The Independent Film Journal (1954)

“Brigadoon” (M-G-M) CinemaScope-AnscoColor 108 Min. Cast: Gene Kelly, Van Johnson, Cyd Charisse, Elaine Stewart, Barry Jones, Hugh Laing, Albert Sharpe, Virginia Bosler, Jimmy Thompson, Tudor Owen, Owen McGiveny, Dee Turnell, Dody Heath, Eddie Quillan. Credits: Produced by Arthur Freed; Directed by Vincente Minelli; Screen play by Alan Jay Lerner; Music by Frederick Loewe; Lyrics by Lerner; Based upon the musical play by Lerner and Loewe; Chore¬ ography by Gene Kelly. In “Brigadoon” a smash hit Broadway musical has been transformed into what will certainly prove to be a CinemaScope-Ansco¬ Color motion picture hit of similar proportions. Solid marquee strength is provided by stars Gene Kelly and Van Johnson, while Cyd Char¬ isse and Elaine Stewart provide glamour in the chief female roles. These principals have been surrounded by a galaxy of supporting singers and dancers who fill the CinemaScope screen with color and charm. Moreover, ex¬ hibitors will find “Brigadoon” pre-sold with audiences all over the country. In its stage version this delightful Scottish fantasy en¬ countered a successful national tour, while those who never saw it on the stage couldn ’t help hearing many of the show’s hit songs on the radio and juke boxes. Filmed by producer Arthur Freed, with direc¬ tion by Vincente Minnelli, this tale of an enchanted village now stands ready to warm the hearts of the nation ’s motion picture audience. And 1 ‘ Brigadoon ’ ’ is heart-warming because it is a very human story which dem¬ onstrates that love can conquer all obstacles. The village of Brigadoon has been put under a spell to protect it from the evils of the outside world. When Americans Kelly and Johnson wander into it by accident, the former falls in love with Miss Charisse, but he can have her only when he is willing to renounce the outside world. The mystical theme of the story, and its Scottish setting, have provided a field day for the costume and set designers. The whirling mist of the Scottish mountains presents a dream like atmosphere, which is then alternated with the realistic folk-type aspects of the little village. The traditional Scotch costumes have been exploited to the fullest and are especially effective in the dance sequences. And, when all has been said about the story, costumes and sets, there remains the wonderful score that will always be the highlight of any production of “Brigadoon.” Unfortunately, several of the top songs of the show, including “There But For You Go I” and “Come to Me, Bend to Me ’ ’ have been omitted from the film. Also, the principals are weakest in the vocal department. Nevertheless, audiences will love Gene Kelly ’s singing and dancing to such numbers as “It’s Almost Like Being in Love” and ‘ ‘ The Heather on the Hill. ’ ’ Kelly and Miss Charisse team for several dances and then join the chorus for the production numbers. Here are necessary ingredients to click at the box office. Kelly is in top form throughout, while Johnson’s role as the wise-cracking cyn¬ ical friend provides him with a change of pace. All the world loves a big, colorful musical, and “Brigadoon” fills the requirements. “A Bullet Is Waiting” (Columbia) Technicolor 82 Min. Cast: Jean Simmons, Rory Calhoun, Stephen McNally, Brian Aherne. Credits: Produced by Howard Welsch; Directed by John Farrow; Screen play by Thames Williamson and Casey Robinson; Story by Williamson. Van Johnson, Cyd Charisse, Gene Kelly in "Briga¬ doon," CinemaScope-Ansco Color A strange combination of action mixed with philosophy is the unusual offering of this Technicolor production in which the four stars comprise the entire cast. Director John Farrow has definitely concocted something different here, and whether it will prove too talky for the regular action fans, or whether it will find favor with the class audience as an “intellec¬ tual western,” remains to be seen. In any case, the feature, starring Jean Simmons, Rory Calhoun, Stephen McNally and Brian Aherne, is certain to generate word of mouth. The film supplies plenty of action, as escaped prisoner Calhoun and pursuing sheriff McNally battle throughout the running time. But the brawling is sandwiched between chunks of philosophical discussion from retired professor Aherne and Miss Simmons, his daughter. Also, this must be the first action film on record in which the heroine discusses the ballet. The stars all turn in top jobs, with Miss Simmons looking lovely in boyish clothes and close-cropped hair. Wonderful color photogra¬ phy and a complicated musical score help create the mood for the feature, which is set on Aherne ’s lonely sheep ranch out west, where Calhoun and McNally are stranded. The girl falls in love with the prisoner, even though she has been told that he is a murderer. Miss Simmons eventually learns that Calhoun killed McNally’s brother in self-defense and that the sheriff is not out after justice but to revenege his brother. Tension builds to the suspenseful gun-battle climax, in which Calhoun gets the upper hand and then spares McNally’s life. The latter admits his error, and the four stars return to make sure that Calhoun gets a fair trial. Jean Simmons, Rory Calhoun and Stephen Mc¬ Nally in "A Bullet Is Waiting" “The Little Kidnappers” (United Artists) 93 Min. Cast: Duncan Macrae, Jean Anderson, Adrienne Corri, Theodore Bikel, Jon Whiteley, Vincent Winter. Credits: A J. Arthur Rank Organization presenta¬ tion; Produced by Sergei Nolbandov and Leslie Parkyn; Directed by Philip Leacock; Screen play by Neil Paterson. A very unusual and charming tale of two little boys in the backwoods of Nova Scotia, this Rank Organization production, filmed in the actual locale, should generate hearty word of mouth to help art house runs. The feature could also be used to give handy support on the double bill in more general situations. There is not a familiar name in the cast, but audiences, once in the theatre, will succumb to .the appeal of these two little lads whose boyish desires are frustrated by their stern ScotchCanadian grandfather. Woven into the plot is a wonderful picturization of the tough fibre of these backwoods people plus a good case of bigotry. However, the lesson, and there is one to be learned here, is never preached but pre¬ sented so pleasantly that no one should mind it. The film ’s mood changes often from comedy to drama, and the beautiful outdoor scenery lends itself well to these changes. Set in 1904, the picture follows the two little boys as they come to live with their grandfather when their father is killed in the Boer war. The old man is overly stern with the children, and he instills in them a hatred of the Dutch-Canadians in the town. Lacking playmates and affection, the boys find and hide a little Dutch baby, whom they plan to rear. When the baby is found, the elder boy is accused of kidnapping, but all turns out all right. The grandfather admits his mistake, and all the children are made happy. “Khyber Patrol” (United Artists) Color Corp. of America 71 Min. Cast: Richard Egan, Dawn Addams, Patric Knowles, Raymond Burr, Patrick O'Moore, Philip Tonge. Credits: A World Films Presentation; Directed by Seymour Friedman; Screen play by Jack DeWitt; Story by Richard Schayer. This costume melodrama about a battle for control of India ’s Khyber Pass, in color by Color Corp. of America, serves up routine fare that will help fill the need for action program¬ mers. Richard Egan and Dawn Addams are topcast as a British Lancer and his girl. Danc¬ ing girls, secret passageways, and codes knitted into rugs all figure in the intrigue, while skirmishes and full-scale battles between the British and the Orientals supply the feature ’s action. The film follows Egan, who is held in suspicion by his fellow officers because he is a Canadian rather than an Englishman, as he gets in trouble with his soldiers. He unwittingly causes the death of a large portion of them when he is duped by Raymond Burr. The film is climaxed by Egan’s redeeming action, which has him save a band of outnumbered Lancers by holding off a whole army of enemies with a lone machine gun. The script is played with the necessary bravado and the action is kept constantly on the move so that interest is maintained. The feature is set near the Indian border, which has been a source of trouble because of in¬ surgent Afghan princes and the desire of Russia to control the pass. Egan ’s enthusiasm for going after the enemy is constantly checked by British diplomacy until he finally makes some rash moves on his own. Tins brings on the trouble, which is eventually righted when he proves his courage and loyalty. The romance with Miss Addams is an off-again on-agaiu one until the final clinch. Production values are standard and the color adds to the effect. ( Continued on page 17) THE INDEPENDENT FILM JOURNAL— August 21, 1954 13