The Exhibitor (1956)

' September 19, 1956 MOTION PICTURE EXHIBITOR the firm. Hardwicke decides to reopen negotiations since he trusts Taylor, and Taylor and Mueller plan for a future together. X-Ray; Another in a series of films V with a corporation-big biisiness back¬ ground, this will find more favor in large city and class spots than in small towns ' and rural situations. Performances are all capable and good direction maintains in’ terest throughout. The film is most nota¬ ble, however, for the introduction of Elisabeth Mueller, as appealing a new personality as has hit the screen in some -I time. The young lady is a fine actress, possessed of a glowing personality, and . seems certain to make a real mark given > the proper vehicle in the future. Other performances are uniformly good. Screen play is by Robert Ardrey, based on the r book by Howard Swiggett. Tip On Bidding: Better program rates, i Ad Lines: “Master Of Big Business, I But Slave To The Longings Of His Heart”; “A Great Love Story With A Different ^^Twist”; “A Shining New Star Explodes On The Screen . . . Meet Elisabeth Mueller.” RKO Back From Eternity Memphama Estimate: Satisfactory dramatic entry will benefit from name draw. Cast: Robert Ryan, Anita Ekberg, Rod Steiger, Phyllis Kirk, Keith Andes, Gene Barry, Fred Clark, Beulah Bondi, Cam¬ eron Prud’homme, Jesse White, Adele Mara, Jon Provost. Produced and directed by John Farrow. Story: Traveling by plane to a small South American town are pilot Robert Ryan; co-pilot Keith Andes; stewardess Adele Mara; financier Gene Barry; his fiancee Phyllis Kirk; playgirl without a coimtry Anita Ekberg; professor Cameron Prud’homme and his wife, Beulah Bondi, racketeer Jesse White, taking Jim Provost, the small son of his gangster employer out of the U.S.; policeman Fred Clark; and his prisoner, political assassin Rod Steiger. Mara is swept out of the plane to her death as they attempt to fly through a hurricane, and Ryan is forced to land in the jungle, dangerously close to a tribe of headhunters. The ordeal brings out the best in the characters of Ryan, Andes, Ekberg, Steiger, Kirk, White, Prud’homme, and Bondi, and the worst in Clark and Barry. Attempting to escape, Clark is killed by natives. White is also killed. Ryan and Ekberg are at¬ tracted to one another, as are Andes and Kirk as she begins to see Barry’s true nature. The ship is repaired, but only five can be carried to safety. Steiger gains possession of the only gim and declares that he will decide who will go and who will stay. Prud’homme and Bondi disqual¬ ify themselves as they have already lived a full life. Steiger chooses Ryan to pilot the plane, the young boy, Andes, Ekberg, and Kirk. Barry is killed attempting to get the gun. As the plane takes off, Steiger uses his last two bullets to kill the pro¬ fessor and his wife and then prepares for the arrival of the headhunters. X-Ray: This is a satisfactory character drama, and its best asset is a cast of excellent names. Performances are all good, and the current Ekberg boom can be favorably exploited. Dramatically, it leaves something to be desired and is somewhat short on real action. Production values are good, but its the names in the cast that deserve the stress. Tip On Bidding: Fair program rates. Ad Lines: “Twelve Flew In, But Only Five Came Back”; “Steaming Jungle And Tropical Terror Showed Them At Servisection 3 Their Best . . . And Worst”; “The Screen’s Newest Glamour Queen, Anita Ekberg, In Her First Starring Role.” Beyond A Melodrama Reasonable Doubt Estimate: Fairly interesting program meller. Cast: Dana Andrews, Joan Fontaine, Sidney Blackmer, Philip Bourneuf, Shepperd Strudwick, Arthur Franz, Edward Binns, Robin Raymond, Barbara Nichols, William Leicester, Dan Seymour, Rusty Lane, Joyce Taylor, Carleton Young, Trudy Wroe, Joe Kirk, Charles Evans, Wendell Niles. A Bert Friedlob Produc¬ tions, Inc., production; directed by Fritz Lang. Story: Novelist Dana Andrews, engaged to Joan Fontaine, the daughter of newsptaper publisher Sidney Blackmer, is en¬ listed by Blackmer in a scheme to drama¬ tize the fallacy of circumstantial evidence in murder cases and point out the injus¬ tice of capital punishment. Blackmer is opposed to the methods used by district attorney Phillip Bourneuf. Police have no leads in the killing of a strip tease dancer and Andrews agrees to serve as guinea pig in Blackmer’s experiment. They plant evidence pointing to Andrews’ guilt, keep¬ ing photographic records of each step. Upon Andrews’ conviction, Blackmer will come forward and prove his innocence. Andrews begins to date another stripper, Barbara Nichols, and acts so as to con¬ vince her he is the killer. Eventually, he is arrested and tried. The circumstantial evidence causes a verdict of guilty, and Blackmer starts for the court house to deliver his dramatic announcement. He is killed in an auto crash, and the photo¬ graphs are burned. Andrews now faces the electric chair. Fontaine, aided by police officer Arthur Franz, a former boy friend, desperately tries to back up An¬ drews’ story. All seems lost when Black¬ mer’s safe -deposit box is opened and a letter is found proving Andrews’ story to be true. Just as he is to be pardoned, he inadvertantly lets slip the real name of the murdered girl, known only to the police and the killer. It turns out that he was once married to the girl and saw in Blackmer’s plan the perfect way to kill her and be found innocent. Andrews is led back to the death cell. X-Ray: This is based on an interest¬ ing premise, but somehow fails to gener¬ ate the suspense and excitement that it promises. Performances are adequate, as is production and direction, but much of what occurs is predictable. The shock ending is rather unsatisfying and too quickly wrapped up, with audiences pos¬ sibly feeling cheated or just a mite con¬ fused. It should fit on the program, how¬ ever, and satisfy most mystery lovers. Story and screen play are by Douglas Morrow. Tip On Bidding: Fair program rates. Ad Lines: “Piece By Piece, They Built A Wall Of Guilt Around Him”; “His Life In The Balance And Only One Man Could Prove Him Innocent ‘Beyond A Reason¬ able Doubt’.” U-International The Killers Melodrama 101m. (Reissue) Estimate: Reissue has the angles. Cast: Burt Lancaster, Ava Gardner, Edmond O’Brien, Albert Dekker, Sam Levene, Charles D. Brown, Donald Mc¬ Bride, Phil Brown, John Miljan, Queenie Smith, Garry Owen, Harry Hayden, Bill Walker, Vince Barnett, Jack Lambert, Jeff Corey, Wally Scott, Virginia Chris¬ tine, Gabrielle Windsor, Rex Dale, Charles McGraw, William Conrad. Produced by Mark Hellinger; directed by Robert Siodmak. X-Ray: When first reviewed in The Servisection of August, 1946, it was said: “This has excellent direction, plenty of suspense, and a strong climax. This rates with the better mellers. The exploitation angles are there, plus the Ernest Heming¬ way slant as the author ...” Ad Line: “The Ruthless Excitement Of Ernest Hemingway’s All-Time Great!”; “Most Suspenseful Picture Of Them All”; “Brought Back For You To Thrill To Once Again.” The Sleeping City Melodrama 84m. (Reissue) Estimate: Reissue is good meller. Cast: Richard Conte, Coleen Gray, Richard Taber, John Alexander, Peggy Dow, Alex Nicol, Hugh Reilly. Produced by Leonard Goldstein; directed by George Sherman, X-Ray: When first reviewed in The Servisection of September, 1950, it was said; “A good, suspenseful, fast moving meller, this has Conte and Taber turning in top performances. The hospital back¬ ground adds to the interest and actual shots of New York City lend authen¬ ticity.” Ad Lines: “Excitement Rips The Night”; “Danger Stalks The Silent Streets”; “The Story Of A Great Police Department’s Confidential Squad.” MISCELLANEOUS The Flesh Merchant Melodrama 59m. (Sonny) Estimate: Fast buck stuff for exploita¬ tion spots. Credits; Produced and directed by W. Merle Connell. No cast credits available. Story: The younger sister of an un¬ married woman arrives from a small town to visit her in Hollywood not knowing she is a call girl. She tries to warn her about the pitfalls of the big town without con¬ fessing what she is; attempts to ship her home again. The younger girl goes in¬ stead to a figure modelling “school,” the address of which she found in her sister’s purse. Employment here as a model leads to what she believes to be a hostess post at a “country club.” In reality this is a glorified hotel of ill repute with a large swimming pool and girls available for the wealthy male guests. Any girls who fail to “cooperate” are sent to the operator’s cheaper house down town. The young girl skirts deep entanglements until one of the older girl’s rebels over an assign¬ ment and is beat up before getting to the police with her story exposing the set up; and her sister arrives at the “club” on assignment and is brought face to face with her. The cops arrive in the nick of time. X-Ray: This inde is amateurishly made and enacted and is sheer paper-back trash aimed at the moron audiences always willing to part with a buck to gander something they think is on the seamy or “dirty” side. Despite the theme, there is little objectionable to the picture itself although there are a few shots of good looking girls in bathing suits, nightgowns, undressing, etc. Short running time may be in film’s favor. No known names, of course, and production values hardly ex¬ istent. Title is most saliant factor in selling. Although caught in a censor free situation, the print seemed to be heavily censored. Ad Lines: “Girls Shackled To A Life Of Crime”; “A Most Daring Expose Of Hollywood.” 4227