Variety (Aug 1948)

Wednesday, August 4, 1948 FILM REVIEWS 11 Pitfall Hollywood, July 31. 1 r ttlie.l Artists release of Samuel Bischnlr (tte^al Films) production. Stars Dick Po- well. Lizaheth Scott, Jane Wyatl; -features Ka.Miiuiijl Uurr, John Intel, Byron Burr, Juinm Hum, Ann Doran. Kclmor Jackson. liii'Mii.i i>y Andre De Toth. Sereenjilay, Karl Kamlj; based on novel, "The Pitfall"' by .l.i> Deader; camera. Harry Wilrt; edi- tor, Waller Thompson: music. X.ouis Km -bes Previewed July 30, '48. Running [ tuno, 8.1 MINS. #'••!« KwbM ,. Dick Powell lliin,i Stevens, Lteibelh Heotl Sue Knrhes Jtine Wyutl Jdact)onald , Raymond Burr J'Msirl. i Attorney John Lllrt Mill Smile> ; . liyron Harr T.uittny Forbes jimmy Hunt W-'ti^'e , Ann Doran JM lit an ley ...Selmer Jackson Terry Margaret Wells l'esk Sergeant Dick Wassel "Pitfall" never lives up to its promise of tight, suspense) ul melo- drama. It's a watered-down screen version of Jay Dratler's . tough novel that loses an excellent idea for high dramatics somewhere along the production road. The promise of exciting stuff is always present, but never delivered. Just moderate b.o. attention is all it will rate. Dick Powell, with a reputation for credible toughguy characteri- zations, has'scant chance to get going in this one. He works well enough with material and has a few high spots but, on the whole, he disappoints as docs the picture. Lizabeth Scott gets a bit more credence into her role. Soundest characterization is given by Jane Wyatt, who makes believable her wife role with an intelligent per- formance backed by the script's best dialog. Screen adaptation of the Dratler novel presented a tough problem and only basic idea was lifted. That was still solid enough for sturdy film fare, but Karl Kamb has given it weak-kneed scripting and a tritely projected ending which Andre De Toth's direction doesn't help. Production sight values are excellent. Samuel Bischoff should have exercised the same care in insuring entertain- ment that would pay off on meller promises. Powell is an insurance man, bored with his humdrum, clock- ruled life. This makes him a set- up for Miss Scott's charms when he calls on her to collect gifts made by an absconder, now in jail. Their mutual attraction leads to one amorous night together and a guilty conscience. Raymond Burr, mountainous private eye, tries to make something of the incident be- cause he has been spurned by Miss Scott. The something leads to Powell killing the absconder, paroled from jail and egged on to attack Powell by Burr. There's a full confession to the wife and the d.a., i. lecture from both and ending finds Powell hopeful of re- newing a happy married life. Jimmy Hunt is cute as Powell's son and has been given equally cute lines. Burr is excellent. Litel has only one scene as the lecturing d.a. Byron Barr, the absconder, Ann Do ran, Selmer Jackson and others have been given casual direction by De Toth. Technical aids are topnotch; Harrv Wild's camera work, score, editing, settings and art direction all representing expert craftsman- ship. Brog. Ha<:hel «■••! the Stranger (SONGS) Hollywood, Aug. 3. BKft release of Richard H. Berger pro- duction, stars Loretta Young-, William IlitMen. Hubert. Mitchum; features Gary (Stay. Tom Tully, Sara Haden. Frank FViXUson. Wither Baldwin, Regtaa Wal- lace Directed by Norman Foster. Screcn- ttlar, Waldo Salt; from Btory, "Rachel" by Howard Past; camera, Maury Gertsnian: editor, l.es Millbrook; songs, Roy Webb, Wsldo Stilt. Trsdeshown at Los Angeles, Auk. 'W. nunnlng time, 92 MISS. Rachel ' Loretta Young Hi, navey William Holden jiiii Robert Mitchum Pavey Gary Gray . Putsuu Jackson ,...Tom Tully Mo. Jackson Sara Haden Wr. Kreeu Frank Ferguson Gitllus Walter Baldwin Mo>. Ureen Rcglna Wallace makes a play for her. Such at- tention sparks some interest in the husband and the triangle spins an anticipated- course, with the Indian raid bringing the husband and wife together »s lovers for the finale clinch. Within the bounds of the script, everyone concerned do good, if not outstanding jobs. Even pace maintained by Norman Foster's di- rection is in keeping with writing but his handling of the night raid on the settler's cabin by redskins is solid action stuff. Flaming ar- rows and war whoops pinpoint pioneer danger but, unfortunately, there isn't enough of it in preced- ing footage. ■ Holden enacts the dour settler, so deeply in love with his dead wife he fails to appreciate, or even notice, the charms of his new bondswoman bride. Miss Young has only two costume changes and her makeup is true to role, but she makes some glamor shine through. Mitchum is the aimlessly wandering hunter—Romeo who, like the angel, in "The Bishop's Wife," makes the husband aware of wifely charms by his own ad- miration of them. Gary Gray is good as Holden's wild young son. Others make only brief appear- ances. There is- an appeal to the five songs that aptly fit story demands. Mitchum lends an untutored pleas- ing vocal nonchalance to "Oh He Oh Hi Oh Ho," "Just Like Me" and "Foolish Pride." He joins with- Miss Young on "Tall, Dark Stranger" and "Summer Song." All have a folksy flavor as cleffed by Roy Webb and Waldo Salt. Lat- ter also was responsible for the script, from a story, "Rachel," by Howard Fast, and Webb did the smooth background score. Richard H. Berge.r's production, under executive supervision of Jack J. Gross, utilizes exteriors al- most completely, with the rustic cabin and a wilderness fort the only sets required. Scenic values are good and Maury Gertzman gave them sharp lensing. Editing holds the film to an adaptable 92 minutes. , Brog. Miniature Reviews "Pitfall" (UA). Melodrama with only moderate entertain- ment values. "Rachel and the Strangrer" (RKO). Unexciting saga of a love triangle In pioneer days. Strong cast to help b.o. "Two Guys, from Texas". (Musical-Color) (WB) Enter-. Uining' musical about two er- rant nitery performers. "The Spiritualist" (ELK Tur- han Bay, Lynn Bari in unusual meller of mediums and murder. "Fighting Back" (20th). Okay dualer. "The Red Shoes" (British) (GFD). Meller with ballet back ground; too limited in audi- ence appeal and too long for big V. S. biz. "Variety Time" (RKO). Well-edited series of clips from many films made cohe- sive by Jack Paar's emceeing. no harm in the actors being casual about it. What matters is that there are the proper comedy situa- tions, song cues, and the musical numbers and laugh lines are re- soundingly put oyer. Visually, the picture is good, as the color photo- graphy capitalizes on the vivid ranch decor. David Butler's direction suits the tempo to the style of the picture and the mood of the scene, skillfully avoiding lagging spots. Morgan is likable enough as the romantic lead, and Carson does some hilarious mugging as the comedy lead. Dorothy Malone has the requisite looks as the heroine, while Penny Edwards puts over the musical femme lead reasonably well, but occasionally hammers her song numbers a trifle. Forrest Tucker, Fred Clark and Andrew Tombes are notable in supporting parts. Kobe. Two Guys from Texas (COLOR-MUSICAL) Warner Bros, release of Alex Gottlieb production. Staff* Dennis Morgan, Jack ('arson: features Dorothy Malone, Penny Edwards. Directed by David Butler. Screenplay. I. A. L. Diamond and Allen Boretz, suggested by play, by Robert Sloane and Louis Pelletier: songs. Jule Styne, Sammy C'atin; dances by l.e Roy Prlnzi musical director, Leo F. Forlistein; or- chestral arrangements. Ray Helndnrf: car- toon sequence directed by 1. Freleng; camera (Technicolor), Arthur [-Meson and William V. Skall; editor. Irene Morrit. Previewed K. Y., Julv 28, '4S. Running lime, H« WINS* 'Steve Carroll Dennis Morgan Danny Foster ....luck '("arson Joan Winston Dorothy Malone Maggie Ueed IVnny Edwards "'Tex*' Bennett Forrest Tucker Dr. Slraeger Fred nark Link Jessup Gerald Mohr Jim Crocker lohn Alvitt "The Texan" Andrew Tombes 1'ete Nash Monte fllue Specialty Philttarmonlca Trio The Spiritualist Hatgle Lion relottse of Ben Stotoff pro- duction; Stars Turhttit Bey, Lynn Bari, Cathy O'Donnell. Directed by Bernard Vorhaus. Screenplay, Muriel Roy Boltun and Ian Hunter from original by Crane "Wilbur; -camera, John Alton; editor, Nor- man Colbert. Tradexlfowt,, N. Y., July SI, '48. Bunnlng lime, 78 SUNS. Alexis . ..Tul-lian Bey Christine V'aber .'Lynn Burt Janet Burke Cathy O'Donnell Martin Abbott. Richard Carlson Paul Faber Donald Curtis Kmily ■ ..*........., ..Virginia Gregg Hoffman Harry Mendoza "Rachel and the Stranger" plods an agreeable, if unexciting, enter- tainment path in narrating story of pioneer days and love Jn the wil- derness. Star names are good, some marquee luster being provided by Loretta Young, William Holden and Robert Mitchum, which should sharpen b.o. response. Mood of the picture is pleasant but is so even that interest isn't too strong. Dangers of pioneering in a wilderness, vaguely referred to as the northwest, could have been more excitingly depicted. Single incident of excitement—a strong one—is put off until the finale and has a socko Indian raid on a settler's homestead in the wilds. Otherwise, narrative maintains its even pace in telling story of a pioneer who buys a bride to do the chores and teaches niceties of life to his motherless son. The bride is onlv a servant until a hunter, friend of the groom, appears and This mistitled filmusical is about a couple of mediocre nitery sorig- and-dance men who go to, not come from, Texas to run afoul of misad- ventures and romance on a dude ranch. It's lightweight stuff, but unpretentious and moderately di- verting, and should at least keep the customers seated until the top feature comes on. In a modest way, "Two Guys from Texas" is a spoof of musical westerns, for it presents the broncho-bustin', gun-totin', frontier stuff as window dressing to give the big city dudes their money's worth. Also, there's a lampoon Hollywood cowboy number as well as some kidding t almost - on - the- square about swaggering Texans. The songs are tuneful, though un- distinguished, the musical numbers are skillfully staged and pleasantly brief. The opening song number, "Mu- sic in the Land," done by. Dennis Morgan and Jack Carson supposed- ly bouncing over the Texas range in a aged Ford, is enjoyable. There's also a fairly good song and dance number, "I Don't Care If It Rains All Night," by Carson and Penny Edwards, but possibly the top musical spot is the hokum "I Want to Be a Cowboy in the Movies" duet by Morgan and. Car- son. Other songs are "Everyday I Love You a Little Bit More" and "HankerinV In the comedy department there are a few good scenes, notably one in which the two girls and two boys prepare for bed in adjacent rooms, with their two conversations clever- ly integrated for laughs. There's also some passably good slapstick, as the two performers flee jail and mix with a rodeo crowd in almost Keystone Kop fashion. A cartoon dream sequence is only mildly effective. Nobody could take the plot seriously, of course, least of all the authors themselves, so there's Novel story, working in methods used by mediums to obtain high fees, turns out to be high tension' melodrama. It has .been expertly directed by Bernard Vorhaus from a whale of a yarn' by Crane Wilbur. Helped by topflight performances by Turhan Bey, Lynn Bari and Cathy O'Donnell, "The Spiritual- ist" should prove strong boxoffice. Whether only passably stout or really big in most spots will depend on how sold, because picture is one that can be circused into real proportions. Idea of mixing a spiritualist's machinations and usual spook screen sounds with a slambang murder plot has been worked out effectively. Miss Bari, as the rich, young widow, imagines being - in contact with her deceased husband, who supposedly had died in an auto crash two years previously. That proves a workable thesis for seance expert Bey until he finds the mate, Donald Curtis, actually is alive. Also that the "dead" hus- band is plotting to get control of his wife's estate. Ben Stoloff has given the picture magnificent production, with much action in and about a stately man- sion perched high on a cliff over- looking the Pacific. Such setting makes for breath-taking scenes and obvious thrill sequences as the wife is lead along the top of the cliff while half-drugged. The odd sound effects, mysterious voices and other peculiar noises have been captured in one of the top sound- recording jobs of the year. Bey chips in with probaDly bis top performance as the money- grabbing medium while Miss Bari as the much-distressed wife who yens contact with her dead hus- band is also considerably better than in recent efforts. Miss O'Don- nell .does excellent work as the younger lass Who seeks to save her sister, first from the spiritualist and then from her supposedly dead husband. Curtis tops the support as the hubby who returns to life. Harry Mendoza does a neat job as the ex-magico, now a sleuth, who helps run down Bey's seance setup. Rich ard Carlson does well in the thank- less role of a persistent suitor. Besides Vorhaus' fine direction, picture Is helped by sterling cam- eraing by John Alton and slick editing by Norman Colbert. The unusual photo effects are nicely done by George J. Teaguc. Wear. Fighting Hack Hollywood, July 30. Ttveuticth-lfox release of Hoi M. Wurtstel production. Features Caul Langum, Jean Rogers, Gary Gray. Joe Sawyer. Mortis Ankrutn, John Jellogg, Daisy (canine). Directed by Mai Si. Clair. Story and screenplay. John Stone; camera, Benjamin Kline: editor. William P. Claxlon. At GraumaJtCs Chinese, Hollywood. July 30, •18. Running time, tU MIN». Nick Sanders , Paul T,tiitgl«n June Sanders .....Jean Rogers Jimmy Sanders <lary Gray Sergen.nl scttdder '.' Joe Sawyer Mr. Hlgby Morris Aukrum Sam Lung .'...John Kellogg Mrs. Bitchy Dorothy Christy ]j»rrv Higliy , Tommy . Ivo Mrs. Winkle I'l'la Tyler Colonel ...Metro H'ntkin Snuffy Daisy "Fighting Back" never gets above its programmer classification but, in that bracket, is okay ma- terial. Plot is fairly plausible and fits the title.- Dramatic elements come off best and would have been stronger but for distracting comedy hokum. Story concerns ex-convict who starts on the straight and narrow after serving in the war. On parole, his attempts to provide a legal living for himself, his wife and son are going smoothly until an old criminal associate appears on the scene. Parolee becomes in- volved in the theft of a bracelet from his employer's wife.. Bauble lias been stolen by the canine, Daisy, at instructions of the former gangster pal, hut inevit- able happy ending rights all wrongs when the dog points out the real culprit. Mai St. Clair's direction keeps the piece on the move and draws acceptable performances from the cast. Paul Langton handles his lead role pleasantly, as does Jean Rogers as his wife and Gary Gray,, the son. Daisy will please the femmes and kiddies, John Kel- logg is an okay villain. Joe Sawyer, policeman; Morris Au- krum, Dorothy Christy are among others in featured spots. Production supervision by Sol M. Wurtzcl has obtained good values for budget allotment, set- tings, art direction and other phys- °cal appurtenances being kept sim- ple to fit struggling young couple's financial standing. • Brog. The Red Shoes (Color) (BRITISH) London, July 27. General Film Distributors release of J. Arthur Rank-Archera production. "Stars Marius Goring, Anion Waibrook, Moira, shearer. Directed and written by Michael 1'owell, Emetic Preasburger; additional dialog by Keitb Winter; editor, Reginald ■Mills. Music by Brian Haednle; ballets, Robert Helpmann: camera (Technicolor). Jack Cardiff, Christopher Challls. At Odeon. Umdon, July 20. '-48. Running time, 13* MI.VS. Boris I.ermontoc Anton Waibrook Julian Craaler Marius Coring Victoria Page ..Molra Shearer LJubov Leonide Mnssine Ivan Boleslawsky Robert Helpmann Ratov , Albert Basset-man 'dvy ..Esmond Knight Roronskaji , T.udmilla Tcheri na U>rd Oldham Derek Elphlnstone Lady -Neman Irene Brown Professor Palmer. .Austin TrcvtoV Madame Rambert Madame Humbert Dlmitrl Eric Berry The growing popularity of the ballet in Britain has been a post- war phenomenon, and undoubtedly influenced Powell and Presburger to produce this, their last for Rank. Although good ballet is assured boxoffice in London and possibly other big cities, its popularity in small towns and country districts is dubious. And in America, too, it will- probably only attract a limited audience. For the first 60 minutes, this is a commonplace backstage melo- drama, in which temperamental ballerinas replace the more con- ventional showgirls. Then a superb ballet of the Red Shoes, based on a Hans Anderson fairy tale, is staged with breath-taking beauty, put-classing anything that could be done on the stage. It is a colorful sequence, full of artistry, imagina- tion and magnificence. The three principal dancers, Moira, Shearer, Leonide Massine and Robert Help- mann, are beyond criticism. Then the melodrama resumes, story being about the love of a ballerina for a young composer, thus incurring the severe displeas- ure of the ruthless Boris Lermon- tov, guiding genius of the ballet company. Caught up between her two loves, her husband and her dancing, the ballerina dances her way to death, echoing the theme of the Red Shoes ballet. Although the story may be trite, there are many compensations, notably the flawless performance of Anton Waibrook, whose inter- pretation of the role of Lermontov is one of the best things he has done, on the screen. Moira Shearer, glamorous red-head, who has al- ready achieved fame as a ballerina, shows that she can act as well as. dance, while Marius Goring, pol* ished as ever, plays the young com- poser with enthusiasm. The supporting roles have been carefully filled, including Esmond Knight, Eric Berry, Austin Trevor and Albert Basserman. Other assets that can be chalked up are the wide variety of inter- esting locations—London, Paris, Monte Carlo, magnificent settings, firstclass Technicolor and some brilliant musical scores played by the Royal Philharmonic Orchestra with Sir Thomas Beecham as con? ductor. In spite of all this, the pic- ture fails to come up to expecta- tions. It will disappoint the ballet- fans who won't be satisfied with a 15-minute show, and there isn't enough in the story for the general public to hold interest for two and a quarter hours. Variety Time (MUSICAL) HKO release of fSeorffe Blhton production. Leon l-h-rol and K.icur Kennedy seauencea dirccicd by HnI I'tttos. Krrol screenplay, Hal Law: Kennedy screenphty, Yates; Jack Pilar material by Leo Solomon, Joseph Qttlllan; editors, Lee Millbrook, Edward W. Williams. Tradeshown, Aug:, a, *48- Banning: time. 59 'M1NS. Cast: Jack Paar, Edgar Kennedy, Leon Krrol, Frankie Carle ft Ot-cb. Pat Kootiey, Mifruellto Valdes. Harold K- Lola. Jesse * James, Lynn. Royce & Vanya, Dorothy Grander, Jack Norton, Minerva I'l-ecal, Florence Lake, Jack Rice, Dot Farley, Hal Concern", RKO in putting together a fea- ture length film consisting, of clips from out-of-circulation musicals, comedy shorts, sequences from si- lent films and faces left on the cutting room floor, have pre- destined such a release to the lower end of a dualler. However, the results coincide with the best video formula that's been found to date. "Variety Time" resembles closely the format that's been clicking on the Texaco Star Thea- tre, regarded by many as televi- sion's brightest program, "Variety Time" is similar to the tele program, inasmuch as there's a good emcee (Jack Paar) tying together various song, dance, and specialty sequences. It's virtually perfect video fare. But sole drawbacks in selling this film to the 28 video stations now operat- ing are the insufficiency of funds to buy current features and the low key photography in many se- quences which would make parts of the picture not bright enough for the sets now on the market. For theatres, the well-edited "Variety Time" will he mildly amusing. Although Jack'Paar does a clever job of projecting the in- dividual sequences, many will have the ring of familiarity, inasmuch as pictures they were taken from hav* been previously released. The Ed- gar Kennedy and Leon Errol shorts have already made the rounds as has the Miguelito Valdes "Babalu". clip with terping by Harold & Lola. The vaude specialties are well staged with Pat Rooney doing his familiar "Daughter of Rosie O'Grady" tap, originally made for the Eddie Cantor pic, "Show Busi- ness;" Jesse and James hitting * good pace With their tray-balancing and acrohoofery, and Lynn, Royce Sc Vanya (team is now split with Vanya doing straight terping with. Pierre D'Ahgelo) making a nice impression with comedy dancing. Frankie Carle's band contributes the "Carle Boogie." The silent clips comprise a 1922 fashion newsreel, a William S. Hart western and a 1911 Biograph release, "Two Paths." Paar does an amusing commentary for all three. He also has a funny bit with Hal Conreid. Latter spoofs French cafe singers. Jose. Selznick Continued from page 5 films which have-been dropped by Selznick. They were "What Every Young Bride Should Know," to be made by Edward and Robert ! Golden with Shirley Temple and John Agar starred, and "If This Be My Harvest," to be made by Wil- liam Bacher with Alida Valll, Robert Mitchum and Louis Jour- dan. Selznick stated that the script of neither film pleased him. Golden's pic was dropped with dif- ficulty, but Bachv has filed suit against DOS and claims he will make the film elsewhere with other stars. In the meantime, Selznick is go- ing ahead with his video plans and expects to start work on the first experimental reels within the next couple months. Initial production, to be labeled "The Selznick Test Stage," will be a presentation of new talent under contract and un- der option to the Selznick studio.' Producer has declared he's al- ready received offers for the show from video chains and sponsors, but has nixed them because he wants perfection in the experi- mental shorts before they are shown to the public. Cecil Barker and Arthur Fellows will be in charge of production.