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CALL ME MADAM 20th century-fox, technicolor
The tuneful story of “The Hostess with the Mostes’ ” sweeps onto the screen as just about the cheeriest musical ever made, vibrant with irresistible personalities. Ethel Merman’s warm self-assurance and matchless gift for selling songs make the lady ambassador a memorable figure, shrewd but susceptible, uncouth but knowing, wearing gorgeous costumes with an air. Donald O’Connor’s next in line, playing her young press attache with his unique blend of brashness and humility, his precise sense of rhythm. Sedate princess Vera-Ellen keeps step with him entrancingly in dancing numbers. But George Sanders is a real surprise. Heretofore a pretty chilly type, he eases into the film’s good humor; his suave diplomat becomes a genuinely charming gent. Even the plot, about a tiny mythical country out for a U. S. loan, is as bouncy as the Berlin score.
Verdict: Lush, lovable, star-bright musical (Family)
MAN ON A TIGHTROPE 20th century-fox
Once upon a time, a small circus sneaked through the Iron Curtain to freedom. Here’s a film inspired by that true incident, with a mixed flavor of fairy-tale and bitter reality. Fredric March, in a superb portrayal, is the harassed showman who quietly plans escape from the prying and luillying of Czechoslovakia’s Reds. There are two love stories, both torrid. Gloria Grahame’s at her most sensuous as March’s second wife, abusing him for his apparent spinelessness. Terry Moore, as his daughter, and Cameron Mitchell, as a roustabout with a vague background, team in a spirited youthful romance. Minor roles are done with color and conviction — even the Communist heavies, notably Adolphe Menjou. As the getaway plot builds to its climax, the audience increasingly shares the desperate urge to breathe the free air across the border.
Verdict: Witty, picturesque triumph of suspense (Adult)
SALOME COLUMBIA, technicolor
The saga of the lady with the seven veils is in the tradition of the most successful Biblical-era films, providing spectacle, sex and inspirational values. Rita Hayworth affirms her rank as one of the screen’s great beauties, though her Salome is more on the side of the angels than the gospel indicates. But the spare, powerful narrative of the Scriptures is expanded to generally good effect, as Christianity challenges a debauched court in a far corner of the Roman Empire. Playing a Roman convert, Stewart Granger is almost as handsome as Rita. Judith Anderson’s Queen Herodias is convincingly ambition-ridden, and Charles Laughton makes King Herod evil and pitiable. Alan Badel’s John the Baptist, however, has too much of the fanatic about it. Gaudy as it is, the movie’s closer to the spirit of the story than earlier fictional treatments.
Verdict: Satisfying if superficial pageantry (Adult)
More reviews on next page
with Janet Graves
“Can you use any money today?” Ethel ashs George (with music)
Fredric’s paternal restrictions on romance leave Terry defiant
Through Stewart’s love, Rita finally reaches a new way of life
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