on which the buildings are resting is beginning to disintegrate and he urges the others to get away. Just then the buildings do show signs of toppling. Most get away, but Reid is among the casualties. When it's over, Lundigan realizes that Reids theories were important and he plans to continue with Miss Adams. Produced by Alex Gordon; directed by Frank McDonald; screenplay by Owen Harris, based on a suggestion by Gordon and Ruth Alexander. General patronage. • "Victim" with Dirk Bogarde, Sylvia Syms, Dennis Price (Pathe* America, Current; 100 mins.) GOOD. The producers label this British-made entry a "controversial" film which makes it the understate' ment of the embattled year of the Production Code Administration with its "thou shalt nots." Denied a seal of moral approval, a loser in its appeal of the ruling, without the blessing of an Eric Johnston Office (the three m's of the industry) the movies1 morals monitors, the initial release of the newly formed PatheAmerica company nevertheless has brought the film in and sent it on its way to the public. and yet, it can be considered quite an unusual suspense drama with a strange fascination. It makes no bones about its basic theme. It lays it almost defiantly bare. It deals with that strange mistake of Mother Nature, the homosexual, his place in our civilization, his existence, his acceptance to some of our society and his ability to move on some of its levels. We go along with them to see whom they meet, how, their way of life. Theirs is a life of fear, too. For the few freedoms they seem to enjoy there is a price to pay. They stand in fear of the ever-present police. There is the never' ending threat of cold, heartless blackmail. All this is not glossed over lightly. There is penetration and depth and open thematic liberties. Much of it generates an air of mystery. It helps to increase the strange make-up of the story. This will keep viewers guessing until the final wrap-up plays itself out and the not too obvious conclusions have been reached. As to the components that make-up the film; its plot has been brought to the screen with taste. It may shock the unknowing, but its method of presentation won't of' fend them. Performances of the cast are competent, convincing and extremely sensitive. The direction is spirited and the production values are worthy. The forthright language and the direct approach to the problem has set up many a hurdle to this release. Each exhibitor will have to judge the suitability of the sub ject in the light of his own situation. The photography is good. Peter McEmery is able to elude police seeking to arrest him for stealing money from his employer. He hopes to get out of the country, but it's difficult to raise needed funds. Among those he calls is successful lawyer Dirk Bogarde, who refuses to talk to him, fearing that he wants to blackmail him. When the police arrest McEmery, they recover fotos he tries to destroy showing Bogarde, and the boy in a pose that suggests that both are more than friends. He refuses to answer questions and hangs himself in his cell. The police question Bogarde, who admits having known the boy slightly. They deduce that McEmery stole the money because he was being blackmailed. Blaming himself for the death of the boy, Bogarde goes after the blackmailers before they decide to come after him. He disregards the fact that he could be ruined. His wife, Sylvia Syms, is surprised when the blackmailers try to discourage him. Although she knew he was once involved, she thought he had got over it. He finds other deviates who are being hounded for money and he's actually threatened. He calls in the police and the blackmailers are caught. Miss Syms knows she still loves him but agrees that perhaps going away until the trial and the ugliness are over may be best. Following that ordeal, she knows that they will be reunited for a less harassed life. Produced by Michael Relph; directed by Basil Dear' den; original screenplay by Janet Green and John McCormick. For discriminating adults. Maryland Salutes M-G-M, 20th-Fox James L. Whiffle, executive secretary of the Allied Motion Picture Theatre Owners of Maryland, yesterday, advised Joseph R. Vogel, president of Metro-Soldwyn-Mayer, and Spyros P. Skouras, president of 20th CenturyFox that their respective companies had rendered a distinct service to the exhibitors . . . "We wish to congratulate and commend you and your company for your usual foresight and thoughtful planning in the reissuing of some of your very fine pictures, affording the alert exhibitors, nationally, to fortify their much depleted demands for good pictures," read the resolution ordered and passed upon by the directors and members of Allied of Maryland . . . Undoubtedly meaning the inroads at the box office Hollywood films have made when sold to Tv, the salute to M-G-M and 20th-Fox further says: "We are confident that this method of re-distribution will far exceed the returns from any other outlet, in addition to protecting the industry in which we are so vitally interested."