Motion Picture Daily (Jul-Sep 1954)

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6 Motion Picture Daily Friday, July 2, 1954 Asides and Interludes — by Al Steen It is reported tliat at a recent ex hibitor meeting', a tineatre owner re marked that he was operating a projector that he had had for 35 years. "Of course," he added, "it's had six new pedestals, four new lamps, three new mechanisms, several sound head replacements, five new lenses and a dozen new magazines. Outside of them, it's the same projector." * * * A former Shakespearean actor ivho specialised in playing Mark Anthony became an engineer for Cinerama. He couldn't refrain from saying to the exhibitor on his first assignment : "If you have tiers, prepare to shed them now." * * * We know an exhibitor who bought an ineffective gadget for his hernia. Out of habit he filed an anti-truss suit. Then there was the Dum Dora who thought that Columbia's "Charge of the Lancers" was about the fees charged by dentists. Everybody was happy to know thai Hal Danson zms named advertisingpublicity head of National Screen Service, because he's a svifell, capable guy. But it ivas generally believed that the appointee zuould be named Platinum. You see, his predecessors ivere Mel' Gold and Milton Silver. P.S. The above is an old gag around the NSS office, but on a hot day it might leave you cold. And speaking of hot weather, it must be torrid if this one gets by the editor, proof-reader and copy boy: A chap asked for a job in the concessions department of a theatre. "Any experience?" asked the manager. "Sure," said the fellow, "I used to be a mechanic at a candy stand." "A mechanic at a candy stand? What did you do?" "I tightened the nuts in the peanut brittle." If you hear Charley Boasberg being referred to as "Slugger," here's the reason : At the recent industry junket to Herman Robbins' Schroou Lake resort, some of us old fossils (??) chose up sides and played basebail. Boasberg accidentally hit a grounder to Arthur Krim on third base. The United Artists president reached for it and scooped up his own toe. He managed to find the ball and threw it to Yours Truly who was playing first base. Naturally, we fumbled it, retrieved it and tossed it to Charley Alicoate at second base, who might as well have been taking a shower. Meanwhile, to add insult to injury, "Slugger" Boasberg, instead of running, leisurely walked around the bases, stopping at short stop to sell a couple of pictures to Sam Rosen. Just then a duck flew overhead and Gene Arneel in right field thought it Reviews "Ring of Fear" ( Warners) (CineniaScope) HAPPY days are ahead for exhibitors who get this picture. John Wayne and Bob Fellows have really turned out a top-notch CinemaScope pageant utilizing the entire Clyde Beatty Circus and an unusual and highly effective cast. Mickey Spillane, the crime writer who has enjoyed a meteoric rise in popularity, makes his film debut playing himself. His acting is unpretentious and nonchalant, more than adequate. Clyde Beatty also playing himself, is a bit stifif and unnatural for comparison, but once inside the animal cages he gives a performance that is downright breathtaking. His handling and mastery of the savage cats is a rare thrill to behold. At one point Beatty goes as far as working a tiger outside of the cage in a tent, outside the tent and on a truck. Numerous close-up shots by photographer Edwin DuPar in WarnerColor with stereophonic sound leaves no doubt in the mind of the audience that this cat would take the greatest pleasure in ripping his trainer to shreds. Beatty proves to be one of the top men in the handling of wild animals. But it is the performance of Sean McClory that holds the out-of-the-ordinary cast together. He plays the part of a cunning homicidal maniac with such intense force and vitality that although the audience is aware of his chicanery the element of suspense is maintained. McClory is a brilliant actor who really lives his role. Pat O'Brien in the feature role of circus general manager, turns in his usual competent performance, and Jack Stang does a bang-up job portraying the Hollywood version of a New York private detective. He and Spillane complement each other smoothly as the big city crime busters who finally tear the pretense of sanity from McClory. Dublin O'Malley (McClory) breaks out of a m.ental institution where he was held under maximum security. He manages to cover his tracks and returns to the Clyde Beatty Circus to square an imaginary grudge against Beatty. Since the circus people know nothing of his twisted mental condition, he is hired as ringmaster. He blackmails a clown named Twitchy (Emmett Lynn), and together they engineer serious acts of sabotage against the circus. Mickey Spillane and detective Paul Martin (Jack Stang) are hired by general manager Frank Wallace (Pat O'Brien) to solve the disasters which are beginning to be regarded as a jinx by the performers. The pair move casually on and off the screen and eventually bring their mission to a successful finish. McClory, when discovered, releases a tiger to keep his pursuers busy while he climbs into a nearby freight car in an effort to escape. The tiger is maneuvered into the car by Beatty who is unaware of McClory's presence and the picture ends as the freight train slowly rolls off to the tune of McClory's terrifying screams. The pace of the picture is maintained nicely by the well-timed introduction of various acts from the Beatty company. The picture was ably directed by James Edward Grant. Robert Fellows produced. Running time, 93 minutes. General classification. For Release, July 24. Edge of Divorce (Group 3-Kingsley) DESPITE highly competent performances by Valerie Hobson, Philip . Friend and the entire British cast in a story about the effect of an impending divorce on the children, this production holds only limited appeal. Adapted by Warren ChethamStrode and Don Sharp from the latter's play "Background," it is somewhat slow-paced and phraseology and accents of the players are likely to baffle the uninitiated. John Lomax (Philip Friend) and his wife Barbie (Valerie Hobson) married 16 years are parents of three children, teenaged Jess (Janette Scott), adolescent Adrian (Jeremy Spenser), and little Linda (Mandy Miller), before they decide to separate. Friend is a lawyer working hard to further his career and as a result is constantly short tempered precipitating numerous squabbles with his wife. Miss Hobson is presented with an easy-way-out solution when her husband's best friend, Bill Ogden (Norman Wooland), declares his love for her and pleads for a chance to make a new life for her. She finally decides on a divorce, to which Friend gives his consent. The reaction of the children to the plan is the point of the story. Janette Scott is pleased because Wooland can offer her more in the way of practical luxuries than her father. Little Mandy Miller becomes tearfully morose, and Jeremy Spenser brings the picture to its climax by wounding Wooland in an attempt on his life in order to prevent the separation of his parents. This incident also provides a happy ending since it is instrumental in convincing the estranged pair that life together is after all much more pleasant. Daniel Birt directed and Herbert Mason produced. Running time, 83 minutes. General classification. July release. 20 Anti-U. S. Films in Japan Shown in '54 was a fly-ball, ran for it and knocked over the pitcher, Al Picault, who was on the third stool in the bar. And so for making a home-run, or rather a home-walk, on nothing more than a bunt, Charley won the title of "Slugger." * * * A patron telephoned a theatre and asked it'hat zms playing. "'Long Wait'," said the cashier. Said the caller: "I don't mind waiting in line, but zvhat's the picture f" Sandy Cummings to Disneyland Post Sandy Cummings, television, motion picture and radio producer, has joined the American Broadcasting Co. as coordinator of Disneyland-TV. Disneyland, the full-hour Walt Disney television program, premiering over the ABC television network on Oct. 27, has been completely sold out to three sponsors. TOKYO, July 1.— About 20 films with anti-American tendencies Iiave been released here in the last year as against none which could be classified as pro-American, according to latest reports. Since the biggest foreign market for Japanese pictures has always been Asia, it appears that some Japanese producers have sounded out the current feeling and are acting accordingly. Many of these productions have been finding their way abroad for such substantial prices that many observers feel the income is actually hidden subsidies for more such films. Soviet Firm Bought One Sovexport Films of Russia is reported to have paid $30,000 for an anti-American film "The Life Of A Miner," produced by the Japanese Miners Union and distributed by Hokusei. This is probably the biggest sale of the year. To balance the bargain, it is reported that Sovexport sold Hokusei "Young Guard" for about $19,440. Records indicate that Red China has purchased four Japanese anti-American pictures ; "But We Are Alive," "Hakone Mountains," "Life Of A Miner" and "Half-Blood Orphan," all at high prices. Most of this anti-American product can be traced to independent production units which are made up of men who were blacklisted by the Occupation Forces before the industry was returned to native hands. Unfortunately their work has been generally conceded to maintain pretty high artistic standards, the reports say. Hopes N. Y. Censor Law Will Be Clarified Strongly in favor of a classification system in the licensing of films, Dr. Hugh M. Flick, director of the Motion. Picture Division of the New York State Education Department, stated that he hopes the Board of Regents and the N. Y. State Legislature will consider such a plan at their next meetings. After recent Supreme Court decisions which limited the powers of censorship. Dr. Flick advocated that a law be passed allowing caisors to classify films by categories, adult, general, family, etc., a plan which is practiced in England. Although not committing himself to pushing such a plan at the coming meetings of the Board of Regents and the state legislature. Dr. Flick stated that "a classification system of licensing would prevent the use of bad advertising, exploitation and publicity of films." The present law states that all films should be licensed unless termed "immoral" or "indecent" and it needs further clarification, Flick said. 'Waterfronf to Astor "On the Waterfront," Columbia Pictures' presentation of the EJia Kazan production starring Marlon Brando, will have its world premiere at the Astor Theatre here following the engagement of "Indiscretion of an American Wife."