The Exhibitor (1956)

MOTION PICTURE EXHIBITOR January 23, 1957 years with only her poetry and corre¬ spondence with poet Bill (Robert Brown¬ ing) Travers providing her with some happiness. Travers is moved into at¬ tempting to see her and does so while the father is away. He admits his love, and their romance brings about an amazing recovery for her. Her doctors suggest a trip to Italy, but Gielgud refuses to hear of it and instead plans to move deep into the country to discourage any and all visits. When Gielgud finds that McKenna has been seeing an Army officer secretly, he is greatly angered and forces her to swear that she will never see him again. This scene plus Travers’ love persuades Jones to accept his proposal. Following a scene where Gielgud hints his feelings toward Jones might be more than pater¬ nal, she secretly leaves to wed Travers. When Gielgud discovers her absence, his rage is great but he can do naught. X-Ray: High in quality and flavored with expert craftsmanship is this romantic drama dating to the 1800’s that will be appreciated best by those who seek the finer things in life such as classic paint¬ ings, artistic treasures, and by women who go for romance. It may also provide a good change of pace in today’s scheme of things where speed and rapidity of movement come foremost. The cast per¬ forms well, with Jones, Travers, and Gielgud bringing life to the characters and the situations. The direction and production are good. This has been done before on screen, on stage, and on tele¬ vision so exactly how large an audience awaits this is something to be considered by theatremen. The screenplay is by John Dighton based on the play by Rudolf Beisier. There is a song, “Wilt Thou Have My Hand.” Tip On Bidding: Higher bracket in many situations. Ad Lines: “One Of The Greatest Ro¬ mances Of The Ages Come Alive On The CinemaScope Screen In Metrocolor”; “An Unforgettable Screen Experience.” Boys Town (716) Melodrama 96m. Estimate: Reissue of topnotch family meller. Cast: Spencer Tracy, Mickey Rooney, Henry Hull, Leslie Fenton, Gene Rey¬ nolds, Edward Norris, Addison Richards, Minor Watson, Jonathan Hale, Bobs Wat¬ son, Martin Spellman, Mickey Rentschler, Frankie Thomas, Jimmy Butler, Sidney Miller, Robert Emmett Keane, Victor Killian. Directed by Norman Taurog. X-Ray: When first reviewed in The Servisectton of September, 1938, it was said: “Here, indeed, is a fine family pic¬ ture. It is the sort of picture that ex¬ emplifies why the motion picture industry is a great industry. Furthermore, it com¬ bines a moral lesson with entertainment. As such it emerges as a show which de¬ serves to do business. It has no love story, is devoid of romantic angles, but is a sincere story of boys and how the faith of a Catholic priest brought new hope to boys of all creeds. Story tells of Father Flanagan and how he started Boys Town, near Omaha, Nebraska . . .” Ad Lines: “The True Story Of The Famous Boys Town, Nebraska”; “Brought Back For You To Enjoy Once More”; “One Of The Screen’s All Time Great Entertainments.” Green Dolphin Street Drama (715) 141m. Estimate: Reissue has names to help. Cast: Lana Turner, Van Heflin, Donna Reed, Richard Hart, Frank Morgan, Ed¬ mund Gwenn, Dame May Whitty, Regi¬ nald Owen, Gladys Cooper, Moyna Macgill, Linda Christian, Bernie Gozier, Pat Aherne, A1 Kikume, Edith Leslie, Gigi Perreau. Produced by Carey Wilson; di¬ rected by Victor Saville. X-Ray: When first reviewed in The Servisection of October, 1947, it was said: “Women should undoubtedly get a thrill and varied emotions from this different and lengthy piece of filmcraft. Based on a best-selling novel of the same name by Elizabeth Goudge, this should have a large potential audience. The names should help put it across . . . Production is lavish with special effects . . . The earthquake sequence in particular being outstanding . . .” Ad Lines: “Great Cast, Great Book, One Of Our All-Time Great Pictures”; “Brought Back For You To Enjoy Once Again”; “One Of The Screen’s Greatest Romances Brought Back By Demand.” 20TH-FOX Oasis (632) Melodrama 84m. (Filmed in Morocco) (Eastman Color) (CinemaScope) (Dubbed in English) Estimate: Mediocre programmer. Cast: Michele Morgan, Pierre Brasseur, Cornell Borchers, Gregoire Aslan, Ulrich Beiger, Max Elloy, Florelle, Gilles Gabon. Produced by Luggi Waldleitner and Gerd Oswald; directed by Yves Allegret. Story: A ring of crooks learns Pierre Brasseur, owner of an oasis in Africa, has a large amount of gold coming out via a caravan. Gregoire Aslan, Michele Morgan, and Cornell Borchers are assigned to get the necessary information for hijacking same. Brasseur and Borchers become lovers en route. Morgan becomes fed up with the methods of the ring and decides to leave. She changes her mind when she learns that Brasseur is to be murdered and instead returns to warn him. A ro¬ mance blossoms between them, and Borchers is in a jealous rage. They reach the oasis, and Aslan and his men make their play. Brasseur takes to a plane at the last moment and stampedes the herd of camels into Aslan, Borchers, and com¬ pany so that they are eliminated. The gold is saved, and Brasseur and Morgan are free to live a life of happiness to¬ gether. Tip On Bidding: Lower rates. X-Ray: Everyone looks suspicious and acts suspicious. Even the plot is suspi¬ cious to say nothing about being confus¬ ing. The authentic scenery, settings, and people can do little to alleviate the lengthy conversations that take place throughout. It is different, but the dub¬ bing has a tendency to detract if audi¬ ences watch close enough. The acting, direction, and production are fair. It works out as filler for the lower half. The screen adaptation is by Joseph and Georges Kessel, with dialogue by Ben Barzman. Ad Lines: “Beautiful Adventuresses For Hire . . . Go Anywhere . . . Do Anything For A Price”; . . . “She Would Do Any¬ thing Short Of Murder”; “An Exciting Adventure Filmed In Mysterious Mo¬ rocco.” Three Brave Men Drama (701) 88m. (CinemaScope) Estimate: Topical, thought-provoking drama has documentary flavor. Cast: Ray Milland, Ernest Borgnine, Frank Lovejoy, Nina Foch, Dean Jagger, Virginia Christine, Edward Andrews, Frank Faylen, Diane Jergens, Warren Berlinger, Andrew Duggan, Joseph Wise¬ man, James Westerfield, Richard Ander¬ son, Olive Blakeney, Robert Burton, Ja¬ son Wingreen, Ray Montgomery, Sandy Descher, Patty Ann Gerrity, Jonathan Hole, Barbara Gould, Fern Barry, Joseph McGuinn, Samuel Colt. Produced by Herbert B. Swope, Jr.; written and di¬ rected by Philip Dunne. Story: Ernest Borgnine, employed by the Navy Department in Washington for 22 years, is dismissed from his job as a security risk. Stunned by the action and seemingly powerless to fight the charges, he considers leaving the small community where he lives. Mayor Edward Andrews and other friends in the town convince him that it is best to stay and fight, and he hires lawyer Ray Milland. A check of Borgnine’s background reveals that he did at one time belong to an organization labeled as subversive but quit when he realized what it was. Aided by testimony from friends and neighbors, Borgnine is cleared by a hearings board led by Frank Lovejoy and expects to return to work. Weeks drag into months, and he is brusquely notified by Dean Jagger, as¬ sistant Secretary of the Navy, that the board’s recommendation has been re¬ versed, and he is fired. Milland continues the fight, aided by Borgnine’s neighbors, and they prevail upon Jagger to reopen the case. Detailed investigation proves that many of the charges against Borg¬ nine were made by cranks and personal enemies. He is reinstated by Jagger, who publicly apologizes, stating tnat the rights of the individual can’t be ignored, even in matters of national security. X-Ray: There is no doubt that the message in this film is an important one. The topic of security has been in the news much in the past few years, and this film is based on an actual happening. There is certainly a lesson to be learned. However, as theatre entertainment, the film leaves something to be desired. Borg¬ nine is sincere in the role of the harassed employee; all lead roles are well handled; and Frank Faylen turns in a gem of a supporting job as a crusty postman. Ex¬ hibitors can take advantage of tieups with many organizations that are sure to rally to the support of the film if they learn what it is about. The more talk that can be generated the better, as this one will need considerable initial push to get it rolling. It is a thoughtful film and a quiet one and will be best appre¬ ciated by more discriminating theatre¬ goers. It’s not for the action fans. Tip On Bidding: Fair program rates. Ad Lines: “Washington’s Hottest Hot Potato, The Security Program, How Does It Work?”; “His Job Gone, His Neighbors Whispering, Where Could He Turn?”; “Torn From Today’s Headlines . . . The Blistering Story Of ‘Three Brave Men’.” UNITED ARTISTS Crime Of Passion Melodrama 84m. (Goldstein) Estimate: Fine acting lifts crime meller above average program fare. Cast: Barbara Stanwyck, Sterling Hay¬ den, Raymond Burr, Fay Wray, Royal Dano, Virginia Grey, Dennis Cross, Rob¬ ert Griffin, Jay Adler, Malcolm Atterbury, John S. Launer, Brad Trumbull, Skipper McNally, Jean Howell, Peg LaCentra, Nancy Reynolds, Marjorie Owens, Robert Quarry, Joe Conley, Stuart Whitman. Executive producer, Bob Goldstein; pro¬ duced by Herman Cohen; directed by Gerd Oswald. Story: Clever reporter Barbara Stan¬ wyck aids policemen Sterling Hayden and Captain Royal Dano in capturing a mur¬ derer and falls in love with Hayden. De¬ spite her wish for a career rather than 4273 Servisection 2