The Independent Film Journal (1952)

“By The Light of The Silvery Moon” (Warner Bros.) Technicolor 102 Min. Cost: Doris Day, Gordon MacRae, Leon Ames, Rose¬ mary DeCamp, Maria Palmer, Billy Gray, Mary Wickes. Credits: Produced by William Jacobs; Directed by David Butler; Screen play by Robert O'Brien and Irving Elinson; Suggested by "Penrod" stories by Booth Tarkington. This is one of those nice, pleasant entries that please family audiences tremendously with its nostalgia, tuneful melodies, amusing situa¬ tions and light, practically carefree plot, cute production numbers, good characterizations and direction and production that fall into the bet¬ ter category. It is the kind of film that audi¬ ences have almost automatically come to ex¬ pect of Doris Day and Gordon MacRae and, as usual, they will be pleased by the overall re¬ sult. The story is a liglit one that carries the gags and homey bits of situation along in fine fashion. Tliere is just enough music to bounce the wliole thing along in lively style. The cast is composed of veterans who take to their parts well, with the entry co-ordinated up and dowm the line so that good, solid entertainment emerges. It should make a pleasing impression box of¬ fice-wise and should rate high with family audiences. STORY: After World War I, Gordon MacRae, a vet, plans marriage to Doris Day, first desir¬ ing to earn money. Doris wants an immediate wedding and a quarrel results. When Leon Ames, Doris’ father, keeps a business date with Maria Palmer, an actress, the results are mis¬ interpreted by Ames ’ family circle for an ‘ ‘ af¬ fair. ’ ’ Doris and Billy Gray, her young brother, set about to straighten out the situation. Meanwdiile, the cause of the trouble, a ' ‘ love note, ’ ’ is spotted by MacRae, who thinks a rival has written it to Doris. Then Billy, in trying to straighten out MacRae, spreads the news of Ames’ philandering all over town. All snub Ames. It is not until Maria departs that Ames is able to clear up the situation and thereby bring happiness to all. “Never Let Me Go” (M-G-M) 94 Min. Cast: Clark Gable, Gene Tierney, Bernard Miles, Richard Haydn, Belita, Kenneth More, Karel Stepanek, Theodore Bikel, Anna Valentina, Frederick Valk, Peter Illing, Robert Henderson, Stanley Maxted, Meinhart Maur, Alexis Chesnakov. Credits: Produced by Clarence Brown; Directed by Delmer Daves; Screen play by Ronald Millar and George Froeschel; Adapted Irom the novel, "Came the Dawn," by Roger Bax. Clark Gable rides high again with adventure, intrigue, romance and some peeks behind the “iron curtain.” Filmed for tlie most part in Britain, this latest Gable release has a number of angles which could make it a potent factor at the box office. There are to be found here an interest-holding story of an American news¬ paperman who falls in love with and marries a Russian ballet dancer, the situations that arise out of this union, and the complications wliicli ensue when he tries to get her out of the coun¬ try. There’s a goodly amount of suspense and action which are finely coupled witli newsreel shots taken behind the “iron curtain”; there are good performances, good direction and pro¬ duction. All of this, when tied together, emerges as an attraction that could be sold and, if properly handled, sold for better box office results. STORY: Clark Gable, an American newspaper man in Moscow on V-E day, falls in love with and marries Gene Tierney, a Russian ballerina. But Russian authorities request Gable ’s trans¬ fer and prevent him from taking Gene with him. Deciding to rescue Gene, he sails to a Russian coastal town where she is dancing. Gable swims to shore, and, assisted by his knowledge of Russian and some coincidences, manages to contact Gene and spirit her away. Following a chase by Russian secret police, Gene and Gable outwit their pursuers, swim to the ship and to freedom. “Man On A Tightrope” {20th-Fox) 105 Min. Cast: Fredric March, Terry Moore, Gloria Grahame, Cameron Mitchell, Adolphe Menjou, Robert Beatty, Alex D'Arcy, Richard Boone, Pat Henning, Paul Hart¬ man, John Dehner. Credits: Produced by Robert L. Jacks; Directed by Elia Kazan; Screen play by Robert E. Sherwood; Based on a story by Neil Paterson. This is a tightly-knit suspense melodrama, possessing valid performances, fascinating lo¬ cales and a highly topical theme about escape from a communist-controlled European nation. Story, though deeply engrossing, is definitely downbeat, presenting the film with a selling problem best licked by exploitation of the escapefrom communism theme. Aiding greatly in pushing the story forward at a consistent pace is the circus setting. This gives ample opportu¬ nity for clown and animal acts, each helping to advance the action of the plot. Detracting from a general smoothness of the narrative is the cutting, which creates some gaps in the action. Good name value is present with Fred¬ ric March, Terry Moore and Gloria Grahame, who won the Best Supporting Actress ’ ‘ ' Oscar. ’ ’ Although picture concludes with the death of the main character, a feeling of exaltation is generated for the audience since the surviving characters succeed in fleeing com¬ munist-controlled lands. Aiding the film’s credi¬ bility are the locations, all photographed in western Europe. STORY : Fredric March, manager of a small circus in Czechoslovakia, grows resentful of the restrictions placed on his art and on his troupe by the Communist government. He decides to move the troupe secretly across the border into a non-Communist country. Confiding liis decision to select members of the troupe, March soon formulates a plan for escape. The troupe begins to move toward the border. Some trouble is ex¬ perienced when Richard Boone, for long a trusted circus worker, reveals himself as a Com¬ munist opposed to the escape. But Boone is sub¬ dued. At the border, a diversionary tactic is utilized to throw the Czech guards off balance. But during the fracas March dies, a victim of a shot fired by Boone, who had escaped his ca})tors. The troupe successfully crosses the bor¬ der with a minimum of lives lost. Although stunned by March’s death, all quickly recover and begin a performance in the new land. “Law and Order” (Univ.-Int'l.) Technicolor 80 Min. Cast: Ronald Reagan, Dorothy Malone, Alex Nicol, Preston Foster, Russell Johnson, Barry Kelly, Ruth Hampton, Chubby Johnson. Credits: Produced by John W. Rogers; Directed by Nathan Juran; Screen play by John and Owen Bagni and D. D. Beauchamp; Based on the story, "Saint Johnson," by W. R. Burnett. Cut several notches above the average western in the realms of action, yilot and beautiful women, ‘ ‘ Law and Order ’ ’ comes across as ex¬ citing Teclinicolor oater fare. Picture should do well in the action market. Story deals with a marshall who unsuccessfully tries to leave his job for less dangerous pursuits. Csist in the lead role is Ronald Reagan, who delivers a creditable performance. His name should carry marquee weight. Capable support is given by members of a large cast, with, Dorothy Malone and Ruth Hampton handling the romantic chores. STORY : Marshall Ronald Reagan gives up his job on the advice of Dorothy Malone, his fiancee, who wants to see Reagan settled down. Taking along Alex Nicol and Russell Johnson, his brothers, Reagan moves to a ranch and starts to build it up. But Preston Foster, his neighbor, proves to be an old enemy who re¬ sents Reagan’s presence. The townsfolk turn to Reagan for protection against the outrages of Foster, who runs the town. But Reagan re¬ fuses to become marshall. Nicol takes the badge, and soon is killed by Foster’s men. Nicol ’s death causes Reagan to wear the badge again. Meanwhile, Johnson kills the man who shot Nicol and Reagan is forced to imprison him. Foster lures Johnson into breaking jail for the purpose of discrediting Reagan, whom the townsfolk believe let his brother go free. But Reagan after settling a score with Foster, who dies, trails and recaptures Johnson, thereby re¬ gaining the town’s respect. Reagan then gives up his badge and clinches with Dorothy. “Down Among The Sheltering Palms” (20th-Fox) Technicolor 87 Min. Cast: William Lundigan, Jane Greer, Mitzi Saynor, David Wayne, Gloria DeHaven, Gene Lockhart, Jack Paar, Alvin Greenmon, Billy Gilbert, Henry Kulky, Lyle Talbot, Ray Montgomery, George Nader. Credits: Produced by Fred Kohlmor; Directed by Ed¬ mund Goulding; Story by Edward Hope. This musical, set in the South Pacific, has a number of attractions wliich could be sold. It has a good ' ‘name ’ ’ cast, a load of music, a light plot, some amusing situations, revealing Technicolor, okay performances and suitable direction and production. It should be entertain¬ ing enough for most family audiences and it should make a pleasant part of the program. The story is the weakest link here but it’s all in fun and, with the stars to help, it should wind up okay. STORY : At the close of World War II, cap¬ tain William Lundigan and his company are assigned to occupy a tiny South Sea Island inhabited by natives whose chief is Billy Gil¬ bert. The girls are extremely friendly. The soldiers are restrained, however, by a non¬ fraternization order. Lundigan finds himself falling in love with Jane Greer, niece of mis¬ sionary Gene Lockhart, after being given a wife, Mitzi Gaynor, by chief Gilbert, which lie cannot refuse but whom he has to live with in a separate hut. Wealthy, spoiled newspaper columnist, Gloria DeHaven, shows up on a tour of the islands and when she makes a play for Lundigan is replused. She charges him with fraternizing with Gaynor while his men are restricted. An investigation clears him, Gaynor goes back to her people, DeHaven is sorry and Greer forgives him and they are planning their future together when news arrives that all are to go home. “Kansas Pacific” (Allied Artists) Cinecolor 73 Min. Cast: Sterling Hayden, Eve Miller, Barton MacLone, Harry Shannon, Tom Fadden, Reed Hadley, Douglas Fowley, Bob Keys, Irving Bacon. Credits: A Walter Wanger Production; Produced by Wanger; Directed by Roy Nazarro; Screen ploy by Dan Ullman. This Walter Wanger production is one of the strongest entries to come out under the Allied Artists banner. It should do good business. A story of the building of the Kansas Pacific rail 16 THE INDEPENDENT FILM JOURNAL— APRIL 4. 1953