Variety (May 1950)

'PliJ»f 1 liBVlEWS^ #<^Meaa<iy4 1950 Hollyworo<P, -April 28. W«rnerii tfleast ejE Jerry Wald Ptoduc* tlon. surf Eleanor Parker; ifeatureaJ Agnef Mooreheadt Ellen Corby* Hope Kmcraon> Betty Garde. Directed Cromweur Written by VirjEElnla Kel^gE and Beimard C. Schoenfeld; cameras Carl Guthrie; editor. Owen Mark*. Trade^own April 24, '50r puhnlnjg time. W MINS. ^ Marie AUen............. Eleanor Parker Buth Benton........... Agnefi Moorehead Emma....... Ellen Corby Evelj^ Harper, i.. >.., .Hope Bnwrson Kitty............, i........Betty Garde SmoV>chle....... ^..... *...... J«n S‘eri^ Elvira PoweU ............... .Lee Patrick June.............Olive Peering Isolation Matron.. .. .. ..;. . Jane Darwell Georgia.......;....... > Gertrude mchael Helen............ ^heOa S^ns Claire.J om Mmer Cassle ..;;.....;...... .Marjorie Crossland Senator Donnolly..Taylor Holmes Mrs; Foley...i........... Pranclf Morris Ann...... • .Lynn Sherinan ‘‘Caged” makes a Stab at objec-!- live rejf^rting of life, iii a Woman’s prison. A ^im, unrelieved study of cause and effect; it has exploita- tion possibilities but still adds lip to very drab entertainment, un- lea veriM with any measure of es- capism that would brighten its chances in the vinore; general; inar- 'kei’. ', ■' ^ Plot provides Eleanor Parker with what is. known as a meaty feinme rOle, completely deglamour- ized, arid she plays it with consider- able ability- There are other strong portrayals aittphg the predominately femme cast, all running true to the types depicted, and the mort color- ful is the sadistic prison matron socked over by Hope Emerson. Script by Virginia Kellogg and Bernard C. Schoenfeld is based on actual prison life incidents; Mptiya- tioh on which it is hung is the downward path taken by a first offender after she riibs iip against the assorted characters who people a prison, in that respect* story’s finish is .realistic; statfhg clearly that Miss Parker; paroled on the strength of a phohey job obtained through a vice syndicate, will sbpn be back with her Old cell^iates^ The direction by John Cromwell and Jerry Wald’s production draw a rather clear picture of the dreari- ness of prison life and the hopen lessness that it ihrtills in. all but the very strong inmate, .There’s high and low society, a definite blue book bjised on crime and con virtions, among the prisoners: Into that: atmosphere is tossed Miss Parker, sentenced as an acces- sory in a holdup in which her hus- band is killed. She hjis a baby in prison, fights ih|ustice and wrestles with a desire to start clban when her term is up. The treatment she receives from the mati’on in charge of her cell block, including having her hair 'blipped to the scalp; .ahd the ineffectualhess of the parole board in deciding, her ‘ release, sways the girl to. use vice channels to gain freedom, a step that assures her eventual returh and climaxes the footage, In; addition to Misses Parker and Emerson, the good perfonnances . ihclude Agnes Moorehead as an nnderstariding, but politically ham- pered, prison superintendent; Ellen Corby, Betty Garde, Jan Sterling; Lee Patrick, Olive Deering, Ger- trude Michael (latter very good as a psycho), Sheila Stevens, Joan Miller, Marjorie Crossland, all in- mates; add Jane Darwell, a matron, and Taylor Holmes,, a senator. Art direction, set decorations and the leiising by Cart Guthrie all em- phasize the grimness of prison life. Cutting has done a good Job in holding the footage to 96 ihinutes, and there is a Max Steiner music score that fits the mood of the pro- duction. Brofir. Kill the ITinpire Hollywood, April 28. Columbia release of John Beck prdduc- ; tlon.' Stars William Bendix; features Una Merkel. Ray Collihs, Gloria Henry. Di- rected. by Lloyd Bacon. Written, for the screen by Frank Tashlin; camera, Charles Lawton, Jr..; editor, Charles Nelson; Pre- viewed April 27, '50. Running tiihe, 77 MINSi ' / Bill' Johnson William. Bendix Betty Johnson.. . .............Una Mjerkel Jonah Evans....,......... Ray Collins Lucy. :. . . .........y..... Gloria Henry Bob Landon •....;...,.«.. Richard Taylor Busan.. .. ..v........... Connie Marshall Jimmy O’Brien......;.... William Fra|wley Ro.scoe Snooker.......... Tom D'Aiidrea Sam Atifitln........... . ..Luther Crockett Panhandle Jones........ . Jeff York Lanky..............;.; . .Glenn Thompson Cactus.;.,............:... . ' Bob Wilke Dusty .. .....,.;.......... Jim Bannon Harry Shay ................ Alan . Hale, Jr. itig the season. To koop his wtfo from walking out and also to earn a living while'Witching baseball, fieiidix agfees to become, an um^- pire, a revolting development. Footage takes him through the ump school, an unwilling student, apd then sends him to the Texas league to win his first spurs, He .calls a close play against the home team, there’s a big Phubarb, climaxing with Bendix forfeiting the game to the visitors. Loyal Texans comer the ump in his hotel, but he uses some slap- happy trickery to escape, deter- mined to officiate at the next game. He makes the hall park after an escapade that includes bobsled<^ ding ori a fence gate behind a speeding ambulance, a sequence that \rtll have an aUdiehce roaring. At the game, the i home team catcher verifies the correcthess of Bendix’ call, and the cfowd wel- comes him as a hero* In the next bieath he calls one against the home team and . film ends with the stands screaming “Kill the Um- pire It’s all strictly for fun and will be enjoyed except by a few Sunday morning managers who might quib- ble over some of the diamond an- tics portrayed. Abetting Bendix in the chuckles are Una; Merkel, Ba^ Collins, Gloria Henry, Richard Tay- lor, Coniiie Marshall, William Fraw- ley, Tom B’Andrea and Others.. ,. Gliarles Lawton, Jr.-s camera docs welt by the fast footage, ahd other technical assists* including editing, help in keeping it moving. ■,;y: -- Brog.; ; ■ ■. ‘■(CbLOIl). Hollywood, April 28. W;p*nei’s release of Saul Elkins produc- tion.. Stars Randolph Scott, Ruth Roman; features: Zachary Scott, Lloyd Bridges. Alan Hale, Ian MsicDoiiald.. Chief.Thunder- cloud. Directed by Edwitt L. Marin. Wait* ten by Thomas Blackburn; camera (Tech- Aicolbr), WUfrid M. Cline; editor. Frank Magee. Tradeshown April 18; ,'50. Run^ ning time. 74 MINS. Steve Farrell ... . Randolph Scott Beth Donovan.. ....... .'i.., Ruth Roman Jason Brett Zachary Scott Paul Donovan...... y. •.. .Lloyd Bridges Sheriff Harris....-.-....'k..Alaii Hale Miller . .. ; . .;.Ian MacDonald Walking Bear........ Chief Thundercloud .Tudge Tucker .........,.;. . Lute CrOckett Carl ., Walter Coy Redrock Sheriff ..........; . Charles Evans Mimatore Reviews ' (WB). Grim nc- count’ of a woman'a prison. Has ballyhoo possibiUtlei but if drea^ entertainment* - ^41111 me Umpire^ (Col), topical comedy with full quo- ta of laughs and Bill Bendix; "‘Colt 45” (Cffior) (WB). Standard western with Ran* 4olph Scott and color to help in general market. “Roek Island Trail” (Color) (Song) (Rep). Outdoor actioner about earlytday rall-l^ing. Moderate cMnces* ^‘The Fighting S t a t 11 o ii” . (EL). Mediocre dualer. “llie Vani^hg Westerner*' (Rep). Fair dualer pater with 'some plot innovations.! “Rocketship X M'* (Uppert). Topnotch exploitation feature bh inter-planetary ispace travel. A thriller. “Chance Of a ufetime’^ (BL). Weak BritishTmade fac- tory drama. Abe Uncoln; Barbra Euller, Valen- tine. Herkins, good as b Frenrii maid; John Holland and the ptbei^ deliver satisfactorily. Miss Marti sings the title tune by William Boy and it also is reprised in the score* before she goes, over to the side of right. Late Alan Hale is ex^ cellent as a cobniving sheriff. lah MacDonald, Chief Thundercloud and sundry others ■ contribute standard western characters. Saul Elkins’ production has. the benefit of expert color lensing by Wilfrid M. Cline to display inter- esting outdoor scenery* Editing holds footage, to a tight 74 minptes, which is an advantage In the dbu- ble-biir situations. Randolph Scott And Technicolor give “Colt :45’’ a chance at a fair ride through the action houses, although it never lives up to the promising title. It’s a stock tale* given standard production and di- rection for a western featufe. Plot is based on the iqtfoduc- tion of the Colt repeating pistols to the west and how a pair of the murderous. weapons fall into the hands of a bad man. He uses them greedily and they , finally bring about his downfall. Thomas Blackburn’s original script spends a lot of time on talk, lessening value of some good action ser qUences. Edwin L. Marin’s direc- tion . also is hot smooth. There are a number of sturdy :^thriU scenes, but he permits some of the play- ers to carry their thesplng too far, even for an oater, Scott heads the cast as the Colt pirtol salesman; While : conduct- ing a demonstration for a sheriff, a pair of the gUns are seized by an escaping prisoner, Zachary Scott. The hero, Randolph Scott, is jugged as an accessory, and be- fore* he’s cleared the villain has created a reign of terror that ihr eludes taking over a town. Ran- dolph Scott has plenty of trouble himself before he and some friend- ly Indians give Zachary Scott his comuppance,‘ The male star gets over another of his strong, silent heroes, but the histrionic antics of Zachary Scott are ludicrous to the extreme and will rate unintended laughter from the moppet action fans. Feinme star Ruth Roman is no blushing prairie heroine. She’s the wife of Lloyd Bridges, one of the outlaws, and haX a few rough- tough stunts of her own to pull Roek IslRitd Trail Hollywood, April 2*7.' Repul)lic release of PaTil' Malvern pro- duction. . Stars. Forrest Tucker, Adele Mara, Adrian Booth, Bruce Cabot; fea-> tures Chill Wills, Barbra Fuller, Grant Withers, Jeff Corey. Directed by Joseph Kane.y Screenjplay,. J^es Edward Gr^int; based oil. the hoveL; '*A< Yankee Dared,” by Frank J. Nevihs; camera (Trucplbr), Jack Marta; song; William .Roy; editor, Arthur Roberts. Previewed April 27, ’50. Running time.^^O MINS, Reed Loomfs..... . .;.. Constance Strong;..... Aleeta.,.";....... Kirby Morrow Hogger ...... .< . : AnnabeUe.. ... .T,..........: Barbra FuUer David Strong....... ; .Grant. Withers Abe Lincoln......... ..,..,.;..... Jeff Corey. Barnes...... ,1: ., Roy.-.Baroroft Major.-.;....;.... Pierre Watkln Annette ... .......; , , . Valentine Perkins Stinky. •.. ..^........,.. . ... .. Jimmy Hunt Saloon Keeper..... .... ...Olih Howlln Mayor .. . Sam Flint Major Porter 1 ,,....... .. John Holland Mrs... McCoy.........Kate Dfaln Lawson Conductor v.. ..:........,..;Dick Elliott Senator Wells.Emory. ParheU Lakin............... . BiUy Wilkerson ,, “Kill the Umplire” and. baseball* arriving simultaneoiiriy, jgive the former a timeliness that is backed up with a full quota of laughs. It’s a' cornball comedy that; gets its chuckles easily and, for the geineral situ atiort, there is every indication of • ratifying grosses. Producer John Beck and director Lloyd Bacon keep the fun in Frank Tashlin’s script frfee-wheeling at all times, and William Bendix spark- plugs the ; laughs with the broad mugging that is. his specialty.. Diar log and situations are aimed at the risibilities and take* full advantage qf the natiohal' sport of umpire- baiting. It also kudoes the arbiters of the diamond, but doesn’t overdo the back-patting. ; TashUn'’s plot presents Bendix as a ball fan who Can’t keep a job dur- ^^Qur Reissues Monogram has come up with sortie surefire entertain- ment for the Saturday matinee > crowd in its acquisition \qf 26 two-reclers from the old “Our Gang’^ series* Made over 20 years ago by Hal Roach, the shorts are packed with for- mula situations designed for the kiddies. The : two-reelers are being reissued under the tag “Little Rascals.” ‘mrna’sv L i11 le • Pirate,” ‘forgotten Babies” and “Dogs is Dogs,” three of the shorts in the. series, were tradeshowh in N. Y.* Monday (1). Each Of these two-reelers was obvious- ly designed to hit a ^ different emotional chord among the short-pants set. The “Pirate” is the type of entry that would have the juves ducking under their seats, while “Babies” is strictly ^6r guffaws.and “Dogs” a definite tear-jerker, - Gros, .Forrest Tucker Adele Mara ;: Adrian Booth ....Bruce Cabot . Chill Wills “Rock Island Trail,” a tale of pioneer railroadihg, stretches its story material rather thiiily over 90 minutes of footage. It dishes out a goodly number of actipri clashes; over the coursev however, and climaxes with an Indian fight, so should fare moderately in the more general situations. When James Edward Grant’s screenplay is mixing it up in physi- cs brawls it’s good, but he has spent too much time dilly-dallying with a hokey romance and accom- panying corny dialog. Same is true of Joseph Kane’s direction. It’s fast and rugged with the fights, but stilted otherwise. Trueolor hues used by Jack Marta’s lensing continue to show improvement, helping to dress up the outdoor yam aboUt the Rock Island’s gradual movement towards the west. Story is laid in Illinois and has Forrest Tucker as the rail- roader who dreanis of someday spanning the continent. As he inoyes his rails west to the Misris- sippi* he encounffers two ahtago- nists, money and steamboat opera- tor Bruce Cabot. Romance with a banker’s daughter overcomes the first, and ready fists and brawn settle the other, abetted by a friend- ly Indian princess and. her trihes- ■men,. While the stbrt^ is about rail- roading, it has all the standard irtr- gredients of the regular oater, plus an overload of historical material; the injection of which slows it down and results iii too frequent abrupt time lapses. Otherwise* Paul Malvern’s production has -garbed it in the proper physical appurter nances, not the least of which is Republic’s hep miniature depart- ment. Tucker is a likeable hero and Cabot is efficient as the villain of the piece. The pair deliver some snappy scraps, such as their first encounter, using mops for a duel, akid there’s another fast bit of action in their fisticuffs abroadVa burning steamboat, Finale stages a neat brawl between the railroaders and Indians, cUmaxihg in the res- cue of the rail-lay ere by a friendly tribe.; ■ Adele .Mara is’ pert and pretty as the daughter df banker Grant Withers* and Adrian Booth pleases as ■ the*^ educated Indian princess with a yen for Tucker. Chill Wills, Tucker’s sidekick; Jeff Corey; as The Fightini; Stallion Eagln Lioni releate pf Jack Schwartx production. Stats Bill Edwards. Doris Merrick. Forrest; Taylor. Directed by Rob- ert Tanseyi acrcenplay*. Frances Kava- haush. from briginal story by George P. Slavin: camera. Clark Ramsey; editor, Reg Browne: music. Edward . Paul. Trade- shown N. Y.; May 1, *30.; Running time. Lon Evans.....».......«• > BUI Edwards Jeanne Barton.»..; i...... .Doris Merrick Martin Evans.. .... . ...... .Forrest Taylor Commander Patrick........, . Don Mrvey Tom Adams.... .;..»... .Robert Caraon Nantec,............;..... .Concha Ybarra Lem.: > .Rocky Camron Yjpicy.. i. i. i.. . ..W, M. McCormick Chuck..,.....,........... JOhp: Carpenter ^lude ... . 31 aria. Hart There’s hot much ih this one for either oater or action fens. It A bogged dovm by unimaginative dia- log and a slow script. Story coheerns itself with a re- turiied war veteran who, knowing he’s slowly going blind* trains one of the horses on his father’s ranch to serve him along the same lines as a seemgreye dog. The horse sup- posedly has bad blood, and the yai-n develops around the vet’s attempts to prove the critter geiiHe and un- derstandihg, which he does before the fadeout. A love story is also brought Into focus and along with it a stream of cliches* Film was obviously made on a low budget. Bill EdwaPds, as thA yet; Doris Merrick, the gal who falls for him* and Forrest Taylor, a^ his father, all turn in routine perfprhiaiicesv • / ' Gros, The Vanlshliig ; • Westeriier Republic release of Melville Tucker pro- duction. Stars Monte Hale; features Paul Hurst, Aline Towne, Roy Barcroft, Di- rected by PtaiUp Foi'd. Scteenplay* Bob Williams: camera, EUls W; .Carter; music, Stanley Wilson; editor, Richard L. . Van Enger. At the New York, N. V.v week of April 25; *50. Running time, «• MINS. Chris Adams . . ......... Monte Hale Waldorf Worthington.......... Paul Hurst Barbara.. ............. Aline . Towne ‘*Sand’\ Sanderson...... .. .Roy Barcroft John Fast ...;........ Arthur Space Jeff Jackson;. *Richard Anderson Bud..... -..... WiUlam Phipps Art..,...... . 1 ..;. .Don Haggerty Bartender .........;. . . .;;.. Dick Curtis Tim■ .4 .. .... 4 4Rand''Brooks Morton .. . ... .....: EdniUnd Cobb Glumm, the Undertaker. Harold Goodwin • —^.'Hollywood, AtorU 24 . XJppert Plctprea ralfAsa production, Ffatures Uoyd Brldaes US* John.’ Emory*~NQaliBeerv* Jr,» HuA O'BrlVI* Morris Ankrum. WrU- ten, produced and diracted by Kurt Neu- ^nn,‘camera. Karl Strun: orocial photo, iraphle ^ects.. Jack R»bln;^sic, ?S5de “The Vanishing .Werterher” is one of those saddle sagas that h^e the usual quotas of fisticuffs and stage holdups to satisfy the ac- tion market. But it also ha's a few inteTestirig departures- from the fun-of-the-istudibs’ oater crop to lend a bit more appeal. It should do well in double bills and please both the younger and older ele- ments among sagebrush afici- ohados: - Somewhat fresh ingredients are a sheriff who hails from England and who masquerades as his titled Brit- ishkrother, a deputy who apparent- ly has had a college ediucatlon, the latter’s sweetHeart who wants him to give up the dangerous asrign- ment and an ihdictment of lynch- ing. Acting is generally good for a loW-budgeter. Monte Hale is be- lievable as the cbwpuricher who un- covers the outlaws With the help of Paul Hurst, latter in a stock fumbling-oldtimer role. Boy Bar- croft makes a convincing killer who poses as a respectable rancher while Arthur Space handles the double part of sheriff and English nobleman competently. : In a rela- tively brief bit Richard Anderson provides a likeable literate deputy. Aline Towne is seen only bribfly in the single femme characteriza- tion. Plot involves a ruthless scheme, in which Hale is accused of killing the sheriff (although his bUllets are blanks). The supposed victim re- turns as the peer from abroad ahd works up the local saloon impula- tiort into a lynch frfehzy. Action is fast-paced* with two stage robber- ies and as many killings in the first 15 minutes. Climax, which entails a niad wagon chase with the hero tied to a load of 'TNT, also packs a wallop* if hokey.: . . .BriL -. ■ “The : Blue tamp” (Rank), ; tradeshdwn in New York yes^ terday (Tues.), Wak reviewed .’in Variety from London, Jan. 25, 1950. Reviewer Mi/ro found S ic to be i “competently made Im based on a well-knit plot contaihing drama, action and suspense.” Review stated “its lack' of marquee names should be no .serious'handicap at the boxpffiCe either in Britain or America, as it has all the in- gredients- to satisfy cinemagb:^ Dr, Fltrnmt . *.. *..:.:. JuikSS ThO faScihating; excitement of spkce travel hRsr been excellently presented in ‘’Rckjketshin'X M,’’ a piece of science-fiction that can be ballyhooed to the hilt In the spe- cial exploitation situation. It’s a thriller that raises the hackles for ipost of its 77 miniites and also poses an idea of what atomic war- fare may mean to this \i^rid. ^ Title fits the Kurt NeuipAnn plot. His writing, production and direc- tion gain potent realism by a mat- ter-of-fact approach and the re- strained playing of the six princi- pals in this drama of space: • Five scientists take off in the first man- ■ ned rbekeiship fbr a flight to the moon. Enroute they go bff-eburse and land bn Mars. There they find a planet destroyed, its civilization thrown back to, the stone age be- cause of misuse of atomic powers. Sobered by their findings, the scientists prepare to explore fur- ther but are attacked by a mbtley bunch of; Martians. Two of the eerth party are killed and the rest take off for home base to recount a successful flight aiid give their message of atomic dangers. They run out of fuel on the return trip ; but radio in their news before crashing to their deaths. • Neumanh keeps the fbbtage .con- stantly at the .Shock stage, not so much With physical, clash, of which there is actually very little, but through the sustained .feeling of excitement and lexpectancy,/ The sight :bf the rocli^tship taking off, the jettisbnlng of its booster, equip- ment to the hear doom of the ship; the flight of meteors that endanger the adventurere; the use of color for the Martian sequences and the eerie music that builds mood are among the calculated means used ■tQ''’'thriu, Lloyd Bridges,:Osa Massen, johh Eihcry, Noah Beery, Jr., and Hugh O’BWah ^ alirCre excellent. as the T'oeketship adventurers, as is Motris Ankrum as ground .chi^:of the ex- pedition; However* technical side contributes just as much to making this one a top-notch* small-budget- ed exploitatibn feature. These in- clude the lensjing by Karl Struss, Jack Rubin’s special photographic effects; Ferde Grbfe’s score; tight editing by Hairry Gerstad; the very realistic rdqketship ahd gadgets achieved by Thebbold Holsopple-s art direction, and the other credits. :^Brqg, L«s Deriii^reB ile '/ ■ PoiwipeiV "I, V ■ (The Last Pays Of Pbmpei) (FRENCH) Consortium Arts release of Patlie Con- sortium production. Directed by Mai’ool L’Herbler, Adaptation by Jean LaVirpn, Pierre Brive. Stars. Georges Marclial, Mlcheliiie Presle, Marcel HCrrand; fcji'? tures Jacques Cbtelain. Laiira Alex, Andri- ani Berretti. Camera. Roger Hubert; music, Roman Vlad; editor. E. Neiissen. At Olympia* Paris. Running time, 78. MINS.\'' Islas .......Georges Marohal Helene,.. . ... ...... ,Micheline Pre.sle Atbax..K. .Marcel Herraiid Nadia Laura Alex Claudiua.'.......Jacques Catelaln ers. Film* dedicated to the Brit- ish police force, describes the postwar crime \vave is seen through the eyes ,of a Lbndoii cop. It is being released in the U. S. by Eagle Lion* Pic’deals With intrigue and de- bauches, ahd the rustlings of early Christiahity, before Mt* Vesuvius blows its top and destroys the city of Pbmpei. Shot bn the same sets as “Fabiola,” pic lacks the opu- lence and masterful direction of its predecessor* Pic is slow-paced, and its chief appeal is in its spec- tacle. On theme and setting it could please in sureseater situji- tions. There is marquee’appeal in Michelihe Presle. Story deals with the love of Ish''? (Georges Marchal l and Helene (Miss Prerie). ; A jealous rival decides to use a love potion on Isias hand- ed over by an evil cultist priest- The potion drives him into niJid- ness, and he finds himself accused of the murder of a beautiful slave. Helene gets the Christians to help, but isias is found guilty and thrown to aAlion in the arena. Vesuvius pick^ this mbmeht to .erupt* and the 'evil city is soon a shambles. In the hblbcaiust Isias regains bis reason and his iDved one to escape to k new life. ; Photography is good, and cutting and continuity, erratic* The de- struction of Poriipei is well con- ceived and carried out, and re- mains the highspdi bf the pic. The music is sufficiently omnipresent and adds a fitting background to the . carnage of the city. Marcel L’Kerbler has not paced the film smoothly and pic: gives evidence of being episodic. '' : Miss Presle doesn't have (Continued on page 20)