Variety (August 1950)

8 M REVIEWS P$VRiEfY Wednesday, August 9, 1950 the narrative values. Because of its production and cast names, it should do moderate biz. Produced in England and North Africa with frozen currency, and with a supporting British; cast, “Rose” is an adaptation of the Thomas Costain bestseller of some veal’s ago. It is 13th century Let’s Dance (MUSICAL-COLOR) Hollywood, Aug. 7. Paramount release of Robert Fellows production. Stars Betty Hutton, Fred Astaire; features Roland Young, Ruth Warrick, Lucile Watson, Gregory Moffett. PU'ected by Norman Z. McCleod. Screcn- f day, Allan Scott; added dialog, Dane .ussier; suggested by story by Maurice Barnes; editor Ellsworth Hoagland; new I drama that Seems hardly to have songs. Frank Locsser; Tnusic;. direction, ignored a thing in its plotting, and Robert Emmett Dolan. Tradeshown Aug. jii... 7, '50, Running time, ill MINS. takes the viewer from England to Kitty McNeil . ..., ,. Betty Hutton the Far East and then back to Eng- Donald Elwood. ........... Fred Astaire land It is rinf 1 of tin* lori^pct -filinc Mr. Edmund Pohlwhistle,..Roland Young j AdIlu * one 01 ine nuns Carola Everett. .. Ruth Warrick Serena Everett ........... Lucile Watson Richard Everett-:..'.;.., Gregory Moffett Larry Channock........ '. Barton MacLane Timothy Bryant. .. Sheppard Strudwick Mr. Charles AVagstaffe .!. Melville Cooper Marcel....... ..... Harold Huber Judge .................... . George Zucco of the* year (120 minutes). “Black Rose” is the story of Saxon r e v o 11 against Norman {domination, 200 years after the conqest, and of how the constant revolt is futile in the hands of the small hordes that preyed the Eng- lish countryside. The central fig- ure in the Saxon fight is Walter of Gumie (Tyrone Power), the il- Betty Hutton and Fred Astaire, plus color, are the assets that will see “Let’s Dance” through to okay, _ ... , . 0 grosses. It’s a light concoctionof I !f,£*J ,rn ?, te * on of a feaxon peer. ’ mn,c anri H.nr.c cnvinl."l..H I tV r il€n he becomes IGCOgniZGtl aS story, songs and dances, sprinkled With humor, that is generally ac- ceptable' as escapist filmfare for most any situation. Entertainment values are good and could have been better had footage been tightened. There is rot sufficent story value to sus- the leader of a successful plot to free the local jail of Saxon prison- ers, he is forced to flee the* country. Then follows his wanderings to the East, his association with the Mongol leader, Bayan (Orson Welles), and his romance with the Black Rose (Cecile Aubry), whom * . .V : • ■ . • . • . ■ i • : • '8 I XWOC \yvvuv iAUM* J Aj tain the present , running time of j h e meets while she is a prisoner 111 minutes, resulting in a number i 0 f Bayan during the latter’s march ol sagging stretches.. t u . toward eastern conquests. . Hutton-Astaire teaming hits In his travels, flanked by his its highlight for mirth on Oh.; Saxon crony Tristram (Jack Haw- Them Dudes,” a Frank Loesser tune kins), Power has soaked up the that decries the. adoption of the * lore and mvsteries of the east, and square dance by city slickers, j W ith his ultimate return to Eng- Garbed as two rough-tough west- ern guntoters, Miss Hutton and Astaire romp through the number with evident pleasure, and audi- ence reaction is good. Astaire spotlights a rhythm dance around a piano for his terp topper, and he and Miss Hutton step out to “I Can’t Stop Talking About Him,” number used to open the show. “Why Fight The Feel- ing?” vocaled by Miss Hutton, also corries over. “Tunnel of Love,” sixth of the Loesser tunes, is served up as a fullscale finale production number. Plot kicks off with a prolog showing Miss Hutton and Astaire entertaining troops in England. She reveals to him her marriage to a flyer. Story picks up five years later with Miss Hutton’s natural extrovert character being subdued in the straitlaced environs Of a Back Bay Boston mansion, home of her husband, killed in the war. She rebels and steals away in the j.night with her small son to return to show business. She meets Astaire again, finds he's still trying to be a business man, not an entertainer, although supporting himself with a nitery job. He gets her a spot, the man- agement knd others in the place take to her and the son. Grandma Lucile Watson doesn’t like such an atmosphere for her son’s off- spring and starts proceedings to gain leustody. In telling this angle the yarn is strung out too long. Otherwise; however, production and direction kick it around prop- erly to spotlight numerous chuckles and the always-welcome songs and dances contributed by the two stars, Roland Young and Melville Cooper pair as stuffy lawyers for Miss Watson. Ruth Warrick has her moments as a rebel against Bostonian tradition. Also likeable are Gregory Moffett, the kid; Bar- ton MacLane, Shepperd Strudwick, Harold Huber and George Zucco. George Barnes’ lensing is a beautiful color job. Dance staging by Hermes Pan, Robert Emmett Dolan’s musical direction, and spe- cial orchestral arrangements by Van Cleave, plus other technical contributions, help to hold to- gether the fluffy premise. Brog. land he is forgiven by the King because of his contributions to English culture and science, which tie has brought back with him. Here and there is an escapist moment or two, as in the scene where Power, in payment for be- trayal, must tread a thick rope, flanked on either side by blood- lusty Mongols who strike him with pig-bladders along the way to up- set his footing. If he should slip, they are allowed to gorge him with lances until he regains his balance. He slips. His innards would have been pilloried to the tentpoles if Welles weren’t to call a halt to the bloody sport. Miniature Reviews “Let’s Dance” (Musical) (Color) (Par). Fred Astaire- Betty Hutton in song-dance melange with okay outlook.' “The Black Rose” (Color) (20th), power-Welles-Aubry in moderate-biz costume drama. “Edge of Doom” (RKO), Grim story; of little people caught in a rutile existence. Well-done but hot popular en- tertainment. “Summer Stock” (Musical) (Color) (M-G). JudyxGarland, Gene Kelly in topflight musi- cal entertainment. Big b.o. “Waterfront” (British) (GFD) Good talent wasted irr; slowly- paced meller; unfavorable for U. S. dates, “Dark City” (Songs) (Par). Good melodrama introducing interesting new screen per- sonality. Oka" b.o. “The Desert Hawk” (Color) (U), Costume swashbuckler with good action and okay b.o. in general runs. “The Old Frontier” (Rep). Routine Mdnte Hale oater for western situations. “County Fair” (Color) (Mono). Harness racing and romance against a county fair setting. Okay for family trade, “Vigilante Hideout” (Rep). Neat action oater in the Rocky Lane series. “Trio” (British) (GFD): Pat- terned along lines of “Quar- tet,” new W. Somerset Maugh- am stories loom as big as that earlier effort; strong money- maker via class audiences. ‘ “Gunslingers” (Mono.) .Rou- tine western starring Whip Wilson, -v “Mask of Korea” (Indie). Erich Von Stroheim, Sessue Hayakawa, Mireille Balin in oldie meller of Orient helped by new soundtrack; mild as supporting feature. tells the story of n poverty-stricken . # . . boy, with a mother fixation after In a picture of warring, there is j long years of caring for her, who only the suggestion of battle, show-: tries to give her the funeral he be- ing the background of smoking cities left desolate in the wake of Welles’ pillaging and conquest in the march toward China. lieves she deserves. In a state of shock from her death, he goes first to the parish priest to arrange the * it _ , services. He receives unsym- that’s where much of the film s; pathetic treatment and, in a rage, m «j • • '■r* i_’ • _ — * J L. J ,, _ . _ _ . _ , • _ _ o fault lies. Perhaps one good bat- \ tie scene, with some honest-to- goodness" cinematic blood-letting, might have done something to in- crease the tempo of the picture. Power is credible in the lead role, while Welles underplays ef- fectively the part of Bayan. How- ever, he is still frequently unintel- ligible, slurring his dialog. Miss Aubry, in her first American film, fails to project a rather obscurely written characterand her French- accented diction is likewise some- times difficult to fathom. Hawkins is effective in a featured role. There are a host, of Britqns who give able support. This was obviously kills the father with a crucifix. Running from his jcrlme, he is arrested as a suspect in a theatre robbery but is released at the in- sistence of a young priest The police, however, are still suspicious and watchful. At every turn, the boy is rebuffed in his efforts to set a fine funeral. That, and the weight of a guilty conscience, finally be- come so oppressive lie admits his crime after making his peace with the church and the memory of his mother. Cast does exceptionally well, all concerned managing a very real sense of dramatic punch. Farley Granger st and s out as the boy. This was obviously a massive-j 5:—^ editing job, and the finished prod-j ■ * uct in one or two spots suggests cutting difficulties, especially, at the film’s close. Henry Hathaway, in his direction, had an apparently unwieldy script, and frequently he \ J’"}™ 5 , 5 was ablp. in his movement of the : performers, to imply action where none actually existed, Kahn. priest, Robert Keith is excellent as the police captain, Paul Stewart makes his p e ft y thief character topnotch, and Harold Vermilyea shines briefly as the murdered comedy sequence is dropped in to bridge the lapse with a laugh. Garland fans will cheer her “Get Happy,” the Harold Arlen- Ted Koehler tune that still tops any of the newer music cleffed for the picture. Miss Garland is at her best in vocal delivery and looks, and sells the song with con- tagious rhythm. However, not far behind is. “Happy Harvest,” a lilt- ing, warm number that serves both as a solo for Miss Garland and as the finale piece. She also clicks with “Friendly Star,” an- other Harry Warren-Mack Gordon tune that has heart appeal. Terp wise, Kelly scores with sev- eral numbers. His stepping to “Dig-Dig-Dig-Dig for Your Din- ner,” assisted by Phil Silvers, catches on, as does solo work to “You Wonderful You.” Latter is trickily worked out to use a squeaky floor board and an old newspaper for novelty but does run a bit too long. The George Wells-Sy Gomberg script backgrounds the session of music and comedy against a New England farm setting. Miss Gar- land is the farmerette. Her younger Sister, Gloria De Haven, brings « troupe of Would-be, tlies- pians to the farm and they take over the barn to stage a new musi- cal written by Kelly. Not only is Miss Garland upset at such an in- vasion, so is the whole village of New Englanders and her fiance, Eddie Bracken, the stuffed-shirt son of the village hardware mer- chant. Setup provides ample excuse for ringing in most of the musical numbers, although not justifying the finale that sees a production that would do credit to Broadway being staged in a barn by a group of impoverished actors. However, that is a critical quibble that audi- ences will overlook because of the general worth of the sohg-and- dance presentation.; Miss Garland is not always garbed to advantage; particularly in her earlier scenes, nor is her physical appearance at its peak (except in the “Get Happy” num- ber. However, she’s a trouper and audiences will take to the show- manship and vitality she puts into her role. ^ Kelly pleases generally opposite Miss Garland, even though his singing of “You Won- derful You” won’t,. Bracken and Silvers carry off many chuckles with their comedy portrayals. Miss De Haven is an eyeful and also sells “Mem’ry Island.” Marjorie Main is wasted in a short . spot. Others are satisfactory. Charles Walters’ direction takes full advantage of the lush produc- tion values supplied by Joe Paster- nak to put over the entertainment aims. Musically; the picture gets a strong assist from the musical direction of Johnny Green and Saul Chaplin. Lensing by-Robert Planek is godd, as are the dances staged by Nick Castle, the orches- tration by Conrad Salinger and Skip Martin, and the majority of the other technical functions. “Summer Stock” is a shade too long at 108 minutes and could easily trim some of the earlier footage. Brog. Edge of Doom Hollywood, Aug. 3. RKO release of Samuel Goldwyn pro- duction. Stars Dana A ndrews > Farley Granger, - . Joan Evans; features Robert Keith, Paul Stewart, Mala Powers, Adele Jerjrens, Harold Vermilyea. Directed by Mark Robson., Screenplay, Philip Yordan; based on novel by Leo Brady; camera, Harry Stradllng; music, Hugo Frledhofer: Joan Evans, figuring unimpor- tantly, Mala Powers, Granger’s sweetheart, and Adele Jergens oc- cupy the principal femme spots. Good character bits are contrib- uted by John Ridgely, Douglas Fowley, Mabel Paige, Howland Chamberlin, Jean Innes and Ellen Corby. Effective use ot the camera has been made by Harry Straclling to shape the picture’s mood. Also The Kllaek llose (COLOR) aoth-Fox release of* Louis D; Lighton production. Stars ' Tyrone Power, Orson Welles, Cecile Aubry; features Jack Haw* kins. • Directed by Henry Hathaway. Screenplay, Talbot. Jennings, from novel by Thomas Costalii; camera (Techni- , Jack Cardiff; editor, Manuel Del j 2nd Detective Campo; music director, Muir Mathieson; i Mrs, Pearson editor, Daniel MandeU. Tradeshown Aug. contributing on this SCOl’C is the 2, *50. Running time, 98 MINC. I ^ _ Running time. Father Roth Dana. Andrews Martin Lynn ........... Farley Granger Rita Conroy Joan Evans Mandel .Robert Keith Craig .....; Paul Stewart .Julie ...................... Mala Powers Irene ... :.. • Adele Jergens Father Kirkman .......Harold Vermilyea 1st Detective John Ridgely Douglas Fowley . ... Mabel Paige Howland Chamberlain score, Richard Addinsell; special effects, ' Mr. Murray . .... Howland Ch. \V.. Percy Day; .costumes, Michael Whit-'i Mr..Swanson i.. .Houscley- Stevenson; Sr taker. Tradeshown N. Y„ Aug. 3, *50. i Mr*; Lally’ Purtning time, 120 MINS. Walter of Gurnie . Bayan Maryam Tristram K ng Edward Alf.’ifiir , Mrs. Moore ........ .. Tyrone Power \ Ned Moore ..Orson Welles I Mary Jane Glennon ..Cecile Aubry . Jack Hawkins .Michael Rennie Finlay Currie Mrs. Den.nis Mrs. Lynn . Jean Tribes ,., Ellen Corby Ray Teal Mary Field Virginia Brissac Frances Morris . .. . „ - . A grim, relentless story, con- aSSI sideraWy offbeat f rom the usual ’ film release, gives some distinction to “Edge of Doom.” However, de- spite the talk it may stir; it is still iienry”_Oscar j not a feature that will be accepted as entertainment in the general Mahmoud . .. . ..., Bobby Blake j film release^ gives some distinction Lu .Chung Alfonso Bedoya WHlderkin ....Gib McLaughlin Simon Beautrle James Koberfson Justice Friar Roger Bacon. Edmond ..... Laurence'Harvey 1 i market. The period costume drama is having son* rwhat of a vogue at I ' It has been made with all of present, d “The Black Rose” is j Samuel Goldwyn’s usual attention. 20th-Fox’s latest contribution to | to production detail, played to the the sweepstakes. With Tyrone hilt by a good cast and directed Power, Orson Welles and Cecile - with impact by Mark Robson. These Aubry, the Gallic newcomer, as its j are factors that will rate it criti- $tars, “Rose” is impressively pro- , cal mention, but the very thorough- duced iff Technicolor. With its; ness and faithfulness in adhering medieval background, however, its j to the story of little people caught dialog-without-action often seems! up in a futile existence is against, interminable and lacking in excite- [ it for playdates outside of specially jnent, though it is awe-inspiring, exploited situations, in much of its physical beauty, j The plot has a single line and Frequently that beauty . eclipses 1 pursues It without deviation. It music by Hugo* Friedhofer. Brog. Summer (M USICAL-COLOR) _ Hollywood, Aug. 5. .Metro, release of Joe Pasternak procluc- “52; ^ ta, *s J u <iy Garland, Gene Kellv, Eddie Bracken, Gloria De Haven, Marjorie Silvers;- features Ilay Collins. Directed by-'Charles Walters. .Screenplay; C.corge Wells, Sy Gomberg, from story by Gomberg; camera (Technicolor;. Robert Planck; dances staged by Nick Castle; musical direction, Johnny Green, Saul Chaplin; music, Harry Warren; lyrics. Mack Gordon; editor, Albert Akst. Trade- shown Aug, t, ’50. Running time, 108 MINS. Jane Falbury...... ......., Judy Garland Joe D. Ross Gene Kelly 9^ llll f, Winggit;.. Eddie Bracken Abigail Falbury...... ...Gloria De Haven Esme........,. Marjorie Main Herb Blake .............. Phil Silvers Jasper G. Wingalt.......;,.;. Ilay Collins Sarah Higgins....,. . ;'..... /Nlta Bieber Artie t ....... ..,.,.Carleton Carpenter Harrison T, Keath.. .... . .Hans Conried Metro has put together an en- gaging piece of entertainment in “Summer Stocks to showcase its two top musical stars, Judy Gar- land and Gene Kelly. As filmfare for any season it is sturdy and should enjoy a healthy playoff in any situation. . . It has a light, gay air, including nine tunes, some used for dance numbers. Story'portion is never allowed to. intrude '-much. When it seems that it Will, a bi*oad WaterfronC (BRITISH) London, July 26. A GFD release of Paul Soskin produc- tion. Stars Robert Newton, Kathleen Harrison, Susan Shaw. Directed by Michael Anderson. Screenplay John Brophy, Paul Soskin; camera Harry Wax- man; editor, Michael Chorlton. At Odcon, London. Running time, 10 .Ml NS. ' Peter McCabe ........ . Robert. Newton Mrs. McCabe Kathleen llHrrison Nora '..........,.... ...... Avis Scott Connie Susan Shaw George Alexander .......Robin Netscher Ben Sattcrthwaite ..... Richard Burton Maurice Bruno ;....... .Kenneth Griffith Mrs. Gibson ............... Olive Slonn Ship's Captain ...... ......James Hayter Some of Britain’s top talent is wasted in this new Paul Soskin production. Meandering, inconse- quential and casual yarn, contrived situation and vague direction, add up to make this a negative box- office proposition. This meller isn’t worthy of screentime anywhere in America and will not bring credit to the British picture industry if shown outside the country. Robert Newton, one of England’s best character actors, plays the role of a no-good seaman who leaves his wife and two daughters for more than 14 years. When he returns, he finds that a son was added to the family shortly alter his departure. He is thrown out of the house by his eldest daughter, is ihvolved in a drunken brawl, cuts the throat of a ship’s officer, etc. . ^ Opportunities for dramatic color j in the dockside settings of Liver- pool are completely thrown away. Newton skilfully makes the best of every line, but it’s even toO much for-him. Kathleen Harrison never^ has a chance as his long suffering and sympathetic wife. Avis Scott and Susan Shaw ade- quately portray the contrasting daughters while Robin Netscher, as the son, provides typical juve interest. Myro. Hark City (SONGS) Hollywood, Aug, 5 Paramount release of Hal B. Wall;* production. Stars Lizabeth Scott, Vivec-a Lindfors, Dean Jagger. Don DeFore and Charlton Heston. Directed by William’ Dieterle. Screenplay, John Meredyth Lu- eas, Larry Marcus; adaptation, Ketu Frjngs; from story by Marcus; camera Victor Milner*' editor. Warren Low^mu’ sic score, Franz Waxman; song, Harold Spina, Jack EUiott. Tradeshown Aug 3 *30, Running time, 97 MINS. - V Danny Haley............ Ghartton Heston Fran ....... ...,..Lizabeth Scott' Victoria Winant..;. .Viveca Lindfors Captain Garvey.. ., .Dean Jagger Arthur Winant • .-...a.,.,.,.,. Don DeFore Augie. .,»,........•Jack. ^Vebb Jicirnfly«'•.•••••• Rolditr, »,,* ». •««•»• •». »«• f • • < Henry - Swede •................ Walter Siinde Billy Winant...............Murk^ Kenning Sidney Winant,..,......... Mike; Mazur kl Terse melodramatic mood and good trouping shape “Dark City” for ail okay ruii through most sit- uations. Turned out in the meller style usually used by Hal B. Wallis, picture is excellently paced and has a cryptic, interesting story that jplays well for the meiler-aetion audience. Picture serves to introduce Charlton Heston, from legit, and his film debut is impressive. Help- ing the celluloid kickoff is a lineup of competent performers who make Heston’s camera bow easier, With a variety of roles, actor has strong possibilities for catching on. “Dark City” has him playing a sullen gambler, but there is enough sympathy attached to the char- acter to make it interesting, and he does it well. The John Meredyth Lucas-Lan y Marcus script leans towards psy- chosis to make its character tick, and William Dieterle’s - direction further emphasizes this factor in putting the story on the screen. Heston, social misfit after an un- fortunate romantic experience dur- ing the war, has turned to gam- bling. He and two associates trim Don DeFore in a fixed. card game. DeFore hangs himself for having lost money that was not his. A crazy older brother starts stalking the gamblers, intent on giving them the same kind of death suf- fered by DeFore. With the would be assassin un* known, Heston takes off to Los An- geles tO see DeFore’s widow so that he may get a clue to the killer’s* appearance. His fate v nearly catches up with him in Las Vegas, but the police step in in time to save Heston from being the third victim of the crazed killer; : There’s a two-way romantic an- gle in the plot. Lizabeth Scott, nitery chirp and in love with Heston, gives a fine portrayal of the character, plus passably sing- ing, the score’s one new tune, “If I Didn’t Have You,” by Harold Spina and Jack Elliott, as well as four oldies, including “That Old Black Magic.” During Heston’s LA sojourn, Miss Scott almost loses him to Viveca Lindfors, the widow, but finale sees the two get- ting together for a happy ending. Miss Lindfors’ place in the plot doesn’t allow her much footage, but what she contributes has de- cided worth. Dean Jagger regis- ters strongly as a police captain, making it an important spot. De- Fore is good in a short role. Others adding to the generally okay story- telling include Jack Webb, Ed Begley, Henry Morgan and Mike Mazurki, the killer who is only a shadow until the final murder attempt. The Franz Waxman music score is a bit busy at times in carrying out the mood. Low-key lensing by Victor -Milner helps melodramatic intentions, and editing is good. Brog. Tli© BoNert Hawk (COLOR) \ T Hollywood, Aug. 4. Universal release of Leonard Goldstein ! Pr°‘ ,U( T» on . Stars Yvonne Dc . Carlo, j Richard Greene; features Jackie Gleasoni ‘ Lois Andrews,.. George Macrcady, Anne I e.irce. Rock Hudson, Carl Esmond. Di- rected by Frederick de Cordova. Screen- play^ Aubrey Wlsberg. Jack Pollexfen. Gerald Drayson Adajns; camera (Toclnii*. color), Russell Metty; editors, Otto Lud- wig,. Dan Nathan. Previewed Aug. 3. '50; Running time. 77 MINS. Princess Shaharazade ..Yvonne De Carlo 9l n, lj, • '* ■ v ••••••• .. .Ririiard Greene. Aladdin ................. Jackie Gleason' Prince Murad ..........George Ma'cready Captain Has .,............. Rock Tlmlxon Kibar. Carl Esmond- j Sinbad .................... ., Joe Bcs«-cr I Yasmln . Anne Pearce Sumad .Marc Lawrence Maznah . Lois Andrews Ahmed Bey .....,........ Frank Purtia Undine Lucille Barkley Caliph Donald Randolph Yussof Ian MacDonald This one is a costumer that doesn’t vary from the usual Uni- versal formula, The standard setup of pretty girls, dashing heroes and flowing costumes is involved in a romantic fiction tale of derrin’-do •localed in Persi a 1,000 or more years ago. It is told With plenty of action and with a stress on sight appeal that shapes it as satisfac- tory for the general run situation. Yvonne De Carlo and Richard Greene dress up their roles. Miss De Carlo with an ability to wear Technicolor and harem garb, and (Continued on page 0)