Variety (Feb 1949)

12 FII3I REVIEWS Wednesday, Febniary 2, 1949 Red Cajiyon (COLOR) Universal release o{ Leonai^d Goldstein SKQdUctlon, Stars 'Ann. Blyth. Howard lUlI, George Event, pirccted by George Stierman,' Screenplay, Maurice GeraKhty; based on Zane Grey novel; camera (Tech- "iiicoior), Irving Glassbersi editor. Otto I-udwig; music; AValter §ctiaif. Trade- shown, N. Y., Jan. 31, '49. Running time, H'J '.MIXS.. Xucy Bostel...,.......Ann BLvth Iain Slone . . . . . . Haward DuB ' Mathcw Bostel Ocofge Brent; ; Jonali .Ioiin.son:... .i... .Edgar Buolianan Flovd Cordt............ .. .Joiin: Mclntire Brackton . . .....' ... Chill .Wilis Aunt Jane ............ . .^. Jane Darweli Virgil Cordt......... ..Lloyd Bridges Joel Creech................. James Scay Farlane.....,.......... Edmond McDonald Scars...... 1 ... David Clarke Butch Denver I'yle Van WUliard Willingham ."Red Canyon" is a wellrpaced, neatly-dressed saga of the western plains. Turned out on a modest production nut, film will pay off handsomely in lesser first-run and nabe situations. Although lacking top marquee values, it boasts a competent cast, good script spiced heavily with action and eye-filling . vistas , expertly tinted in Techni- color. It should earn word-or- mouth commendation. < Yarn is a parlay of wild stallions, harcUridin' cowboys, ranchers, horse-thieves-.'and romance, all cU-: maxed in a. rousing, old-fashioned shooting match. While formula in general design, plot benefits from several original twists in the hu- man conflict and, particularly, from standout sequences showing herds of maverick horses racing over the open range. Story opens with Howard Duff, a cowboy drifter, setting out to cor- ral a famed wild stallion, leader of one of the wild herds. Enroute, he crosses paths with . Ann Blyth, daughter of the territory's top horse-breeder, George Brent, who is set to win the annual big race. After Duff captures the horse. Brent is irked at finding out that his daughter is planning to jockey the wild nag in the race. He is doubly irked to discover that Duff is also a member of a notorious family of horsethieves. But Duff is in the clear and proves it by shoot- ing up his father and brothers in the slambang finale. Duff, : of course, cops both the -gal and the race in the interim. In his first role in chaps, Duff registers as a credibly tough cow- boy hero, handling his lines crisply and his reins steadily; Miss Blyth does nicely as a headstrong tom- boy, with the color lensing high- lighting her pert looks. Brent de- livers a good performance while Edgar Buchanan scores as Duff's comedy sidekick. Competent supporting cast, tight editing and a pleasant musical score contribute to the pic's paiat- «bility. Herm. part in keeping things interesting for the market. Frank McDonald's direction , is aCtionful in presenting this below- the-border tale of the fictional west, and Armand Schaefer's pro- duction equips it with necessary sight values to point up' the yarn. Good lensing in Cinecolor by Wil- liam Bradford also helps. Brog. I Shot Jesse James (SONG) Hollywood, Jan. 29. Screen Guild release o£ Cari K. Hittle- man (Lippert Productions) production; Stars Preston Foster, Barbara Britton; features John Ireland, Reed Hadley, J. Edward Broniberg, Victor Kilian. Directed by Samuel Fuller. Written by FuUeri suggested by American Weekly article by Homer Croy; camera, Ernest Miller; music, Albert, Glasser; editor, Paul Lan- drc's.' Previcwcdi in Hollywood Jan, 29, '49: Running time. Al MIMS. . John Kelley:i.. . Preston Foster Cynthy Waters. ... . . ; ; . . .Barbara Brjltton Bob Fol'd: ....'...,.;;......John Ireland Jesse' James.. ..Refed Hadley Kane.. . ...;. .. J. Edward Bromberg Soapy .... .... i.. i... . Victor Kilian Mrs. Zee James.........Barbara Woodell Frank James... .Torn Tyler Charles Ford...i.i.Tom Noonan Room Clerk..... ........Byron Foulgcr Bartender.................. Eddie Dunn Maid.: ,, Jeni Le Gon Troubadour Robin Short Miniature Reviews "Red Canyon" - (Color) (U). Actionful westerner about wild stallions; good b.o^ "The Big Sombrero" (Songs) (Color) iCol). Nitty Gene Autry western for the Satur- day trade. , "I Shot Jesse James" (SG). Ambitious character study .of early-day western outlaws. Good b.o. "Kureka Stockade" (GFD). So-so gold rush drama in Australia, made Down Under. The Big Sombrero (SONGS—COLOR) r„i..;,K- .Hollywood, Jan. 29. Vo'unibia release of Armoiid Schiiefer 5 °''""«>n- Stars Gene Autry with Cham' £u?n,.*^r."„?? y^-luKo. Stephen fir",^"^' ijeorge J. Lewis, Vera Marshe. William Edmunds, Martin GarraUga, Gene Stutenroth, Neyle Morrow. Directed bv Frank McDonald. Screenplay, Olive fo.?f^'"'prtr*" »•='"*"'£'■'' William Brad v„o.'.» *5"^'^> Batista. At the Sun ; A .^;r-v«-"V/////.'step^ Ben McBrlde Gene Stutenroth StaJv'^^^J® Morrow Farmer^awn *?k2SS' ■ • ■ ■ • ■ • • ••■ • • • Pierce Lvdert KSJ"" ■ Rian Valente ^...Antonio Fllaurl ,- '.... .. . and. Champion,? the Horse 9^"^ Autry takes up his guitar ^Sa'n in "The Big Som- biero for the solid pleasure of his -tans. Its a quality-oatuner that will satisfy m the film cowpoke's market. Outdo6r locale is dressed tip in color, the action moves fast and the plot-IS all that's needed to buyer ^ ^'""^ ^^'^ ^^^'^^^ ■ Autry uarbles five numbers as well as a medley of three, in be- tween moments when he's not straightening out a lovely Mexican senorita's affairs, and those of the rancheros who dwell on her vast ranchp. Olive Coopei''s oriRinal script follows the accepted, and ac- ceptable, pattern for the regulation oater. Story tells how Autry foils a bad man trying to gain control of the senonta's rancho throuch marriage so he can sell it. The proper amounts of chases, gunplay, fisti- cuffs and comedy are ladled out plus a colorful fiesta and dance se- quence, to hold the attention of the Kiddies and adult western fans. Elena Verdugo \vas an exception- ally apt choice for the senorita. She looks the part and gives it a comeliness that pleases. Stephen Dunne does well by his heavy as- signment. Vera Marshe, Miss'Ver- dugo's companion; Neyle Morrow, young Latin; George J. tewis, Wil- liam Edmunds and others do their "I Shot Jesse James" is a char- acter study of the man who felled the west's most famous outlaw with a coward's bullet. It's an interest- ing treatment that doesn't overlook necessary plot and action to give it good grossing possibilities. Physi- cal values are about usual level ,of Screen Guild releases, giving it the dressing for top playing time in houses buying sturdy action prod- uct. Cast members are particularly good. Film fits more in the adult bracket than for kiddie audiences, but: title and exploitable angles will give it enough push to attract younger ticket;buyers. While Preston Foster and Bar- bara Britton carry star roles, it's John Ireland, as the notorious Boh Ford,. who dominates the story. Plot deals with the motives that lead up to cowardly gunning of James, the deed!s reaction in. the early west and^Ford's own death in a street gun Battle aftei: he had lost the girl for whom he. killed, Spiced in the plot footage are any number of forthright physical clashes, capably staged by Samuel Fuller's, direction. Latter is not quite as adept in handling the char^. acter study motivation but the players carry off these angles with considerable ability. . Ireland's performance is clearly drawn and even manages a. trace of sympathy. Miss . Britton fits well into the role of his beloved, who turns to Foster in the end. Foster iS'good as the prospector who turns marshal and guns down Ireland in the suspensefiil finale. Reed Had- ley does exceptionally well in short footage as Jesse James. This char- acter, too, is sympathetically pro- jected. There's one expertly staged barroom scene wherein Robin short, as a wandering minstrel, sings of Ford's cowardly deed to Ireland's face. Barbara Woodell, as Mrs. James, and others are ca- pable.' ■ Fuller directed from his own script, and Carl K. Hittleman, un- der executive supervision of Rob- ert L. Lippert, did a nifty produc- tion job. Ernest Miller's photog- raphy and. the music by Albert Glasser are neat assists. Brog. Eureka Stoekade (AUSTRALIAN) ■ London, Jan. 26. GFD release^ .of Ealing-Michael Balcon production.. Features - Gbil>s Rafterty, .Tane Barrett, Gordon .Jackson, Jack Lamv bcrt. Directed by Harry Watt; Screen- play by Watt and Walter Greenwood: camera, George Heath; music, John Greenwood. At Gaumont, London, Jan. 23, '49. Running tiniej M1XS. Peter Lalor ... — ......Chips Rafferty Alicia Dunne ..,.. ....... Jane Barrett Commissioner Rede ..Jack Lambert Raffaello .. ,..... . . Peter Illing Tom Kennedy....., Gordon Jackson Governor Hotham...., Ralph Truman Vern..... ..............Sydney Loder Sly Grog Seller.........;.. John Ffernside Sgt.-Major MUne.........;.. . Grant Tayldr Humffray... . Peter Finch Black.....................Kevin Brennan Hayes ..................; . John Fegan Scobie,....... Al Thomas Bentlcy ... ... . Bon Whelan; Mrs. Bentlcy....>.....,...., Perk Allison Doctor Moore......... ... Reg Wykeham large influx of foreigners all of whom hope to find their fortune. In an endeavor to save the na- tion's finances, vicious taxes are imposed on the diggers, and the men themselves are - hounded by the police. The gold seekers, in a mood to be easily inflamed, seek to impose their will by mob law, but from within the mob a leader arises who eventually wins them freedom after, a devastating battle with police and troops. • : If action alone could make a picture; this one would very nearly take full marks, for the entire em- phasis is on movement, and the pitched battle comes as a climax to a series of big-scale scenes, such as the burning of a hotel and the many ruthless hunts carried out by the police. The main weakness of the pro- duction, which contributes in large measure to its failure to grip, is the low standard of acting. Direc- tor Harry Watt, who made Chips Rafferty a star overnight in "The Ov^i'landers," hasn't achieved the same succe.ss with his'ca.st on this occasion and there isn't a perform- ance which earns special commen-; dation. Rafferty himself, complete: with black beard; displays a sur- prising immaturity, and never brings conviction to the role^.bf the^ diggers' leader. Jane Barrett,, cast as a schoolteacher who moves into the goldrush area to look after.the kids, provides the slight sugges- tion of romance. It took almost two years to make this picture in Au-stralia and it is difficult to understand why a unit had to be sent so many thousands I of miles from home when adequate ' locations could have been found with .100 miles of the studio. Myro. Sex In German, Jap Pix Continued from page 3 Solilat. Horn (Bom. the Soldier) (SWEDISH) Fribergs Filmbureau production and release. Stars Nils Poppe, Inga Landgre; features Douglas Hage,' Gunnel Wadner, Ake Jensen, Luddc Juberg, Julia Caeser, Gunnar Bjornstrand, Gosta Cederlund. Directed by Lar.s-Erifc Kjellgren. Screen- play, Per Schytte, Poppe; camera, Gun- nar Fischer; music, Kai Gullmar, Sune Waldimir. At Spegelni Stockholm. Run- ning time, 84 MINS. Bom Nils Poppe Agnes. ............. J. Tnga Landgre Mayor Killman.......... ■ Douglas Hage Gabriella.. ........... Gunnel Wadner Lieut. Forsberg............ . Ake Jensen Zakarii-is Ludde Juberg Carolina Hard.........Julia Caeser Sgt. .Berglund..Gunnar B.1ornstrand Colonel .. i....... i...,. . Gosta Cederlund Corporal....Karl Erik Flons Corporal ... ...... ..... .. .Birger Asander Jokcr-Kalle Nils Hallberg Liliebror:............. Rune Andreessen "Eureka Stockade" is poten- tially a big picture. It has been filmed against a wide canvas with vast crowd scenes. It - has action and virilityj yet despite these qualities on the credit side is a disappointing production. In en- tertainment value it is a long way behind "The Overlanders," which was Ealing's first Australian enter- prise. Action fans, who are not particularly discerning in their choice of entertainment, will find this adequate enough but it cannot be reckoned big for the U. S. market. It' is staged in the middle of the 19th century when the first gold strike in Australia leads to eco- nomic chaos in the colony. There ate no men to till the land or sail, the ships as they have all gone in 1 search of gold. And there Is also a I "Soldat Bom" is a fine comedy I whose plot is set against a military background. Film will do strong business in Sweden and appears to have excellent chances abroad. Written by its star. Nils Poppe, who's cast in the title role, the picture is also aided by the first- rate camerawork of Gunnar Fi.scher. Poppe impresses as the soldier and the beauteous Inga Landgre is also a decided asset. Winq. Kva (Swedish) Stockholm, Jan. 20. Sven.sk Filmindustri production and re- lease. Stars Birger Malmsten, Eva Stil- berg; features Eva Dahlbeck, • Stlg Olin, Ake Claesson, Wanda Bothgardt, Hilda Borgstrom, Olof Sandborg, Ina Landrte, Directed by Gustaf Molander. Screenplay, Ingm.ir Bergman; camera, Aka Dahlquist: mu.sic. Eric Nordgren. At Roda Kvarn; Stockholm. Running time, 10'^ MINS. Bo Birger Malmsten Eva Eva Stlberg I Susanne Eva Dahlbeck goran, ■ Stig Olin Fredriksson Ake Claesson Mrs. Fredriksson.. W.inda Bothgardt Mari.1 Hilda Borgstrom Berglund Olof Sandborg Frida Inga Landgre .rohan.sson Carl Stroni Jo'st Sture Eriksson OI.lc. . Hans Dahlin Mi'iW'fe Hanny Schedln Marthe: .Anne Karlsson "Eva," a romanlir drama, is one i of the better Swedish films and ' looms as a likely entry for the in-! ternational market in addition to' its strong domestic grosses. As screertplayed by Ingmar Bergman, the film's story has been told with exceptional skill. Yarn traces the early life of Birger Malmsten,'a youth with a railroading background. An elope- ment with a blind daughter of an Austrian musician results in trag- edy when a locomotive he's com- mandered for their flight Is Picture Export Assn.; which serv- ices the occupied countries for the U. S. industry, refused to comment in New York last week on the re- portSj beyond stating; that they were essentially correct. • "The Army would like to have 52 'Snow Whites' a lyear," one of: the execs stated, "and since there aren't that many made, we're having trouble keeping our offices provided with the 52 films yearly they need in Germany and 100 in Japan. We are suffering in the quantity of films being shipped and'in the general quality." Double Dilemma Civil Affairs Division, as a mat- ter of fact,..is impaled on the horns of,: a • very . unenviable : double dilmnta. First is in regard to the lack pf morals restrictions in Ger- man and Japanese production. The Americans are supposed to be selling democracy, and one of their big points is that democracy means freedom. They therefore hesitate to impose regulations that might be construed as abridging -freedom of information. Likewise, they have no desire to be responsible; for the morals of the German or Japanese people. . Thus^ the local film industries are subject only to a review of scripts and finished pictures to. see that militaristic and fascistic ideas are; not being per- petuatcdi and that the occupation and Allied powers are not being criticized or defamed. Occupation authorities have nothing to say about moral or ethical values, nor do they control the way pix are exploited or advertised. And since there- are no local equivalents of the Johnston office to exercise con- trol, the producers are said to be getting away with murder, par- ticularly in Japan. What's not in their pictures; is in. their advertis- ing. American films, on the other hand, are first handpicked by the MPEA. They then are culled by the CAD in New York and V^ash- ington. Finally, they must get ap- proval of local occupation authori^' •ties.-.' The second horn of the CAD's dilemma hinges around product selection, since the Army controls $185,500 of its own funds in Japan' and about $460,000 of Economic Cooperation Administration funds in Germany, which are paid out to U S. producers to compensate them for prints and out-of-pocket expenses incidental to servicing the occupied countries. Army and civilian officials who must stamp their okay on the pix for which this coin is spent live in holy terror of being called before Congres- sional investigators to explain their decisions. As a result, they are so circumspect in their selections that they can't even find enough films to send to the areas, and those that they do send are pallid b.o. fare as compared with the local red meat Iteorieniatlon Regulations embodied in the ap- propriation of these funds provide that the films for which they are used must contribute positively to the reorientation of the people, in keeping with the broad purposeis of the occupation. Therefore, the GAD okays only films with this "positive" approach. The MPEA, on the other hand, maintains that any film that shows the American way of life and, thuis, democracy in action, cuntributes to reorientation. They declare that it doesn't take a "message film," as CAD believes, but that a pure en- tertainment picture also inay ac- complish the purpose. That does not include, of course, such pic- tures as "The Senator Was In- discreet," which are never even submitted for CAD consideration, since they might be construed as reflecting on democratic processes. Army's standpoint is that the MPEA can send over the pure en* tertainment films itself, if it wants to, but that CAD cannot approve appropriations for recouping of costs on' such pix. American in. dustry's stance is that that's just equivocating because no producer can be> expected to spend as high as $35,000 sencling his picture to an occupied . country when he knows that the entire cost is coming out of his own pocket. Ex- • change restrictions in these areas prevent remittance of dollars, so U. S. producers receive none of the normal , proceeds, of their films at the boxoffiee., Showdown on a top, policy level is now being aimed foi-'by the U. S. industry and the Issue may be "re- solved ;in Washington within the next few months. Par Decree SS Continued from iiagre . S s petitive bidding situation and also on the. barriers to- "exclusive rights" within a territory. He was asked whether the Gov- ernment. ..had an alternative to competitive bidding. "It is going to be pretty hard; to control competitive bidding," the Attorney General admitted. "We don't want a dog-eat-dog system. We want to bettep the system. We might modify competitive bidding later on." He invited views of the exhibitors. Ted R. ■ Gamble, TOA board chairman, told him: "It is apparent, even at this early d^ite, that the thing we feared when we intervened, has devel- oped. This device is being used, not to. open competition but to • extract more money from exhibi- tors for the benefit of the distribu^ tors. One major company is now engaged in widespread competitive selling, not to help new theatres but solely to get more money. They have seized upon that device. We may be back in your office one (rf these days to talk about that" Russell Hard wick. New Mexico exhibitor, pointed out that clothing manufacturers frequently give ex- clusive representation of their brands in a community to a single retail outlet. He wanted to know why distributors no longer could give exclusive rights to their film products to certain theatres, and wondered whether the system could not be restored. "It was .stopped because of abuses . in the past." cxpliuned Clark. "However, in time we might return to it, although I doubt it would go as far as you say. If you people want to work up a plan, my aides and I would be glad to listen to it" Clark also said a. good word tor the arbitration system being read- ied for submission by the majors. "I think that the pians they are working out," said Clark, ."will be very helpful and will give the ex- hibitors protection in the selection and availability of films. You have a right to be heard in the matter. Set up any group you want and I will be glad to talk with you. I want the view of- people familiar with the case." wrecked. The girl is killed and the lad enters the navy in an attempt to forget. Later he weds Eva Sti- berg, one of his formei' flames. Birth of their child starts both off on a new life. In portraying the erratic youth, Malmsten racks up one of his best performances. On par with his work is the acting of Miss Stiberg. Ake Claesson, as Malmsten's father, and other players lend solid support. Direction of Gustaf Mo- lander helps sustain the film's dra- matic qualities while Ake Dahl- quist's camera work is competent Winq. Disney Pushes S..ConUntie.4 from: jiage 5 ss menls in the metropolitan area was about $100,000. • This can be better spent, he feels, in more con- centrated form for -the day-and- date waves, i ■■■ Lined up for Fob. 22. three and one-half' weeks after the Palace opening, are a combo of 113 RKO and indie houses. They'll charge their regular admission price, biit each will give the film extended and preferred playing time. Each theatre will play ''Heart" a day longer than normally. One-week houses will give it eight days, five days houses will give it six days> etc. Whether the Palace run wiU continue through the nabe engage- ments depends on the business the Broadway hoUi3e is doing. In the case of Selznick, "Duel" did below expectations at the Capitol, and_ it is expected that "Heart" in the nabes wilt siphon off Palace patrons. Likewise, the lack of a large campaign fdr the Broadway engagement will undoubtedly keep opening week.s' receipts below what might be normally antici- pated.