Harrison's Reports (1962)

April 28, 1962 HARRISON'S REPORTS 63 screenplay. The fact that it emerges as a mixed-up family living its life in California and not in England (as it did in the original) shouldn't matter much. The weakness of the production lies in the inability of the adapters to clarify the discontent; to rationalize the emotional disturbances; and to make the goings-on believable. Hardly any of the protagonists beget your sympathy. The exception is Maximilian Schell. Rosalind Russeil can t seem to shake the "Auntie Mame" aura that stubbornly persists to cling to her histrionics. It also evidenced itself in "A Majority of One." For all his success as a businessman, Jack Hawkins takes quite a beating from his wife, trying to climb the so' called intellectual ladder. Richard Beymer has a long distance to go yet, before he emerges as an actor with conviction. The film adaptation failed the players. The loose direction helped to compound the weak' nesses of the release. Pnotography, fair. The head of the family doesn't wear pants. The mother, Rosalind Russell, rules the roost. There's even a refugee tutor (Maximilian Schell) who lends a continental touch of culture to the household which includes a mess of hand-kissing. Later, this subservient respect he has for the domineering woman (Miss Russell) leads to a lot of innocent misunderstanding on the part of the lady. She was quite sure this was adulation that stemmed from romantic impulses. All the time Schell meant it as a gesture his mother would have got had she lived. Richard Beymer shows no great love for his parents, although his mother (Miss Russell) showers him with a mother's boy possessive' ness. Beymer would like to see tutor Schell a bit more restrained in his feelings for the family. The continual clashes among the brood grow more bitter as time goes on. Finally, in fear that an innocently misunderstood cheek-kissing incident of Miss Russell may prevent him from becoming a citizen of the United States (because there was so much of a to-do made about it) Schell tries to commit suicide. He is saved. This near-tragedy seems to cement the brokenup family within the household and a stronger-sensed togetherness takes over. Produced by Frederick Brisson; directed by Daniel Mann; screenplay by Frances Goodrich and Albert Hackett from the play by Peter Shaffer. General patronage. "Reprieve" with Ben Gazzara, Stuart Whitman, Ray Walston, Vincent Price, Rod Steiger, Broderick Crawford (Allied Artists, Current; 105 mins.) GOOD. This prison drama is cleaved out of the cruel bedrock of truth. Even some of the scenes were shot at one of our penal institutions. If truth is stranger than fiction, then the biographical prison' story, put into book form by John Resko should add to the box office potential of this film. A thing in its favor is the talented players it is peopled with. Be' cause of their performances the story breaks away from the cold, hard grimness of prison dramas and we have believability without submissive credulity. Ben Gazzara, as the lead, is a captivating character. As the film progresses he continues to capture and hold your sympathy. He turns in a convincing portrayal. The stature of Stuart Whitman, as a performer of solid conviction is well established here. As a keeper he is a departure from the accepted make-up of these Simon Legrees within prison gates. But wardens are supposed to be mean, almost sadistic. After all, they're dealing with the human mistakes of our modern society. The more lethal perpetrators wind up paying for their crimes with their life. Rod Steiger acquits himself admirably in this role. In fact, the acting throughout this real-life tale, processed into motion picture entertainment, is strong, solid and easily un' derstandable. The new production team, in the realm of the independents (Millard Kaufman A. Ronald Lubin) has fortified this initial entry with a capable cast of actors. It adds to the acceptability of an offering that will hardly be welcomed by the women' folk. But, this is of the meatiness that men prefer once in a while. A few minutes before Ben Gazzara is to be taken to the electric chair for a killing, he gets a commuta' tion to life behind prison walls. No sooner at Danne' mora, when he tries to make a break. He is sent to solitary, but that doesn't stop him from making an' other attempt. He begins to make a series of sketches on the walls of his cell. Having neither paint nor brushes, he uses the heel of his shoe. This comes to the attention of the prison officials. They soften up and allow him to develop his art, see if it sells and, if so, give the proceeds to his daughter. Vincent Price, an expert in the arts, is so impressed that he starts things rolling for the parole of the talented prisoner. In between, we're treated to the life that goes on within these prison walls. Trimmed up with interludes of fiction, no doubt, we see Ray Walston as a cell-mate with a sense of humor, Sammy Davis, Jr., negro-symbol of implications; Broderick Craw' (Continued on Following Page) New York Allied Very Active One of the stronger links in the Allied States Association chain of exhibitor organizations, is the New York State unit. Presided over by Sidney J. Cohen, its latest move to improve relations and better business is the Film Buyers' Clinic. Its motives and format of operation will be gone into and will constitute the greater part of the Spring Meeting to be held by New York Allied on April 30. . . . The industrious Cohen announced that many leaders of national Allied will be in attendance; - Milton London, Irving Dollinger, Wilbur Snaper, Alden Smith, George Stern. All exhibitors were invited to attend the important session to be held at the Variety Club, in Buffalo. "It doesn't matter if you're not a member of Allied," said Cohen. "If you're running a theatre, you belong with us when the Spring Meeting and Film Buyers' Clinic is called to order," said the New York Allied president. . . . More evidence of the ever-wider expansion of the New York unit was seen when an Albany area branch of the state organization was set up with Leonard Rosenthal, of Albany, heading up that phase of Allied territorial operation. Rosenthal (a lawyer) distinguished himself on the floor of the recent Allied States Association convention down Miami Beach way.