Harrison's Reports (1962)

26 HARRISON'S REPORTS February 24, 1962 "Malaga" with Trevor Howard, Dorothy Dandridge, Edmond Purdom (Warner Bros., March; 97 mins.) FAIRLY GOOD. This is a cops-and-robbers melodrama of British vintage. It has several intriguing items that are in its favor. The opening sequence, for instance, gets under way with the kind of suspense that's rather clever. A wealthy home is robbed, the more important items being the mistress' costly jewels. All this is accomplished as she sleeps peacefully. No dialogue was needed for this piece of business. When it is completed carefully, cleverly there remain no spec of a clue or sign of a give-away as to how the thieves gained entry. There are chase sequences across Spain and then, too, there are the commendable performances of the cast, efficient direction, and good production values. The teaming of two whites with Negro actress Dorothy Dandridge in the roles of lovers may come as a rather disturbing shock to some sections of the country. Others will accept it as a part of the social pattern of existing integration in Europe. There, people are considered as people. They become acceptable because of what they are (themselves) and not because of color. A shorter running time might have heightened the suspense and made possible an even tighter grasp on audience interest. It should make up well as part of the show. The matter of discernment is up to the exhibitor. Photography, realistic. Edmund Purdom and Trevor Howard gain access to an impressive home in the night and settle down to await the arrival of the owners after which they steal the woman's diamonds. Entry was made possible because of ex-convict Howard's skill as a locksmith. They return to Purdom's lodgings where Dorothy Dandridge is also living. Howard and the girl are distrustful of each other. The two men arrange to meet later, but the police pick up Howard. They are forced to let him go for lack of evidence and he goes looking for Purdom who double-crossed him and tipped off the police after which he left the country for Spain. There he expects to pick up money for the gems. Miss Dandridge, too, has been abandoned by Purdom after being promised money. She persuades Howard to let her go along with him as he takes off after Purdom pooling their limited funds. They do eventually catch up with him after his contact leaves for Gibraltar where he is to get the money. Not trusting Purdom, and being unable to go himself because the police are after him, Howard by now in love with Miss Dandridge and she with him, agrees to let her go to pick up the money. After her departure, Purdom overpowers Howard and beats her to the rendezvous. When she does show, she is given the option of going with Purdom and forgetting Howard, or being disposed of. At this point, the police (summoned by Howard) break in. He knows he will have to pay for his crime, but also that he and Miss Dandridge will get together again. Produced by Thomas Clyde, directed by Laslo Benedek from a screenplay by Davis Osborn, based on the novel by Donald MacKenzie. Adults and young adults. 'Arms and the Man" with O. W Fischer, Lilo Pulver, Kurt Kasznar (Casino Films, Current; 96 mins.) GOOD. This is a satire and is based on the timetested work from the pen of George Bernard Shaw. It comes from a Germany that once stood strong in the market of great imports. The film is in Agfacolor. English subtitles are used to tell the story. This shapes up as a delightful entry for the art spots. Shaw has his following. Nor do you have to be of the literati or of the bookworm cult to dig the Irish iconoclast. To be sure, this is of spoof-spun plot, yet given to good performances. The direction is expert, with production values high. Lilo Pulver, who has a starring role in the United Artists comedy release, "One, Two, Three" is one of the leads as is O. W. Fischer. He has also appeared on American screens and thus may be familiar to some American viewers. The situations are fraught with obvious humor and bitingly cute dialogue. Audiences should get a kick out of the on-screen fun. The members of the cast carry out their assignments in clever and refreshing fashion. This adds to the effectiveness of the import because of the infectiousness of the goings-on. The color camerawork is impressive. In the last days of the war between Serbia and Bulgaria, Bulgarian Lieutenant Jan Hendnks becomes a hero when he leads six men in an attack on a Serbian cannon outpost commanded by Captain O. W. Fischer, a Swiss mercenary. The latter and his artillerymen turn and flee when they discover their ammunition is the wrong size for the cannon. With the enemy in hot pursuit, Fischer stumbles into the room of Lilo Pulver, fiancee of Hendriks and daughter of wealthy enemy officer Kurt Kasznar. Although she is patriotic, she is also attracted by Fischer. She helps him hide until the danger of capture is past. Hendriks returns when the war is over to find Miss Pulver is shy about romancing and marriage. Not so is good-looking maid Ellen Schwiers, who is in love with Hendriks. She would like to marry him. She teases him until he almost forgets Fraulein Pulver. Fischer arrives for a visit, having met Kasznar before. The latter likes him. Fischer admits being in love with the Pulver beauty. He woos her. After preliminary give-and-take, the romances are set straight with Miss Pulver and Fischer, Schwiers and Hendriks planning weddings. Produced by H. R. Sokal and P. Goldbaum; directed by Franz Peter Wirth; screenplay by Johanna Sibelius and Eberhard Keindorff; based on the play by George Bernard Shaw. Adults and young adults. • "Wild for Kicks" with David Farrar, Noelle Adam, Christopher Lee (Victoria Films, Current; 92 mins.) POOR. Not to twit the title, this has been "kicking" around in one Broadway first-run theatre for four months. Produced in England, it begot itself quite a hefty run there. If and when those operating off-beat theatres book this import, and use the promotional kit then the passer-by looking for vicarious thrills will be sure that burlesque is back. The theatre front promises more crude nudity than the screen can ever