The Independent Film Journal (1954)

Independen t T radeR e views ( Continued from page 9) _ having devoted her life to caring for her hus¬ band. Holden, a talented director, has been made cynical and bitter by an unfaithful wife, and he has nothing but his work left. The inter-relationships of these three charac¬ ters form the basis of the picture. With a min¬ imum of melodramatics, an attempt is made to show that through sympathy and understanding it is once more possible for them to make new lives. The picture presents no pat answers to their problems and manufactures no meaning¬ less happy ending, although the film does end on a positive note with Crosby once again a big star. Instead, the script shows these people seriously working out their problems for them¬ selves and each other, and it makes for a most satisfying motion picture experience. The picture is filled with dramatic high points, scenes that will have audiences remem¬ bering and discussing the picture long after they have left the theatre. Crosby’s big drunk scene is one of these. Another is the show-down scene between Miss Kelly and Holden, who have started off by disliking each other and ending up in love. The final scene, in which Miss Kelly chooses to remain with her husband, who needs her, rather than with Holden, whom she desires, is another brilliant one. The film begins with Crosby being offered a chance for a come-back as star of the show Holden is directing. The latter at first blames Miss Kelly for having ruined her husband, but later he sees that the situation is exactly the reverse. With both his wife and director help¬ ing him, Crosby finally makes the grade. Al¬ though Holden and Miss Kelly do not end up in each other’s arms, they are both made hap¬ pier persons by having helped each other. Im¬ aginative camera work follows Miss Kelly as she runs to catch up with her husband, bring¬ ing to a close one of the most engrossing and intense dramas of the year. “Destry” (Univ.-Int'l.) Technicolor 95 Min. Cast: Audie Murphy, Mari Blanchard, Lyle Bettger, Lori Nelson, Thomas Mitchell, Edgar Buchanan, Wal¬ lace Ford, Mary Wickes, Alan Hale, Jr., Lee Aaker, Trevor Bardette. Credits: Produced by Stanley Rubin; Directed by George Marshall; Screen play by Edmund H. North and D. D. Beauchamp; From a story by Felix Jackson; Suggested by Max Brand's novel, "Destry Rides Again." Loud, raucous and humorous is this Techni¬ color remake of ‘ ‘ Destry Rides Again. ’ ’ Here the classical screen tale of how a sheriff who uses no guns cleans up a western town is enacted by Audie Murphy, Mari Blanchard and Lyle Bettger in the lead roles. Miss Blanchard, be¬ sides her effective handling of the romantic and many of the dramatic scenes in the picture, renders a trio of new vocal numbers, backed by a can-can chorus line for solid deliveries. In comic support, Thomas Mitchell, Wallace Ford and Edgar Buchanan fill their roles with un¬ restrained gusto. Bettger makes for a properly evil and scheming heavy while Lori Nelson is on hand for the ingenue romantic part. “Destry” has a slam-brang lead-slinging cli¬ max, together with a number of rough-andready barroom brawls which are certain to satis¬ fy action fans. A wider audience will appreciate some of the humorous aspects of the picture and find Murphy appealing in his rendition of a role which .lames Stewart made famous. Direc¬ tor George Marshall, who also megged the first 1 ‘ Destry, ’ ’ has imparted a good deal of pace to the remake. Murphy, son of a famous sheriff, attempts to clean up the town of Restful with¬ out firing a shot. His main task as deputy sheriff is to find the murderer of the town ’s previous law enforcer. Clues pcint to one of Bettger ’s hirelings but violence ensues to ruin Murphy’s case. Showdown wfith Bettger takes the form of a gun duel in which both Bettger and Miss Blanchard, his ex-girl friend, are killed. “Day Of Triumph” (George J. Schaefer) Eastman-Pathe Color 110 Min. Cast: Robert Wilson, Joanne Dru, Lee J. Cobb, Lowell Gilmore, John Stevenson, James Griffith, Ralph Freud. Credits: Produced by James K. Friedrich; Directed by Irving Pichel and John T. Coyle; Screen play by Ar¬ thur T. Horman. “Day of Triumph” recreates the adult life of Jesus, from the time of the early preachings through the events which saw the Nazarene crucified, with professional competence and theatrical qualities. There is a compelling dramatic force to the narrative but, in the attempt to imbue ‘ ‘ Triumph ’ ’ with the widest audience potential, the producers authorized fiction to be intermixed with Scripture for purposes of lending clarity and drama to certain historical aspects of early Christianity. Only those in the audience versed in Biblical lore will easily discern Gospel from fancy. Pro¬ duction credits indicate that in writing the screen play various modern sources as well as the New Testament were consulted. The Pharisees, described in the Bible as re¬ ligious leaders of the Jews, are shown as being solely responsible for the mortal downfall of Jesus. Pontius Pilate, Roman procurator of Judea, is sympathetically revealed as a ruler who finds no guilt in the Nazarene. The pic¬ ture also gives Judas Iscariot, the disciple who informed on Jesus, a motivation for his act which audiences can behold as justification for his treachery. These interpretations, as pre¬ sented in “Triumph,” can stir up controversy and may better serve the cause of bigotry than the ideal of man’s brotherhood to man. Selection of the incidents, legends and his¬ torical interpretations surrounding the climactic portions of this film, wherein Jesus is accused of blasphemy and sentenced to be crucified, was the responsibility of James K. Friedrich, the producer. Friedrich has been making religious motion pictures for years. His past films have been shown mainly to sectarian audiences, for purposes of spiritual instruction. The picture was well photographed for the wide screen in Eastman Color and rendered into PatheColor prints, which reproduce the spectrum with much fidelity. For “Day of Triumph,” the late director, Irving Pichel, showed an adept hand in transforming religious fare to the screen. Pichel, it should be remembered, served as director on ‘ ‘ Martin Luther. ’ ’ In “Triumph,” the acting, performed largely by a cast of unknowns with the exception of Lee .T. Cobb and Joanne Dru, is fine. Robert Wilson, who portrays the extremely difficult role of Jesus, is excellent, lending an uncanny humility and inspiration to his performance. The use of music additionally befits the subject matter in a film on which a moderate budget was wisely expended with every screen dollar well placed. “The White Orchid” (United Artists) Color 81 Min. Cast: William Lundigan, Peggie Castle, Armando Silvestre, Rosenda Monteros. Credits: Produced and directed by Reginald LeBorg; Screen play by David Duncan and LeBorg. An action jungle picture, highlighted by some very good Mexican location photography, tinted by Color Oorp., is presented in “The White Orchid. ’ ’ William Lundigan and Peggie Castle have the leads, with an important third role undertaken by a Latin American newcomer Armando Silvestre, who makes an impressive debut in this film. The script concerns an at¬ tempt by archeologist Lundigan and photog¬ rapher Miss Castle to locate and record an an¬ cient Indian civilization in the heart of the Mexican jungle. This provides an opportunity for scenes of last-minute escapes, a burning native village, ritual dances, desert sandstorms and various other suspense-provoking incidents. Included also is a romantic triangle, with Miss Castle being sought both by Lundigan and Sil¬ vestre. The script moves along at a good pace, with the expedition getting started following some good footage of a Mexican fiesta. Miss Castle uses her personal charms to convince Silvestre, a wealthy native citizen, to guide her and Lun¬ digan into the jungle. The Mexican undertakes the venture only because of his love for the lady photographer, but at the crucial moment she tells him that she really loves Lundigan. The trio get in trouble when the girl accidentally kills the son of the tribal chief. After a climac¬ tic struggle they manage to escape, but Silvestre sacrifices his own life so that the American lovers can get out of the jungle alive. “West Of Zanzibar” (Univ.-Int'l.) Technicolor 84 Min. Cast; Anthony Steel, Sheila Sim. Credits: A I. Arthur Rank Organization presentation; A Michael Balcon production; Directed by Harry Watt. Search for a gang of ivory poachers, that employs African natives to violate the game preserves of British West Africa for the preci¬ ous loot, is detailed in this Technicolor adven¬ ture film. Photographed in Africa by the J. Arthur Rank Organization, and possessing a number of hair-breadth escapes from sav¬ age jungle beasts, the picture offers excellent visual entertainment. A general market play-off is augured with handsome returns, especially from the action houses and situations where ex¬ ploitation features are played. Although the name value of the players is slight, the outdoor movement and chase elements of the story are portrayed with emphasis on action. Some scenes in which jungle beasts are depicted are start¬ lingly vivid. Underlying the main chase is a theme which attempts to show how the British government is trying to help the uneducated African black preserve his ancient tribal culture in a modern civilization which threatens to de¬ stroy it. Anthony Steel, game warden in British West Africa, learns of the activities of a cleverly organized gang that employs tribal natives to poach on government territory for elephants, from whom the tusks are removed. Tracking the gang to Zanzibar, Steel gets a case against one of the hirelings but the gang uses legal tricks to remain hidden. Steel then enlists the aid of the tribal chief whose men are working with the gang in order to trap the thieves. Steel’s efforts prove rewarding and the gang is brought to justice. “Cannibal Attack” (Columbia) Sepiatone 69 Min. Cast: Johnny Weissmuller, Judy Walsh, David Bruce, Bruce Cowling, Charles Evans. Credits: Produced by Sam Katzman; Directed by LeeSholem; Screen play and story by Carroll Young. In “Cannibal Attack,” Johnny Weissmuller plays himself, although the character is along the lines of Jungle Jim, whom Weissmuller has enacted many times. This feature will find its best response with juveniles, although some action fans might find it an average program jungle film. The outstanding asset in the film is Judy Walsh, a good actress and a very beauti¬ ful woman, who will go far in films. The story is pretty cliche-ridden and the plot telegraphs, itself throughout. Film has a strong title, which lias expoitation possibilities. It is also no secret that Weissmuller has a large fan following. Johnny Weissmuller is called in by the Jungle Commissioner Charles Evans to help solve a series of cobalt thefts. Weissmuller attends a meeting with Steve Darrell and Judy Walsh. Darrell mentions trouble between him and his brother, David Bruce, and Johnny leaves to check Bruce as the ringleader of the thefts. With Bruce, Weissmuller discovers that Judy is in with Bruce Cowling and his1 men on the thefts. Traveling to the native camp to get the goods on them, Weissmuller and Bruce are captured. With the help of Kimba, the chimp, they are freed. Weissmuller sets a trap with the next shipment and Darrell, Judy, and Cowling are killed, the smuggling ring is smashed. 20 THE INDEPENDENT FILM JOURNAL— December 11, 1954