The Thief (United Artists) (1952)

SPECIAL FEATURES, SHORTS, BIOGRAPHIES Role Demands New Methods For Milland (Special Feature ) “In order not to underact, I overact about ten percent.” The author of the above, and on the surface slightly confusing statement, is Ray Milland, and it concerns his technique in “The Thief,” the most unusual film he has ever made in his better than fifteen years as a Hollywood star. The crux of the matter lies in the fact that “The Thief,” a United Artists release opening on ........ 0.0.00... at’ the, 7. ee Theatre, does not contain a single line of dialogue. Produced, written and directed by the able young team of Clarence Greene and Russell Rouse, “The Thief,” the cast of which is headed, in addition to Milland, by Rita Gam, Martin Gabel, Harry Bronson, Rex O’Malley and Rita Vale, is the first picture in the quarter of a century since sound was introduced that is entirely talkless. The reason for this curious state of affairs, as explained by its mentors, is simply that the film, a long and fabulous chase, does not require dialogue by its very nature. The extra ten percent step-up in the Milland histrionics was necessary to take up the slack left by the omission of the dialogue. The extra steam helped communicate emotion and meaning to the audience that normally would be supplied by dialogue. He regarded “The Thief” as an exciting challenge from the actor’s point of view. “Naturally, it felt rather odd to be working without any dialogue. I’ve had a good deal of movie experience, and I know how often dialogue can be a crutch to an actor, how you can rely on talk rather than your own talent, to get you over a difficult dramatic scene.” Silent Treatment For Martin Gabel Martin Gabel, famous in radio, television and movie circles for his remarkable speaking voice, doesn’t say a single word in “The Thief,” new United Artists release opening on LO ees ot abthe oe Tet, Theatre. But then, neither does anybody else. “The Thief,” one of the most unusual pictures to come along in years, is the first film to be made in the quarter of a century since the introduction of sound which is totally devoid of dialogue. A fascinating suspense drama, “The Thief” was produced, directed and written by Clarence Greene and Russell Rouse, and its cast, in addition to Gabel, is headed by Ray Milland with Rita Gam, Harry Bronson, Rex O’Malley and Rita Vale. o-Time Loser In his two previous pictures, Harry Bronson, rising young film actor, died violently at the hands of his leading man. In “The Thief,” exciting and unusual suspense thriller opening on at the Theatre, through United Artists, Bronson is again escorted to a bloody end, this time by Ray Milland. And he dies, as he has lived, without uttering a single word. To clear up any miscon ceptions at the outset, Bronson does not play the role of a deaf-mute. Nobody speaks in “The Thief,” which happens to be the first talkless picture produced since the introduction of sound a quarter of a century ago. Produced, written and directed by the young team of Clarence Greene and Russell Rouse, “The Thief” is talkless because by the nature of its story—which its mentors are keeping a well-hidden secret—it simply does not require talk. Page Fourteen “The Thief,” as portrayed by Ray Milland, pauses apprehensively, before stealing a secret document from a co-scientist’s desk. Scene is from the new, sensational non-dialogue film, “The Thief,” which is being released by United Artists this .................. al the eis cia: Theatre. The Harry M. Popkin production was written, produced and directed by the noted film team, Clarence Greene and Russell Rouse. Stull TT-16 Mat (2A) Rita Gam, who obviously doesn’t have to “talk” to convey her ideas, appears with Ray Milland in “The Thief,” which will open .... ....... at He oer kee ce Theatre through United Artists release. Still TT-X8C Mat (2E) The meeting of two spies (who transact their business without saying a word to each other) takes place in the nation’s capitol. Spies are portrayed by Martin Gabel and Ray Milland in the new non-dialogue film, “‘The Thief,” slated to open ...................... Bb Doe Keine at 5 Bodie sos Theatre. The Harry M. Popkin production, which United Artists is releasing, was produced, written and directed by Clarence Greene and Russell Rouse. Stull TT-67 Mat (2F) Rita Gam Projects Allure Sans A Word of Dialogue (Biography ) Rita Gam got the feminine lead in “The Thief,” a talkless film, because of her ability to project a certain aura without uttering a single word. This ability won for her the provocative appellation—the “sex-without-words-girl.” The picture, which comes to the ............0...000.00.. heatreson. hss, c be ns. through United Artists release, is the exciting chase and suspense thriller which, for the first time since the introduction of sound a quarter of a century ago, dispenses entirely with talk; there is not a single line of dialogue throughout the whole picture. The reason for this—as explained by the calloborative writer-producer-director team of Clarence Greene and Russell Rouse—is as simple as it is logical. The nature of the film is such that it does not need dialogue for its telling. “The Thief” is Rita Gam’s first movie, though she is nationally known as one of television’s leading dramatic actresses. Now twenty-four, and brunette, Rita was born in Pittsburgh and grew up in New York City—grew up rather nicely, according to her latest statistics, which include a 36” bust, 2544” waist and 3514” hips. Without benefit of formal dramatic training, Rita graduated from the Fieldston School into the Equity Library Theatre production of “A New Way to Pay Old Debts,” followed by another ELT production, “The Hasty Heart,” and Ben Hecht’s “A Flag is Born.” Following a half dozen other plays—on Broadway and in stock—Rita made her television debut in 1950 as—believe it or not—an Egyptian Queen on “Believe it or Not.” Since then, she has appeared on the Cameo, Lux, Kraft and other outstanding dramatic shows. If her performance in “The Thief” proves any eternal verities—outside of the somewhat obvious one that she seems destined for a long and successful screen career. No-Talk Picture Makes Real Movie “The Thief,” new United Artists release starring Ray Milland, which was produced, written and directed by the team of Clarence Greene and Russell Rouse, comes as close to being a “pure” movie as anything emanating from Hollywood in the last quarter of a century. The picture Opens ie ee atrthew matey ties Theatre. Every element which could possibly stand between the picture and unadulterated action, has been ruthlessly eliminated. Thus, to begin with, “The Thief,” twenty-five years after the introduction of sound films, does not contain a single line of dialogue! There is no narrator. There are no subtitles. In short, there is nothing to slow down the action of the film, a gigantic chase in which suspense is lifted to its highest form. Climax In Sky The fabulous climax of “The Thief,” first talkless film since the introduction of sound a quarter of a century ago, takes place 102 stories above the ground, at the topmost Rita Gam “says” everything with gestures and impressions in the non-dialogue film “The Thief,”’ coming .............. tOLMINE 42 i ee e.. Theatre through United Artists release. Clarence Greene and Russell Rouse produced, wrote and directed the Harry M. Popkin production. Miss Gam is now be point of the Empire State Building. The unusual chase-and-suspense film, a United Artists release written, produced and directed by Clarence Greene and Russell Rouse, opens on st ah a ab the ge) Dheatre. Heading the cast of the picture, which ing hailed as one of filmdom’s brightest new stars as the result of her performance and the exciting journalistic reaction by Life Magazine, which called her “silent and sexy.” She was also featured on Life’s cover. does not contain a single line of dia logue, are Ray Milland, Rita Gam. Still TT-22 Mat (1B) Greene and Rouse Claim The Script’s the Thing (Biographical Feature) Possibly because they are writers themselves—but more likely due to the fact that they are level-headed and highly principled young men—Clarence Greene and Russell Rouse are of the opinion that the most important single factor in the creation of a movie is the writer. If this dictum seems to pit the young writer-producer-director team squarely against the prevalent Hollywood viewpoint (in which the writer is regarded as a necessary evil), it is no more than in keeping with their reputation as independent spirits. If any further proof of their sturdy individualism were needed, it can be simply presented by stating that their latest movie, ‘The Thief,” which opens on ..................00.... BEV C wrt mes Theatre, does not contain a single line of dialogue. A United Artists release, the cast of which is headed by Ray Milland, Rita Gam, Martin Gabel, Harry Bronson, Rex O’Malley and Rita Vale, “The Thief” is the first film in the quarter century since the introduction of sound which is entirely devoid of talk. If Greene and Rouse were still—only—writers, their statement about the importance of the writer would have to be examined for bias. But since they are now, additionally, director (Rouse) and producer (Greene), it must be accepted as their true and considered judgment. To elaborate on their theory slightly, it is their contention that the writer is the only true creator connected with a movie. The rest—directors, actors, cameramen, technicians— are interpreters. Greene and Rouse, after nine years of collaboration, are still good friends and, more important, still see eye to eye artistically. In the years since their first joint venture, “The Town Went Wild,” in 1943, they have gone onward and upward. That first movie earned them the official Hollywood accolade of “genius” —a cataloging they view with distaste. “DOA” proved that they were sound craftsmen who could compete easily with the entrenched Hollywood veterans in turning out a Grade-A thriller, and last year, with “The Well,” they showed they were capable of wrapping up a sound social idea with consummate skill in an extremely entertaining pitcure. As an indication that Hollywood thought so too, “The Well” was nominated for an Academy Award.