Modern Screen (Feb-Dec 1959)

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The Inquisition is still going on; girls are being burned for witches; and Anthony is helplessly enraged. Also enraged is the Duchess of Alba (Ava Gardner) whose sympathies are always with the people. When she first meets Anthony he is with the people; he is sitting, sketching, in a saloon. Some bullfighter there insults Ava and Anthony defends her honor. So she invites him to her palace. He can't make it because he's busy painting frescoes for a church. By the time he's appointed Court Painter it's obvious that he and Ava are mad about each other. But there are so many other things to be mad about (the ineffectual king, the corrupt court, the Queen and Prime Minister who betray Spain to France's Napoleon) that they can hardly enjoy each other's company. They have a few happy months when Ava is sent into exile. But she has to send Anthony back to save his life (politics, you know). He thinks she doesn't love him any more. When they finally get together again someone in Ava's palace is busy poisoning Ava. It's an illfated affair. — Technicolor, United Artists. ALIAS JESSE JAMES Bob Hope Rhonda Fleming Wendell Corey Bob Hope rides again Mar.y Young ' " Jim Davis ■ Bob Hope is the worst insurance salesman in history. To prove this he sells a $100,000 life insurance policy to notorious gunman Jesse James (alias Wendell Corey) whom the law wants dead or alive. Hope's apoplectic boss sends him out West with orders either to buy back the policy or to become Wendell's personal bodyguard for life. Bob can't buy back the policy, because on the train going out he and everybody else are held up by Wendell and Company. So he befriends Wendell and his mom (who polishes her son's arsenal every night). Just for fun Bob puts on one of Wendell's cowboy outfits. This gives Wendell the idea that if Hope is found dead, and identified as Jesse James, then he — Wendell — can collect the policy money and go to California with Rhonda Fleming. Amazingly enough, Rhonda loves Bob, and Bob is not so dumb that he doesn't wear a bullet-proof vest in case of emergency. The emergency happens very soon. — Technicolor, United Artists. THE WORLD, THE FLESH AND THE DEVIL Harry Belafonte after the atom bomb Inger Stevens 1 Mel Ferrer ■ Trapped by a mine cave-in, Harry Belafonte feels justly proud when he manages to dig himself out. Climbing way up to the surface, he notices something peculiar. Nobody's there. It turns out nobody's anywhere. This is the way the world ends. Atomic poison. Harry helps himself to a car and drives hundreds of miles to New York. Nobody's there, either. Never have you seen such a deserted city. To keep himself from going crazy he drags a couple of store-window dummies into his apartment, plays and sings to them on the guitar. He spends the days collecting things of value — paintings, books. Somehow his hope hasn't died; he thinks life will come back again. There is another person alive — Inger Stevens, who's been watching him for weeks, afraid to come close. They finally meet. One would think that mankind had learned a lesson about living together. No, indeed. In the old world Harry was Negro, and in this world — which is all his and Inger's — -he can't forget it. Otherwise he's very bright. Before long he's got the telephone working and the radio fixed so that he can send out messages other survivors might pick up. So it goes until Mel Ferrer pops into view in a little boat on the East River. Mel is white — and mad for love. He's even willing to kill for it. (Guess who he's willing to kill!) This movie is based on a very exciting idea, and the photography's great — but the people in it act as if nothing unusual had happened. — Cinemascope, MGM. SHAKE HANDS WITH THE DEVIL James Cagney Don Murray about the Irish Rebellion Dana Wynter Glynis Johns Michael Redgrave ■ Ireland is not the safest place to be in 1921. The British have sent in the Black-and-Tans — an irregular but tough army — to subdue the rebels fighting for independence. The rebels don't subdue easily — in fact, not at all. Led on raids by fiery James Cagney they're not afraid to die. During the day Cagney is a respected medical professor. One of his students is American Don Murray, who doesn't believe in violence, even though his father was a rebel hero. But he soon finds himself faced with a choice: to be hunted down by the Black-and-Tans or to leave Ireland (he's already decided not to join the rebels). When he's captured by the army, tortured for information and saved by the rebels he decides not to desert them — and becomes involved in perilous missions. He helps kidnap Dana Wynter, daughter of a British official, and holds her hostage until the old and aristocratic Dame Sybil Thorndike, who has been arrested and imprisoned as a rebel, is released. Meanwhile there is talk of peace. But it's not the kind of peace Cagney wants. By this time he's become a dangerous fanatic. The climax is exciting — and so is the whole movie. — United Artists. WARLOCK a passionate Western Richard Widmark Henry Fonda Anthony Quinn Dorothy Malone Dolores Michaels ■ Warlock's a town where nobody wants to be sheriff, because the sheriff doesn't live long. A wild gang, led by rich Tom Drake, rides in every so often to get drunk and shoot up anything that moves. Desperate, the townfolk hire a gunman (Henry Fonda) who has straightened out a lot of towns in his time — always with the help of a crippled gambler, Anthony Quinn. These two boys are brave and inseparable. Once Quinn was in love with Dorothy Malone, but she threw him over for someone else (whoever it was, Quinn arranged for Henry to kill him). Now Dorothy hates them both, and is coming to Warlock for revenge. She brings the dead man's brother along, but Quinn shoots him on the road. He makes it seem as if one of the gang did it, but Dorothy knows better. She seeks help from Richard Widmark, formerly of the gang, presently the only man in Warlock willing to become deputy sheriff. Fonda doesn't mind giving up his power — since he's planning to marry Dolores Michaels, but Quinn minds very much. He figures Fonda — not Widmark — has to be top man, and he doesn't want Fonda to get married, either. There are gun fights galore in this Western. — Cinemascope, 20th-Fox. (Continued on page 12)