Variety (August 1950)

Wednesday, August 9, 1950 PfasaETit The Desert Hawk (Continued from page 8) Greene with the proper amount of dash to make his hero interesting. Greene is a blacksmith who, sub* rosa, throws aside his anvil to take sword in hand to save his people from the oppression of George Macready, playing the cruel Prince Murad. , ' As the Desert H a w k, Greene swash buckles through the footage. He tricks Miss De Carlo into mar-, riage as one move to foil Macready; and when she is kidnapped by the heavy so the latter can - gain the support of her father, tlie Caliph of Bagdad; / Greene is ready with sword and wit to pull off a rescue and win the girl's h e art legiti- mately. Frederick de Cordova’s direc- tion doesn’t overlook any notion chances. Nor does he miss any bets in having the color cameras of Rus- sell Metty display the tinted pag- eantry and the beautiful girls with Which the, cast. is dressed. Anne Pearce, Lois Andrews and Lucille Barkley are among the comely handmaidens, Assisting Green’s heroics are Jackie Gleason and Joe Besseiy as comically intended Aladdin and Sinbad, rfbspectively. Macready is a hissable heavy, and other skullduggery among the burning s a rids Is contributed by Carl Esmond and Marc Lawrence, Production values supplied by Leonard Goldstein are beautiflilly framed by the color lensing, and oilier technical strong points in- clude the art direction and set decorations, e d i t i n g and back- grou nd score. Brog. Th* Old Frontier Hollywood,' Aug. 4. ■.Republic-' release of Melville Tucker production. Stars Monte Hale; features Paul Hurst, Claudia Barrett. William Henry, Tristram Coffin. . William Haade, Victor Kilian. Directed by Philip Ford. Written by Bob' Williams; camera* Ellis W, Carter; editor, Harold Minter. . Pre- viewed Aug. 1, *30. Running time *0 MINS. Burney Regan .,,.,.......... .Monte Hale Skipper Hortort ...... *..... Paul Hurst Betty Ames ,. Claudia Barrett Dy. .Creighton ....;.......William Henry John Wagner ......,. *.. .Tristram Coffin Pills Fowler ..............William Haade .ludge Ames .............. Victor Kilian Spud' . .Lane Bradford George ...... . Denver Pyle .Mrs. Smedley .....»..... Almira Sessions Banker Toni London Sagebrush heroics of Monte Hale are displayed in hit-and-miss style in “The Old Frontier.’’ When on the move, it measures up as an okay oater for the Saturday mat- inee trade* but too often it meand- ers along under indifferent hand- ling. Plot is loosely constructed. It finds Hale a town marshal whose first chore in the new post is run- ning down a gang of bank robbers and their leader, an attorney who directs the skullduggery under a mask of respectability. Sidekick- ing the hero in the story is Paul Hurst, a misplaced sailor who spouts a continual stream of sea- talk ini an effort to get comedy into the piece. Philip Ford’s direction sharpens some of the physical action scenes, but otherwise lets details slide by. An example is tlie examination of a bandit for a chest wound when it was very evident he had been shot in the back, Tristram Coffin is the lawyer-heavy, delivering okay and William Haade makes a good impression as a gunman. Other casters portray standard western types. Film has been framed with usual sagebrush production values, and technical assists, including camera and editing, are in keeping, Brog. the wornout nag and tries to'race him Without success until Calhoun* a trainer and son of a rich owner, fixes a Sunday, non-betting race, for the. plug. The. steed wins and everyone is happy in a race se- quence that has suspense despite being fixed. Shots of trotter tryouts and other touches of county fair atmos- phere are on the credit side in Walter Mirisch’s handling of the Jeffrey Bernerd production. Cast works ably to put it all over, and Cinecolor lensing. by Gilbert Waf- renton is good. Music score is just ! so-so! Brog. Vigilante Hideout Republic'release of Gordon Kay pro- duction; Stars Allan “Rocky" Lane; fea- tures Eddy Waller, Roy Barcroft, Virginia Herrick.... Directed by Fred. G. Brannon. Screenplay, • Richard ' Wormser;:- camera, John MacBurnie; editor* Robert M, Leeds; music, Stanley Wilson, Tradeshown, N.Y.,' Au*r. 2s ^50. Runping time, 40 MINS.. Allan, “Rocky" Lane. .Allan "Rocky" Lane Nugget Clark............ Eddy Waller Muley -Price - Roy. Barcroft Marigae Sanders,:/..... . .Virginia Herrick Howard Sanders............ Cliff Clark Jim Benson. ..,,....... Don Haggerty Ralph Barrows.... ..... .Paul Campbell Blackie ; ........■,— .'.Guy'.' Teague Pete .,., *........Art Dillard An unpretentious but neat little saddle saga, “Vigilante Hideout” should do well in action situations and on double bills. Another in the Allan “Rocky” Lane series, it should have a pre-sold .market in aficionados of Lane and his stal- lion Black Jack. What gives “Vigilante Hideout” more than the Usual chase and; trigger action interest is its grounding in a believable problem of the old west—the search for water in- dry settlements whose progress is being held up by water shortage. It also achieves some good humorous moments via the antics of Eddy Waller, as the well- meaning oldtimer who bungles, up plans in tense spots. He’s cast as a Whacky -inventor, some of whose boori-doggling gadgets make sense arid help foil the lawbreakers. Plot hinges on Waller’s attempt to find water for the village by blasting, while some crooked town- folk try to steal the $25,000 fund set aside to erect an aqueduct when he succeeds. Lane is a range detective , called in by the old character. He nicely fits the ideal of the hard-riding, fast-thinking oater hero. A soupcon of heart interest is provided by Virginia Herrick, who’s wooed by Don Haggerty, a crook who uses vigilante justice to cover his trail. Roy Barcroft is his heavy There’s a fair quota of fisticuffs and galloping dashes over rough terrain, with some wagon-team fights and battles over TNT thrown in. Lensing is good and editing re- sults in a tight hour-long feature. • ' Bril. The Dancing Years “The Dancing Years,” Brit- ish-made, being tradeshown in New York today (Wed,), was reviewed in Variety from Lon- don, April 26, 1950. Based on Ivor Novello’slegit musical, which had a long run in Lon- don, film, according to review- er, Myr o, looks, like a dubi- ous” b.o. prospect in the U. S. Review also noted pic is easily outclassed by a whole string of Hollywood musicals. Yarn, which deals with a young com- poser who rises from the ob- scurity of the Vienna woods when* his talent: is recognized by a leading, star, “abounds With sweet, sugary situations.” “Direction . and editing lack pace;” review added. Filmed^ in Technicolor, pic, which stars Dennis Price and Giseie Preville, is being re- leased in the U. S. by Mono- gram. Trio (BRITISH) London, • Aug. 1. GFD release of Sydney Box-Gainsbor- ough production. Stars Anne Crawford, Roland Culver. Kathleen Harrison. James Hayter, Nigel Patrick, Michael Rennie, Jean Simmons, Naqnton Wayne/ "Sana- torium" directed by Harold Franch. “The Verger" and "Mr. KnowaU" directed by Ken Annakin. Original stories by W. Somerset Maugham. Screenplay, Maugham, R. C. Sherrlff, Noel Langley; camera, Reginald Wyer, Geoffrey Unsworth; ed- itor, Alfred Roome; At Qdeoh, London. Running, time, 91 MINS, The Verger Albert Foreman ...... .’■■■. . James . Hayter Emma Foreman....... Kathleen Harrison Bank Manager............. Felix Aylmer Gladys ....... . . ........;. . Lana Morris .The Vicar ;..............., .Michael Hordern TedGlyn Houston Sexton , Eliot Makeham First Church Warden.... .Henry Edwards Mr. Knowall Mrs. Ramsay/......... Anne Crawford Kelada.. .. ...Nigel Patrick Mi\ Ramsay.......... .. Naunton Wayne Grey ... . Wilfred Hyde-White Ship's Captain ' ... Clive Morton Fellow.es' ....Bill Linden Travers- Captain's Steward......... Dennis Harkin ! Steward...........,..... .Michael Medwln Sanatorium Evie Bishop ............ . .Jean Simmons Major Templeton.. i.,.... .Michael Rennie Mr. Ashenden. Roland Culver Mr. Chester .:.......... .Raymond 1 Huntley Mrs. Chester............ Betty Ann Davies Dr. Lennox ............... . Andre Morell Mr, CampbeU.............. John Laurie Mr. Macleod Finlay Currie C ounty Fair (COLOR) Hollywood, Aug. 5. Monogram release of Jeffrey Bernerd .■production,--'-. (Walter Mirlsch, associate). Stars Rory Calhoun, Jane Nigh, Florence Bates; features Warren Douglas. Raymond Hatton. Emory Parnell, Directed by Wil- liam Bcaudine, Screenplay, W. Scott Darling; camera. (Cinecolor), Gilbert War- rent,on: editor, Richard Heermance; mu- sic. Ozzie Caswell. Previewed Aug. 4, '•>(). Running time, 76 MINS. Peter Brennan .......... Rory Calhoun Lorry llyan . ,...,............ Jane Nigh .Ma' llyan ' ............ Florence Bates Tommy Blake .......... Warren Douglas Sad Sain ............Raymond Hatton Tini Brennan ........... Emory Parnell Grattan ............ .Rory Mallinsdn Auctioneer ;•. ....... . .. ...Harry Chesire Racing Secretary ....... . .Milton Kibbee G on era! family trade should take to “County Fair.” It is riot excit- ing entertainment, but does move along leisurely and pleasantly in tolling a story of young love and harness racing against a fair- grounds setting. For the smaller situations. The W. Scott Darling script is in- volved with a romance between Jane Nigh arid Rory Calhoun, and an old, wornout trotter th&t is per- mitted to win a sentimental victory in a final race with the connivance of track stewards and owners. Interest isn’t divided by the two motivations, writing and playing meshing them Ineatly. Romarice portion plays nicely as handled by Miss Nigh and Calhoun. Florence Bates, mother of Miss Nigh* buys II Mulatto (The Mulatto) (ITALIAN) Locarno, July 15. SEFI Film release of Scalera produc- tion. Stars Umberto Spadaro, Jole Fler- I ro, Renato Baldini. Angelo^, Mohamed I A. Huseein. Written and directed by ' Francesco De Robei'tis; camera. Carlo Belliero; music. Annibal Bizzelli,. At Film Festival, Locarno. Running time, . 80 MINS. | Don Genna Umberto Stfadaro ‘ Catari ............. _ Jole Fierro i Matteo Belfiore...... .... .Renato Baldini ’ Angelo ....................... •. •, Himself Pic presents one of the problems of postwar Italy: what is to becorfie of the many children born of Negro occupation troops and Italian girls? Though film as a whole disap- points, appeal of story and prob- lem itself (rather than way in Which it’s presented) should en- hance its chances in U. S. and other markets. Lack of cast Weight is another factor in favor of the. exploitation treatment. Story concerns a man who re-v turns from five years in jail.to find that the son his wife gave birth to before dying during his absence is colored. Shocked and ashamed, he tries to disown the boy, who’s le- gally his son, and struggles a long while with his conscience before . being won over by the kid’s per- f sodality. When the boy’s Negro uncle shows up With the hews that the father died in the war arid , wants to take him back to the U. S., ; Matteo, the ex-convict, is reluct- antly persuaded that the child Will be better off in his new home, with people of his own race. Solution is too pat and treatment generally too superficial, going to extremes In both tragedy and light- heartedness, yet pic has its cour- ageous moments. Umberto Spadaro is best in a fairly convincing cast which in- cludes Renato Baldini as Matteo, and Angelo, a colored boy discov- ered in circumstances similar to those iri pic, as himself. Jole Fierro lends her striking looks and prom- ising talent to an ungrateful part. Film has been nicely lensed in Naples arid nearby islands and boasts excellent sound^recording. Hawk* The success of “Quartet,” in which four unrelated Somerset Maugham short stories Were strung together in a single picture, encouraged the producers to re- peat the formula. And experiment looks to have succeeded for the second time. “Trio,’’; which Js a co-production venture by the Rank Organization and Paramount, is entitled to score as heavily as its predecessor* It’s a sophisticated treat Which should make big money with better class audiences. Format of “Trio” follows Closely that used in “Quartet.” The only connecting link between the three yarns is a pithy Maugham fore- word. Each story retains a distinc- tive character. But they all bear the author’s hallmark of polished Writing and expert story-telling. The first two vignettes, “The Ver- ger” and “Mr. Knowall,” be- tween them, occupy roughly half the screen time. They are both in a light Vein. “Sanatorium,” which deals with the treatment of tuber- culosis, is based on the author’s personal experience. “The Verger” story is fairly well known, but the neat Maugham twist loses nothing by age. It re- lates, the adventures of a verger who is fired from an exclusive London church because he is neither able to read nor; write. He turns his hand to business* and be- comes a prosperous tobacconist. The fade-out shows him discussing investments with his bank mana- ger 1 . When he has to reveal his illiteracy, he is asked how far could he have gone had he been able to read and write. He an- sw i ers: “If I could read arid write* I’d have been a verger.” The success of “Mr. knowall” depends almost entirely on the principal characterization. Nigel Patrick plays the type of obnoxi- ous traveller everyone endeavors to avoid on a boat trip. He re- fuses to accept a sniib, throws his weight around in every conceiv- able way, but loses face by ffn act of gallantry. The sanatorium, of the third epi- sode, in' the North of Scotland, shows two gossiping old spinsters, two Scotsmen, who are superfici- ally bitter enemies; and a man who is convinced he is to die and resents his wife’s good health. There Is also the attractive young Jean Simmons, who has spent eight years in and but of different hospitals. Into this setup, a novel- ist with a rep as a rake are intro- duced. He and the girl fall in love, but are advised by the medico that marriage would be dangerous for the girl and fatal to the man. They believe that FILM REVIEWS 9 short-lived happiness is worth the risk and marry. The three subjects have been produced with a slickness well above normal British standards. The first two, directed by Ken Annakin, are given bright treat- ment. The longer piece, megged by Harold French, strikes a happy note between sentiment and laughter. Picture boasts, a star-studded cast, even the smallest parts be- ing played by name artists. In “The Verger,” James Hayter is warm and colorful in the title role and Kathleen Harrison is typically cast as the widow he marries and to whom lie brings happiness and fortune. There is a fine cameo also from Felix Aylmer as the bank manager,, and a brief gem from Eliot Makeham as the sexton. Patrick dominates “Mr. Know- all” as the bumptious and con- ceited Kelada. Nauhton Wayrie and Wilfred Hyde-White are mag- nificently cast as a pail* of civil servants and Anne Crawford gives a pert study as the wife of the former. ; Jean Simmons arid Michael Ren- nie have the romantic leads in “Sanatorium,” playing their roles With distinctive charrn. Roland Culver . does well as the novelist and Raymond Huntley effectively suggests the embittered TB • vic- tiiri. John Laurie and Einlay Currie excel as the fighting Scots- men. Production values are good. Camera work at all times is com- petent while editing is precise. Myro. Gunslingers . Monogram release of Wallace Fox pro- duction. Stars Whip Wilson;. features Aiidy Clyde. Directed by Fox. Original screenplay, Adele Buffington; camera, Harry Neumann; music, Edward Kay. At New York theatre. N. Y.,. dual,. week of Aug* 1, '50. Running time* 55 MINS.. Whip...............,;...... Whip Wilson WinksAndy Clyde Libby;...;................. Reno:, Browne Rawhide: Rose.............Sarah Padden Ace Lavabee............. ,. Bill .Kennedy Brad. Brasser...... '*.,....... Dennis Moore Jeff Nugent,........... George Chesebro Lou. Cramer... Steve Clark, Parsons. . Frank McCarroll Steve .. . ..V..; •.... Carol Henry Pete................. George De Normand Hollister..... . . . ..... .. Hank Bell' Tim Cramer ........ *....... • Riley > Hill Kerner,.,.................. .Carl Mathews; Stoner. ,.v... . .....'....'... >... .Reed, Howes “Gunslingers” is a conventional oater that won’t stir up much dust at the : b.o. With Whip Wilson starred, the picture rates as a fair filler for action situations arid the Saturday matinee trade. But, for the most part* its indifferent fare which film goers will forget soon after leaving the theatre. Adele Buffington’s yarn hinges on the old one about a railroad about to be built through a fron- tier town. Of course, an outlaw gang has advance info on the com- ing of the iron horse and they at- tempt to seize lands of several ranchers by all sorts of chican- ery. Their dirty work is exposed when the law triumphs at the finale. Performances, save for a couple of exceptions, are rather listless* Wilson is so-so as the hero. Andy Clyde provides routine comedy re- lief, and Reno Browne, as a femme telegrapher, does a standard thesping job. Wallace Fox’s direc- tion is paced slowly arid his pro- duction values reflect the modest budget. Harry Neuiriann’s camera- work is good. Gilb. Au P’iit Zouave (The Little Zouave) Mask of Korea Ellis Films release 6f Jean Delannoy production. Stars Erich Von Stroheim. Sessue Hayakawa. Mireille Balln. Dlreoted by John Rossi. Adapted by Roger Vitrac from story by Maurice Dekobra. At Rial- to, N. Y.r starting Aug. 3, '30, Running time, 41 MINS. Werner Krall........Erich Von Stroheim Ylng Tchat . . Sessue Hayakawa Marie Mireille Balin Peter Malone.............Roland ToUtain Jasmine. Louise Carlctti Almeido. Henry; Guisol Captain...... m ...........George Lannes Steward.......,...... .Jimmy Gerald “Mask of Korea” is an obvious attempt to cash in on the current interest in the Korean fighting. But it has nothing to do with cur-- rent developments in Korea. Lo- cale cduld have been any Oriental City. Picture was made a number of years ago in France. Voices of sev- eral key players have been dubbed. in, sometimes faultily. Despite the many flaws it comes off well for an oldie:. But even Where the Korean angle is plugged, pic does not look Strong. Title of film Was changed this Week to “Gambling Hell” but rounding out run here with present -tag.'. Just how much the film is dated can be gleaned from the thespiari efforts of Erich Von Stroheim and Sessue Hayakawa. . Von Stroheim rather obviously, has liad many im- portant roles in American and French pictures that were much more flattering to his acting tal- ents, among these his latest Ameri- can picture* “Sunset-Boulevard,” Plot concerns the. operations of Von Stroheim as a gun-runner, his latest deal being tri supply about $250*000 worth of guns and muni- tions to a revolutionary force that is overrunning what purports to be Korea, His sly affair With a French beaut, Mireille Baliri, oc- cupies some of the footage. Haya- kawa is a suave gambling-house op- erator and overlord of the Oriental port metropolis. Scripters would have one believe that liis extensive Operations and double-dealing in his gambling establishment have been kept secret from his daughter. There is a newspaperman, Ror land Tputain, who talks with a British accent. He is brought in for a Tomantic affair With the daughter; Louise CarleftL Also to produce a slam-bang gunflglit to a fairly loud climax. « ; Direction, acting and camera work are. not so bad considering the age of the picture. Wear. Fails Divers* A Paris (Various Facts About Paris) (FRENCH) Paris, July 20. Pantheon release and. production. Screenplay. Edward Chantier; directed by Dimitri : Klrsonoff. Features Roger Legris. . Denise Fontaine. Olivier Funois. Floreiicie. Camera* . Klrsonoff ; editor Monique Kirsonoff. At: Cine.-Opera, Paris, Running time* 12 MINS, Raymonde.............. Denise Fontaine Gulllame. .Roger Legris Francois...................Olivier Funois . Father . Florencie Jeanette Marguerite Contiant Kirsonoff is known only in arty film eircles fo,r some iriteresting modernistic films made in silent days. This is- his first talkie and creaks with outmoded silent tech- niques. It recounts the tale of a country girl who leaves her first love to go to the big city, and her eventual disillusionment and fall. Lack of action and slow tempo make it doubtful for U. S. market. Story is a series of incidents rather than a connected yarn. Denise Fontaine lends an inter- esting face as the unhappy heroine, and Roger Legris turns in an un- usual performance as the strange Guillame. Moslc. (FRENCH) Paris, July 20. UFPC release of Codo production. Screenplay. Pierre Laroche; directed by Gilles Grangier. Stars Francois Perler, Dany Robin, . Camera, Marcel Grlgnol; editor, Pierre Delannoy. , At Normandie, Paris.. Runnings time, 104 MINS. . Deny . . ... Francois Perler Helene •. ..,....... .Dany Robin Olga ... ............... . Marie Daems Frederique............... Annette , Poivre Patron ........,.,. Robert Dalban Vender..... . . ....... . ....Yves Deniaud • ■ “Au P’tit Zouave” Is the name oT a cafe which serves as the set- ting for this Gallic “slice of life” pic. Film borrows complications of pre-War classics, but emerges as an unconvincing outline of them. Possibly good pruning of this look- see at Gallic lower class life Would give it a chance in some U. S, sure- seater situations. v Starts out well by introducing usual cross-section of habituees at a cafe. There is the garrulous fruit vender, the old lecher, the respect- ful prostitute, the blase barman, and the frowzy barmaid. Into this atmosphere comes the well dressed stranger to disrupt all these lives. Pic’s main fault is its uncon- vincing characterizations of the leads. The camera rarely gets oiit of the bar and leads to many static, talk£ scenes. Francois Perier does well in his role of the killer. Dany Robin is appealing as the romantic secretary. Marie Deams scores as the prostitute. Mask. Paramount with about £ 1,000,000 ($2,800,000). All the others com- bined had another. £ 1,000,000 and • a number actually used Up even more than they hacTfrozen, haying made commitments against future earnings. Large amounts of coin Which, the companies can use up under the list of 27 uses is evidenced by their expenditures for print-mak- ing alone. About $2,000,000 was spent for that purpose during the past year, prints being processed in Britain for use in most of the World outside the American con- tinent. Further limbering the thawing potential was an additional use per- mitted under the rieW padt. That allows conversion of pounds into the coin of other soft currency countries. It is not certain, how- ever, how widely this provision will be used, inasmuch as previous channels for unfreezing have proved so useful. Soft-currency conversion would entail difficult negotiatioris to set up deals in other countries and then require Official okay of both governments involved.