Harrison's Reports (1962)

78 HARRISON'S REPORTS May 26, 1962 "Belle Sommers" with David Janssen, Polly Bergen, Warren Stevens (Columbia, May; 62 mins.) FAIR. The writer of this one must have had a knowledge of the inner workings of the press agent in showbusincss. He also had an author's contempt for the craft by pointing out that a drum beater is nothing but a beggar with a typewriter. But, this chief protagonist (the press agent) is also willing to battle the h<x>dlums, the racketeers, all those no-goodnicks who have been horning in on the seemingly sleasier, seamier part of so-called showbusiness. It's a run-of-the ginmill yarn of noble intentions, knavlshly planned skullduggery, hidden truths, smouldering passions and where the hero (in the end) doesn't get, or want, the stellar, female protagonist. Television's melodic Polly Bergen is being seen a lot on the big screen these days, but the lovely lady has a long distance to go before she can be considered a good actress. At least in judging her work in this one. She's treated to more direct closeups in the brief run of this one's 62 minutes than seen in many a big-name picture for a long time. David Janssen sticks to his style, - straight matter-of-factness, almost a cold approach to some emotional passages, a tight-clipped delivery with lips hardly moving. There are no outstanding performances, which may well result from the weakness of the script, the premise of the plot, the programmer results of the direction. Photography, fair. Polly Bergen can't go places in the recording field because she's gone along too much with the racketeers in the business. She wants to stage a comeback. An old friend, David Janssen will help her through the route of clever, attention-compelling press agentry. This doesn't take well with the hatchet-man for the hoodlums, Warren Stevens. Intimidation, coldblooded warnings, strong-arm stuff don't help. Janssen is going ahead with his plans to get Miss Bergen a showcase date at one of the better night clubs. Even a vicious beating administered to Janssen doesn't stop the irrepressible press agent. He intends to use the publicity to blast right out in the open the activities of the underworld. In between are woven the help and operations of the gossip columnists (which has a phony ring) and Miss Bergen is set to sing at the club. With all this accomplished the trusting drumbeater meets up with disappointments in Miss Bergen and the serious truths she has hidden from him. Each goes his or her separate way. Produced by William Sackheim; directed by Elliot Silverstein; written by Richard Alan Simmons. Adults. "Hell is for Heroes" with Steve McQueen, Bobby Darin, Fess Parker, Nick Adams, Bob Newhart (Paramount, June; 90 mins.) FAIR. This is another chapter out of war's primer, "kill or be killed." It goes overboard with television talent, Steve McQueen, Bobby Darin, Fess Parker, Nick Adams, Bob Newhart. Darin has been getting around the big screen, of late, cutting himself in on the wise-cracking, smart-aleck, humor-kid kind of stuff. Like in most of the recent war films, every outfit has its "loner." Brave, knowledgeable of the tac tics of maneuvering, recalcitrant. Here too, we have one of these, embittered with war's tragic philosophy, who sort-of plays it lone hand. Steve McQueen portrays that role. Newhart's film debut is cornily weak. Next to westerns, war stories have become staple articles for production. Film makers figure that if those in the recent war alone (to say nothing of their families) find reason to be interested, the release already starts out with a fair box office potential. All the rest is that much additional gravy which may help a fair release get good returns. This is a programmer not destined to big revenues. The war stuff seems real, the dialogue true to the rule-book, the acting heroic enough to appreciate that it was quite an ordeal for those who were up there on the front never knowing when their number would be up. Photography good in its realism. In this one, there is no love, no romance, hardly any girls. It is late summer, 1944, and warweary GI's are in hopes of a long furlough. There is even talk that the war was nearing its end. Steve McQueen returns to the outfit. Man of courage, DSC valor, he comes back busted. Court martial, you know. Bobby Darin's big worry is to ship home enough ill-begotten loot to start a department store. Nick Adams, a likeable Polish refugee has attached himself to the company. McQueen continues to drink as the outfit moves into dangerous territory. Sergeant Fess Parker rules his men with an iron, but understanding, hand. The squad is now menaced by German guns hidden behind a pillbox. This all takes place at the edge of Germany's Siegfried Line. Outnumbered, the Americans employ several ruses to fool the enemy. To save a strong attack from the Germans, the pillbox has to be knocked off. McQueen volunteers to do it. There is a battle between McQueen and his superiors for usurping authority. The German's attack, the American casualties mount and McQueen unleashes his one-man onslaught on the dangerous pillbox. As he throws himself into it to make sure it blazes into an explosion, the impenetrable Siegfried Line is breached. Less than a handful of men are left, after this victory. As they lick their wounds and think sadly of their departed buddies, reinforcements pull up for the endless battles that still must be won before the Allies' overall victory. Produced by Henry Blanke; directed by Don Siegel; screenplay by Richard Carr from an original story by Robert Pirosh. General patronage. "I Like Money" with Peter Sellers, Nadia Gray, Herbert Lom, Leo McKern, Martita Hunt (lOth-Fox, Current; 97 mins.) FAIR. That clever feller Sellers (Peter) is with us again. He's British, you know, and has made quite a reputation for himself over here. But, not in this one where he goes from teacher, to tycoon in ten tediously outstretched lessons. The ponderous piece is of British make and gives us a broad-A approach to the not-quite-forgotten French Topaze which was a Marcel Pagnol play that stood the test of time. Given a thick crop of chin-whiskers, a serious mien and a solemnly subdued interpretation of the role, Sellers has sunk himself away in an extricable mess