Photoplay (Jan-Jun 1953)

M'C'M The Bad and the Beautiful It takes a sharp interest in movie-making to appreciate this inside view of Hollywood. Kirk Douglas is the central, controversial figure, a producer whose co-workers wind up hating him — but can’t escape his compelling influence. Barry Sullivan, ambitious young director, helps Kirk get his start, then is callously brushed aside. Lana Turner, spiritless drifter, daughter of a famous actor, is pushed into stardom with a romance that’s brutally brief. Dick Powell, a novelist imported to Hollywood, also falls under Kirk’s spell, and the writer’s marriage to a southern belle (neatly caricatured by Gloria Grahame) is sacrified to the producer’s mania for creating good movies. Lana shows fine emotional fire, but Kirk has trouble making a cryptic character sympathetic, in spite of the switcheroo designed to do the trick. Verdict: Fascinating close-up of Hollywood intrigues KRAMER, COLUMBIA The Four Postcr A cast that’s limited to two people and sets that confine them to their own apartment may not seem a formula for a distinguished movie. But the device creates an atmosphere of special intimacy, with Rex Harrison and Lilli Palmer to tell you the story of a marriage. The picture shifts easily from farce to drama to tragedy to sentimental fantasy. Top plaudits go to Lilli, giving a fluid, brilliant performance as shy bride, wise wife, a bride’s restless mother, serene old lady. Rex is most convincing in comedy scenes, though he makes a full-length figure of the writer whose wife shows him the way to success in writing and living. But you find the cream of the movie in the cartoon “inter-scenes” that fill in bits of plot, bridge the years, suggest the tragedy of war and the hoopla of the jazz. age. Each one is richly imaginative. Verdict: Tender, amusing, too-talky tale of wedded lovers WARNERS, TECHNICOLOR April in Paris The warm presence and notable musical gifts of Doris Day and Ray Bolger breathe life into a flimsy farce plot, and it’s done so spontaneously that even the waits between numbers are easy to take. Dodo’s a lowly chorine invited by mistake to represent the U. S. at a Paris art festival; Ray’s a State Department underling, a stuffed shirt who gets unstarched on the gay transatlantic trip. Love dawns fast, in shipboard style, and a phony marriage that the principal parties believe to be real gives rise to a lot of dodging in and out of cabins. The confusion’s straightened out in a Paris that is obviously the “Paree” of the popular legend. Claude Dauphin cooperates amiably as a French entertainer turned waiter in a financial crisis. Liveliest number is a jamboree in the galley, looking pleasantly impromptu, as a good musical routine should. Verdict: Songs by Day, dances by Ray keep you happy PARAMOUNT, TECHNICOLOR Road tO Ball The first fine bloom of the “Road” series may have worn off, but for aficionados there’s still a relaxing charm about the adventures of Bing, Bob and Dottie. As usual, Crosby, Hope and Lamour give you the impression that they’re making up the plot as they go along. There’s the standard opening scene with two show-biz fakers judiciously getting out of town — Sydney, Australia, in this case. Before they realize what they’re doing. Bob and Bing are involved in the dangerous business of resurrecting sunken treasure from an octopus-haunted lagoon., at the bidding of native prince Murvyn Vye. Bob remains the hysterical type; Bing, the boy who knows it’s all in fun; Dottie, dutiful straight man (and extracui'vy female). And many guest celebs pop up. Verdict: Casual, comical, musical improvisation More reviews on next ]>ag:e A Kirk’s apparent love gives Lana the confidence a star needs A The on-screen marriage of Rex and Lilli strikes a discord F Romance inspires Doris and Ray to do some stepping P F More close harmony for a beloved trio — Bob. Dottie. Bing 13