The Independent Film Journal (1954)

j Independent TmdeReviem ' _ ( Continued from page 1(3) _ total of 7,139. After this triumph, lie returns to Tulare a hero. Melba Mathias lie wants not to be his steady but date other boys. Once at Stanford, despite an initial hesistancv, Mathias and Melba renew their romance and later Mathias goes to Helsinki for the 1952 Olym¬ pics. Once again, lie wins the decathalon, this time with a 7,887 point total making him the only athlete to win this title twice. He marries Melba and the story closes with his entry in the Marines. “Naked Alibi” (Univ.-Int'l.) 86 Min. Cast: Sterling Hayden, Gloria Grahame, Gene Barry, Casey Adams, Marcia Henderson, Billy Chapin! Chuck Conners. Credits: Produced by Ross Hunter; Directed by Jerry Hopper; Screen play by Lawrence Roman; Story by J. Robert Bren and Gladys Atwater. A chase melodrama involving a maniacal kill¬ er, a honky-tonk performer and a discredited policeman is tautly unfolded in "Naked Alibi" for effective spotting on double bills. Picture meets the action and suspense requirements and supplies a couple of effective characterizations as well. Sterling Hayden, playing the police¬ man, is strong and sulking. Gloria Grahame handles the honky-tonk performer role to satis¬ faction, stressing the heart-of-gold personality of a gangster’s moll for dramatic effect. A standout performance is delivered by Gene Barry as the killer. Low key photography, fist fights and gun duels lend strong atmosphere to this production. Hayden, as a policeman, is dismissed from the force due to manhandling of Barry, accused of killing three detectives. Hayden follows him to Mexico, where Barry has taken up with Miss Grahame. There Hayden is knocked out by thugs. Miss Grahame helps him recover but learns the truth about Barry. Latter gives her a thrashing and starts pursuing Hayden. Back in the states, Barry is apprehended and Miss Grahame is killed. “Fire Over Africa” (Columbia) Technicolor 85 Min. Cast: Maureen O'Hara, MacDonald Carey, Binnie Barnes, Guy Middleton, Hugh McDermott, James Lilburn. Credits: A Frankovich-Sale Production; Produced by M. J. Frankovich; Directed by Richard Sale; Screen play by Robert Westerby. Although there are many spots in the story line that smack of pulp 'fiction writing, the fact still remains that "Fire Over Africa" is both fast-moving and colorful. Script has a great deal of witty dialogue and direction moves the film along at a speedy clip. There are parts of the story that don ’t ring too true and a touch of coincidence here and there; but Maureen O’Hara gets a chance to deliver a performance with sex and fire in it and she is something to watch. MacDonald Carey is just about par for the course. "Fire Over Africa" should do okay in the general market, espe¬ cially with the help of its two star names. The international police of Tangier agree to put on a woman operative to battle a mur¬ derous smugglers’ syndicate. The woman is supplied by the U.S. Treasury Dept, in the form of Maureen O’Hara. Maureen meets Mac¬ Donald Carey, whom she believes to be a top smuggler. He suggests that she get a job in Frisco ’s Bar, owned by Binnie Barnes, which she does. Here she meets Leonard Sachs, a dope smuggler. She, due to her association with Sachs, learns that Sachs is planning to double cross the sydicate and sell his knowledge of its activities. Sachs, enticed by Maureen, takes her with him on a trip which he makes with Carey. Sachs’ cargo is hijacked and he then decides to sell his information. When Sachs is killed, Carey gets the key to a lock box which holds ( Continued on page 22) A party following the Coast premiere had Sophie Tucker (right) cutting a gala cake for Judy Garland. Also present were (1. to r.) Jack Warner and Liberace. Leading actors, actresses, directors and pro¬ ducers attended the RKO Pantages Theatres premiere in Hollywood. Marlene Dietrich and Elia Kazan were among the notables. Hollywood's RKO Pantages Theatre played host to hundreds of premiere celebriies. Among those turning out for the film were Jack Carson and Virginia Mayo. Jiai VJIIULI J Two of the numerous industryites attending the Goham event were (1. to r.): Major Albert War¬ ner and Mort Blumenstock, Warners' advertis¬ ing-publicity vice-prexy. At the N. Y. Paramount were (1. to r.): Ben Kalmenson, WB distribution vice-prexy; Sid Luft, producer; Judy Garland, and Robert Shapiro, theatre's managing director. Among the guests at the New York openings were (1. to r.): Kitty Carlisle, actress; Moss Hart, her husband, who wrote the screen play of "Star," and Arlene Francis. Both Hollywood and Neio York played host to Warners’ “A Star Is Born.” The CinemaS cope-Technicolor picture was given premieres at three theatres in these two cities. At the RKO Pontages Theatre, Hollywood, the event attracted 250 stars and celebrities and became the first film premiere to receive a coast-to-coast telecast ; was the first to provide a working press room; first to have a special announcer to call off star arrivals exclusively for the bleacher and street crowds. Three TV emcees were on hand at the Pantages: Jack Carson, George Fisher and Larry Finley. George Jessel introduced Judy Garland, the star, then traveled east to New York for the Paramount and Victoria premieres, where he also introduced the actress-singer. The event in Gotham was accorded extensive coverage by video , radio, newsreel and press as stars from all fields turned out for festivities which tied up Broadway for hours. Both Jessel and Martin Block served as emcees at the participating theatres. 20 THE INDEPENDENT FILM JOURNAL— October 16, 1954