Harrison's Reports (1962)

May 19, 1962 HARRISON'S REPORTS 75 "That Touch of Mink" with Cary Grant, Doris Day, Gig Young (Universal'Int'l, July; 99 mins.) GOOD. The smoothie-pie comedy pattern seems to stand up for Universal-International. It will be said by those who've seen, and done well with it at the box office, that this reminds them somewhat of "Pillow Talk1' and "Operation Petticoat." A well-made, slick, tantalizing comedy is like so much money in the bank. This, very nearly, could have reached greater heights in the realm of comicalities but for a few weaknesses. While they're not too obvious, they're there, just the same. But, they hardly matter when you consider that teamed up are Cary Grant and Doris Day. The combination delivers, each in his or her own way trying, perhaps, to best the other but delivering a smooth job of co-ordinated work that makes the entry enjoyable. While we can't call them productional faults that reduce somewhat the entertainment qualities of this you-chase-me, I'll-chase-you game of romantic tiddlywinks, it is regrettable that they, some of the comedy frailties, — seem to show up. But, no matter. This should make money for the exhibitors who play it. Considering the "sell" manner in which Universal has brought in its comedies, this will come in with a "waiting-to-see" audience at the theatres. Another advantage to the smooth pacing of the film is the fact that the goings-on are wrapped up in 99 minutes of running time. There are other touches that make this a pretty picture to behold. A fashion show in which Miss Day will make the ladies in the audience sort -of drool, shall we say! There is the scenic investiture of Bermuda which looms far more enticing than the travel folders when spread across the screen via Panavision and dipped in Eastman color. Gig Young turns in an admirable performance, while Audrey Meadows is putting ever more slowly mounting talent into her roles. Already having made quite a flop out of their film-starring debut ("Safe at Home") Mickey Mantle and Roger Maris, pride of the New York Yankees whose prowess has not yet shown up this year, are in for a short bit. Also seen is Yogi Berra. It's this way : Cary Grant, on his way to his office finds that Doris Day gets a splashing when his car bounces into a mud-puddle. He dismisses the incident. But, not for long. Looking out of the window he spies the young lady entering an Automat. The pangs of conscience compel him to chase his financial advisor (Gig Young) to catch up with Miss Day and offer her some money for the damages she sustained. The upshot of it is, that the rebellious Miss Day has scurried to the office of Grant to throw the money right in his face although she is on unemployment relief. The sight of Grant took Day like you know what during the Civil War. The romance gets under way, right there and then. But, a little of the platonic stuff plays itself out first via a trip to Bermuda. Further destinations will come later. In the meantime, what comes are a series of embarrassing and hilarious circumstances, untimely nervous rashes, the inevitable and expected marriage bit. The laughter all around was ringing proof that that made everybody happy. Produced by Stanley Shapiro and Martin Melcher; directed by Delbert Mann; screenplay by Shapiro and Nate Monaster. General patronage. "The Intruder" with William Shatner, Frank Maxwell, Beverly Lunsf ord (PatheAmerica, May 80 mins.) FAIR. This betroubled entry finally got its three-"m" go-ahead from the Eric Johnston Office, the movies' morals monitors. The Seal still doesn't improve the entertainment quality of the release. Timely, though the subject may be, it is also highly explosive and needed the most expert and delicate texture of handling, which the film failed to get by a long shot. Some of the oldest riot-inciting passages are woven into the feeble tale with the result that they sounded more dramatic when carried as newsdespatches on the front pages of the nation's newspapers. Also, - and in these days of star-studded player-rosters, there are no names that have enough box office pull to offset the crudity and hopelessness of the production. It fails on many of its fronts. In the proper hands, even themes that have their explosive impact can emerge as suitable, acceptable entertainment. This, to repeat, fails to reach out even remotely to the terrain of movie enjoyment. To be sure, these spools of cinematic dynamite are not for the theatres of the south. However, it is not a case of all minuses. There is the performance of the heartless rabblerouser William Shatner which, though handicapped by the spiteful hatefullness of the role, makes you want to pummle the living daylights out of him. Most of the rest, do well. Photography, fair. The film was shot in a small Missouri town. We're in a broken-down section of the south. A hatemonger from the west takes to heating up the white folk on the subject of integration in the high school. Thus far, it's been only for the whites. The storm has now engulfed the Negroes and there is a march on the school. There are all sorts of cooked-up accusations thrown at the Negroes. White vengeance and merciless punishment must now be the answer. Negro families are terrorized; mob hysteria mounts, a colored youth is accused of attacking a young, white girl though the accusation is false; the frenzied rabblerouser is not without a bit of seduction; there's a near-lynching as the end finds emotional sobriety taking over. Produced by Roger and Gene Corman; directed by Roger Corman; screenplay by Charles Beaumont taken from his novel. Adults. "13 West Street" with Alan Ladd, Rod Steiger, Michael Callan, Dolores Dorn (Columbia, May; 80 mins.) FAIR. The juvenile delinquency cancer that's been eating away at the innerds of our modern society continues to be the dramatic hook upon which many of our producers are hanging their movie tales. This one deals with the problem in a way that is not overly exciting or impressive. When a theme is repeated, with not too many ingenious variations, then there is the obvious presence of familiar sameness and much of the kick is gone, for the element of surprise has been reduced to a low quotient. What else, then, makes such a story compelling movie fare, - allowing tor this element of plot-structural sameness, is the (Continued on Following Page)