Harrison's Reports (1962)

74 HARRISON'S REPORTS May 19, 1962 "Mr. Hobbs Takes a Vacation" with James Stewart, Maureen O'Hara, Fabian, John Saxon, Reginald Gardiner, Lauri Peters (20th Century-Fox, July; 1 16 mms.) VERY GOOD. It is good that a comedy is prescreened (for the trade press) within the confines of a theatre with its several thousand paid customers. This one played itself out to a packed theatre crowd with such pleasurable charm, sparkling hilarity that some of the laughter is still echoing in our ears. In these days of off 'beat sex in our films, depravity-ridden themes, the spasms of laughter unleashed via this entry can be the harbinger of the Midas-like splashes of heavy coinage that will gladden the box office. Yes, this serious, solemn, sullen little old world of ours, right now hath much need for the kind of mirth this delivers. Mostly, of course, it's because of James Stewart. With what dexterity he can go from the grim, to the grin, to the groan! His is a superb performance all the way through. Even when he finds reason to unleash a derisive line to his grandfather-hating offspring, your feelings go out to Stewart. Comedy can overstay its time-limit. But, not this one for all its 116 minutes of jabberwocky, rollicking, hilarious running-time. That a tightened-up, smoothly -paced script made all this possible, is the big plus the acting folk must have been most grateful for. That the direction was delivered in such great style is another one for the credit side. That Maureen O'Hara, in all that retiringly radiant beauty stood as strong support is another big plus in that column. That the rest of the principal-support did exceedingly well is more reason why this emerges as an entry with all the potentials of the strength theatres need now at their box office. Newcomer Lauri Peters makes an impressive film entry. CinemaScope and DeLuxe color make their eye-compelling contribution to the offering. " and so, banker, father, devoted husband, James Stewart, is looking forward to a vacation. He wants quiet, serenity, aloneness with his wife, Maureen O'Hara. Other than the latter, he sees none of this dream come true. Instead, he gets his two married daughters, their families and a cavernous old derelict of a "loaned" beach house that is a haven for bats. Roger Hobbs (Stewart) is unhappy, but is cheered up by his wife who thinks the whole mess is "enchanting." There are all sorts of mechanical contrivances that go wrong, fail to function or else blow up in your face. Stewart finally gets a smidgen of serenity on the beach. But, that too gives way to a blonde voluptuary in a bathing suit that revealed a full-blown bosom that could blow any good man's serenity to smithereens as he mushes through Tolstoy's "War and Peace." But, not devoted, loyal Stewart. The clan has arrived by now, and grandpa Stewart tries for that long dream of togetherness. That too begins to fall apart at the seams. He gets one good break, however. The ever-blaring television set conks out leaving his son in desperate straits. Stewart is given the loan of a sailboat. His son joins him in a marine meander out on the deep. It turns out to be near-tragic. In the meantime, one unemployed sonin-law left abruptly, to get a job. Stewart is to entertain his prospective employer (John McGiver) and his wife (Marie Wilson). That too very nearly turned out to be quite a mess. The vacation soon ends. Tired, not a little disillusioned, wondering if it was worth it, Stewart finds himself reserving the brokendown shack on the beach for next year. Produced by Jerry Wald; directed by Henry Koster; screenplay by Nunnally Johnson based on a novel by Edward Streeter. General patronage. • "The Cabinet of Caligara" with Dan O'Herilhy, Glynis Johns, Dick Davalos, Constance Ford, J. Pat O'Malley (20th Century-Fox, May; 104 mins.) POOR. Unlike its neighboring review (to the left) also a 20th-Fox release, this is quite a different offering in the realm of film entertainment that wants to beget itself a dollar at the box office. When German film making was in its creative glory (1921) "The Cabinet of Dr. Caligari" came out of its work' shops. It was an unusual tale of eerie, gory, weird goings-on and left its imprint on the pages of brilliantly conceived motion picture entertainment. The swing of time's pendulum has orbited the suspense thriller into a new setup, fitting the times (calendar-wise) into the present which still shouldn't have faulted its telling of the traumatic terrors that can grip a woman. But, it is hopelessly bogged down in incongruity, implausibility and straying inconsequentials. They sap the new telling of its dramatic mysteries, the chill-thrill who-done-ities. Some of the dialogue is rather hackneyed, as are many of the situations that should have built up to a powerful, emotional impact. The viewer finds himself unnecessarily baffled, unpleasantly confused and quite bored, to say the least. While it may not be sporting to report so, but the tittering of the special audience, the socalled "opinion makers" was too obvious and at the wrong places, not to feel the embarrassment. As to performances, Glynis Johns won't count this as one of her more cherished cinematic assignments. Photography, good. A young lady (Glynis Johns) finds that her car had broken down. She walks endless miles, arrives at a strange house seeking help and is immediately plunged into a frightening series dealing in bestiality, perversion, sadism. Like many of the others in the house, she is held prisoner by the demon Caligari (Dan O'Herlihy). She is befriended by a so-called doctor in whose hands lie many of the secrets that make the vile Caligari what he is. There is even a romantic symbol who enters Miss John's life. He sees her only at night. Caligari doesn't want to seem to want to possess her. She puts him to a test, slinking into his room in low-cut gown, derriere swinging, giving out with boldly open sexual invitation talk. This carried more corn than the fall crop of an Iowa farmer. She accuses the big man (O'Herlihy) of not wanting because of not being able to, impotent, you know. And so it goes for an overlong stretch of nothingness (story-wise) coming up with an ending which we won't reveal because the producers asked us not to. Which should cue the exhibitors in the handling of this: Don't seat anyone during the last 12 minutes of the film, the better to enjoy it from the very beginning. Produced and directed by Roger Kay; screenplay by Robert Bloch. Adults.