Variety (August 1950)

Wednesday, August 16, 1950 A life *>i , c Hoiiwood, Aug. ii. TT- PfianETr rr> Metro release of Voldemar Vetluguin Production. .Stars Lana Turner, Bay Mil- land; features Tom Ewell. Louts Calhern, Ann Dvorak, Bairry Sullivan, Margaret Phillips, Jean Hagen, Directed by George Cukor. ’ Written by Isobel Lennart; cam- era, George Folfley; editor, George White; music. Bronislau Kaper, ^ .Tradeshown Aug, 9; 'JK>; Running time. 10i MINS, Lily Brannel James ......... .Lana Turner Steve Hafleigh.......Ray MMand, Tom Caraway... • •• **•«.... •. .'.Tom-' Ewell Jim Levtrsee,,..,.........Louis Calhern Mary -Ashton....• .....»• Ann Ijvorak Lee Gorrance........... . .Barry Sull van Nora HaTleigh..........Margaret Phillips Maggie Collins.........,»• • JWJ) Hagen Jerry. ... i .......Phyllisi Iflrk Smitty. k.» »»t •■•■a ee*e• ••■-*.«* • Sbita.■ Hftddl ijpccislty. 'D«uioorf • <HcriitC8 Pan “A Lite of Her Own/* starring LanaV Turner arid Ray Milland, doesn’t frave especially bright pros-’ pects,even am on g the distaff trade, where it will have most of its appeal. The soap opera plotting has been polished to considerable extent, the playing by the femme cast members Is top-notch arid the di- rection aids them, but it is. still a . true confession type of yarn con- cerned with a big city romance be- . tween a married man and a beauti- ful model-that hasn’t much general interest for the average audience. Isobel • X e n n a r t ’ s script is spotted with feeling and charac- ter, and also a lot of conversation that doesn’t mean much. The worthwhile portions of the screen- play contrast sharply with the dul- ler sections to be found in the overlQng ::108 minutes of footage. The contrasts make for a patchy productiofi. A decided asset is Miss Turner’s performance. In appearance, she is believable as the model. Since the entire, story is pointed to the distaff.;side, Millaind’s role suffers Ts^he:m^nriflarried‘~t?rircripplud wife, Who' goes, off the deep end for tliti model, ;, Faring better among the males is Tom iBwell, operator of a bigtime model agency. Xouis Calherri does nicely; ’RS, Milland’s lawyer and friend. v Abn Dvorak puts over a Strong ipiece of work as an older modeT;WhIpped by life into sui- cide. Margaret Phillips scores as the crippled wife, selling a par- ticularly moving scene in which Miss Turner decides to renounce her affair wtih Milland. Barry Sul- livan has: ' small, thankless footage as a man - about -.town* and the others Appear only briefly. ' The' Vofdemar Vetluguin. produc- tion is spotty but does benefit from, some > fit&trate technical assists, such Rs George Folsey's lensing, the ajrt'indirection and set decora- tions. .-.^Swre is a reprising piano theme;, .Ir. the Bronislau Kaper score that is its chief merit.- Brog. Hollywood, Aug. 12. is usually given, thus offering no needed freshness. O’Brien’s priest role also is stock, as are the char-, acters delivered by Beverly Tyler, Glenn Corbett .and the others. The Bert Friedlob production has been expertly Tensed by Lester White. Footage could stand fur- ther trimming* Brog. V \ '*■« m < < The Fireball Hollywobd; Aug;. 12. 2 Oth-Foj; release of Bert Friedlob (Thor) production. : Stars Mickey Rooney. Pat O'Brien; ^features Beverly Tyler, Glenn Corbett/Directed by Tay Garnett. Screen- play, Garnett and Horace McCoy; camera, Lester-‘ 'White; editor, Frank ^ Sullivan; music, Victor Young. Previewed 'Aug. 11, '30. RutaJ&S£ time, 13 MINS. Johnny <J6akr .Mickey Rooney Father, XTJlara. '....... Pa^t O'Brien Mary. Reeves...............Beverly Tyler Allen, * Jfcmfes Brown Polly. ;y .. .Marilyn Monroe t runo ,•*•••••••.»• .Ralph Duitike hillingv t. v,............'... Bert Begley Jeff DaVfS ...........I Milburn Stone Dr. Ba^tofl Sam Flint Ullman .-.'. John Hedloe Mack MillClr............... Glenn Corbett Art okay actioner idea runs wild In “The; Fireball” and results in the /programmer classification. It’s the: story of an orphan who runs riway, becomes a rollerskate champion* has polio and . then fights* hi$ - way back. Footage is . $£ Pari# Waltz „ “The Paris Waltz/’ French- made t . Which opens at the Paris, theatre, N. Y., Monday .(21)-was reviewed in Variety 1 from • Paris, May 24, 1950, under, Its French title, “La Valse Pe Paris.” According to reviewer Mosk pic “is a light- hearted looksee into the loves andiiife of Offenbach in 8 fl y 19th cc^ntury Paris.” Review went up to say, it's “done with tastb arid finesse, it could please in the U. S. Where the stars, and light operetta back- ground should help in many spate;” However, it was also noted,,, “the sparkling dialog* the; highspot of the pic, will, probably be lost in subtitling, and thus hamper the pic’s , appeal.’' Film, * which, is bging re- leased in the U. S. by Lux Film, ' stars Pierre Fresnay and . Xvonne Printemps, and was Written and directed by Marcel Achard, whose “I Know ; My . Love” was offered on Broadway,, this past season with’ Alfred Lunt and Lynn Fon- tanne in the leading roles. r&i* , . y “A Life of Her Own” (M-G). Only ‘moderately entertaining “woman’s picture” With Lana Turner, Ray Milland. “The Fireball” (20th), Lesser programmer about roller skat- ing. “Tea For Two” (Musical- Color) IWB). Gay, entertain- ing musical comedy; excellent * b.o. outlook. “Right Cross” (M-G). Good prizefight feature, sparked by- the cast and a light treatment. Okay b.o. “Bunco Squad’' (RKO). Melodrama about seance rack- et. For lowercase bookings* “High Lonesome” (Song- Color) (EL). Good Western 1 melodrama. For action and general situations. “Streets of Ghost Town” (Songs) (Col). Only fair Charles Starrett oatCr with Smiley Burnette. / . . ' 1" ■ ■ ' ■ ■ ■ ■ ' V ■ - > - generously' sprinkled With rink ac- tion and moves along in these por- tions, but falters in its story and generally proves unsatisfactory. Mickey Rooney portrays the pint-sized orphan iybo is begin- ning to develop complexes because of his stature. He reins away from the religous orphafrage; run- by Pat O’Brien and finds size doesn’t matter when he is wearing skates. Character carries Uo audience sympathy as Rooney fights his way up with a cocky disregard for principles. Both Tay^ Garnett's di- rection* and the script he wrote with Horace McCoy go completely maudlin in dealing with the Horatio Algeresque plot. ;.The Rodney portrayal too Tea For Two (MUSICAL-COLOR) Hollywood, Aug. 15. Warners release of William Jacobs pro- duction. Stars , Doris Day; Gordon Mac- Rae, Gene. Nelson; features, Patrice : Wys more. Eve Arden, Billy De Wolfe, S. Z. Sakall. Directed by David Butler, musi- cal numbers staged, by Le Roy Prinz). Screenplay; " Harry -Clork; suggested by the legit musical, "No, No, Nanette," by Frank Mandel, Otto ;Harbach, Vincent Youmans, ErtrH Nyltray; camera (Tech- nicolor), Wilfrid M. -Cline; editor, Irene Morra; songs, Cecil Mack, Jimmy John- son, Anne Caldwell, Vincent Youmans, Irving Caesar, Joseph Meyer, Roger Wolfe Kahn, A1 Dubln, Harry Warren* Ira artd George Gershwin, Ottp Harbach. Trade- shown July 25, '50. Running time, 97 MINS. Nah Doris Day Jimmy............... *.. .Gordon MacRae Tommy;.................. ., .Gene Nelson Beatrice................Patrice Wymore Pauline .Eve Arden Lafry ; Billy De Wolfe Max....,....... S. Z. SakaU Early...*.... .......... .. . . Bill Gdodwin Mabel....................Virginia Gibson Stevens...................CraufOid Kent bdtit; with: Nfelsfcm- brirfd^miiig atdp a gSaii(; drum. : A 'top laugh , is rated by De Wolfe, complete with baggy plus-fours arid beret, and his partner, Virginia Gibson, in the’“Charleston.” Miss Gibson does a solo ballet while MacRae sings effectively “Only Have Eyes For You.” Strong selling is given the title tune by MacRae and Miss Day, and latter draws; a reprise on the .Irving Caesar r : Vincent Youmans piece. Tunesmiths’ “Want to Be Happy” also clicks as handled by MacRae and Miss Day; Nelson scores with a stair dance to “Oh Me! Oh My!” with Miss Day doing the lyrics. William Jacobs' production su- pervision supplies the picture with a toprdraWer look in. costumes; settings and cast. Meshing the musilcal and story portions with a sure hand, David Butler’s direc- tion reliably shapes this one for popular consumption. Flashback technique to get 1929 period on the screen has the capable help of S.,-2. Sakall, playing Miss Day's uncles; who is telling the story to the now teen-aged children of the two singers. Eve Arderi tosses off the smart lines given her w r ith considerable zip; helping to point up the? com- edy portions. Bill Goodwin, tight- wad lawyer; Crauford Kent and others’ contribute neatly. Responsible for the neat color lensing is Wilfrid M. Cline. Le-- Roy Prinz directed the musical numbers. Ray Heiqdorf’s musical direction and editing by Irene Morra are among the other top assists. Brog. Right Cross Ricardo Montalban; features Lionel Barry- more, Teresa Celll, Barry Kelley, Tor® Powers* Directed by Johft Sturges. Writ- ten by Charles Schnee; camera, -Norbert Brodine; editor, James E: Newcom; music, David Raksin. Tradeshown Aug* 10, '50. Running, time, 19 MINS. " Pat O'MalleyV June Allyson Rick Gavery.. Dick Powell Johnny. Monterez.... . .Ricardo Montalban Seani .^O'Malley........ .Lionel Barrymore Marina Monterez.,**,....... Teresa Cell! Allan Goff... .Barry Kelley Tom Balford.. Tom Powers Mom Monterez. *..*..... .. .Mimi Aguglia Audrey- .Marianne Stewart Phil Tripp..,. . .John Gallaudet First Reporter...... ...... Wally Maher Second Reporter.......... .Larry Resting Third Reporter.;.*........; Ken Tobey FoUrtR Reporter.Bert Davidson A generous sprinkling of songs, danpes and comedy makes “Tea for Two” the type of beguiling musical nonsense that practically always finds a ready reception. It wears its Technicolor dress well, the . nostalgic numbers from the 1929, “No, No, Nanette”* and other cleffing of the period listen well, the pacing is smooth and the cast able. It should have no trouble at the boxoffice. * The voiced of Doris Day arid Gordon MacRae, the dancing of Gene Nelson, and the* clowning of Billy De Wolfe are major assets in the Harry Clork screenplay* Ditto the tunes, which range from the title number through such lifters as “I Want to Be Happy,” “I Only Have Eyes for You” and “I Know That You Know.” Suggested by the “Nanette” book by Frank Mandel, Otto Har-; bath, Vincent Youmans and Emil Nyitray, the Clork script is spiced with dialog and situations that permit easy introduction of the variety of dance numbers. Singer MacRae,. dancer Nelspp and pro- ducer De Wolfe, principally the latter, are shown sharpshooting for Miss Day, musically - minded rich girl, to obtain show financing. They eventually get it, but not be- fore a series of comedy episodes and romantic r misujiderstandings that keep the footage moving hap- pily along to the finale production number that rises a three-set pre- sentation of “Nanette” to wfap up the tunes and dances. . “I Know” kicks off the song- dance numbers. Miss pay and MacRae sing it and then she and Nelson run through a rehearsal dance' In expert tern* style. “Crazy Rhythm” v ie *ott • the • spectacular '^ide; ' Patrice Wymbre’s : able,' rhythmic hoofing gets it going and number then segues into a jungle .; ; r - ' ".t /, - A breezy style brightens up the drama in “Right Cross” and makes it gbod ; entertainritent,. »A prize- fight story with problems that are lightened by the handling, bol- stered by good cast- names and ari excellent production d r e s s, it should^play well in most situations. Jurife f Allyson, Dick Powell and Ricardo Montalban spark the story-telling under John . Sturges’ direction, shaping the yarn for gen- eral acceptance. Montalban por- trays; .a champion prizefighter who carries a chip on his shoulder be- cause he is a Mexican. There’s a neat' shift of the social problem in Charles Schnee’s script, the persecution being Montalban’s own and not the result of- any prejudice from what he terms the “gringos*” However* screenplay doesn’t lean heavily on the problem, , hosing It and resolving it in matter-of-fact style. Mis^ Allyson T Is Montalban's manager, carrying on for her crip- pled. dad, Lionel Barrymore. There’s quite a spitfire romance between the femme end her champ that„nearly founders on his belief he -has - to continue champ and get rich or lose her. Powell, sports- writer friend to Montalban and torching for Miss Allyson, com- pletes the starring trio' With a slickly delivered performance that matches the Very likeable Work of his co-stars. Story * is told with, dialog that punches as hard as Montalban’s fists. Talk is glib, light at the prop- er moment and tough elsewhere. Action builds up to a solid ring fight in which Montalban, contrary to usual film license, goes down in defeat. Montalban looks Impres- sive* in the ring arid wears his bare^chest well. .Miss Allyson charms her way through the man- ager role with ingratiating appeal/ Backing the stars in helping to put this, one over are a number of good featured and supporting per- formances* Lionet Barrymore de- livers with expected excellence as the wheelchair-ridden fight man- ager out to protect his-sole re- maining stable asset .from the be- guiling offers of other promoters. Barry Kelley, as the rival manager; Tom Powers, Montalban’s lawyer; Mimi Aguglia, Marianne Stewart and several uncredited players are good. Sturges directs . the Armrind Deutsch production with a pace that sells it expertly,, and ‘Herbert Brodirie’s lensing "is keyed to the action*' Editing has kept the foOt* age tight. The music score by ’David Raksin intrudes too often. FILM REVIEWS 11 : : Eureka Stock&de . “Eureka Stockade,” Austral- • ian-made, being tradeshown in New York tomorrow (Thurs.), was reviewed In Variety from London, Feb. 2, 1949. Reviewer Myro noted ... “action fans, who.jire not par- ticularly discerning in their choice of entertainment, will find this adequate enough but it cannot be reckoned big for the U, B. market.”, -Yarn, with a mid-19th century back- ground, deals with the first gold strike in Australia, which led to economic chaos in 4he coloriy. Pic’s “lov^Btandard of acting” was cited in the review as being its main weakness. Film, which stars Chips Raf- ferty, and Jane Barrett, is be- ing released in the U. S. by Peritagon Pictures. Buifteo Squad Hollywood, Aug. 9. /RRO release of Lewis j. Rachmil mo* duc.tl^o. Features Robert Stealing; Joan Dikon, Riqardo .Cortez, Douglas Fowley, Elisabeth Risdon. Directed by Herbert 1. Leeds. . Screenplay, George Callahan; suggested by story by Reginald Taviner; camera, Henry Freulich; editor, Desmond. Marquette. Tradeshown Aug. 7; '50. Run- ning time, *7 MIN5. Steve............Robert Sterling Grace..;. . . Joan Dixon Anthony , Wells . *....,.... Ricardo Cortez McManus. ... . y ......... * i . Douglas Fowley Jessica Royce *Elisabeth Risdon Barbara ........ .''Majfguerlte Churchill Reed , . John Kellogg Liane.........,....... j-.Bernadene Hayes Drake....,... . *. ..... j; t *. Robert Bice Annie Cobb........ *. i.L .Vivien Oakland Dantes .......................... Dante As k a programmes^ for lowercase bookings, ‘.‘Bunco Squad” will get by. There’s nothing out of the ordinary in its makeup, being a melodrama based on how phoney fortune-tellers and mediums op- erate. TfTias enoiigh general ffir terest to see it through playdates. Plot could have been less com- plicated and Herbert I. Leeds’ overall directorial pace faster* However, it is still adequate to re-; lease demands. After some pre- liminary footage showing tho types of I)unco rackets worked on the gullible, plot gets into its essential angle of saving a rich old lady from being taken for her fortune by a gang of ghost-callers. Robert Sterling capably plays the bunco squad detective assigned to break up the gang and uncover its leader. Worked .in are a num- ber of thriller tricks, chases and some detail of how mediums do their, stunts. Elizabeth Risdon is the old lady being taken in by Ricardo Cortez’ elaborately set up seance parlor. To undo the gang’s influence on her, SterIing estab- lishes his own medium trap. Finale has a mountain auto chase and a fiery crackup that saves the de- tective the trouble of an arrest* Cast is acceptable. Joan Dixon plays Sterling’s actress girMrierifl who poses as a medium. Douglas Fowley is okay as a detective, and Cortez’ master crook is smooth. Others helping to sustain it in- clude Marguerite Churchill, John Kellogg, Bernadene Hayes and Robert Bice. Dante, the magician, makes an appearance as himself to help the police ^work. Lewis J. Rachmil has handled the budget production capably to get the best physical values for money spent. In keeping are the lensing and editing. Brog. Righ Lonesome (SONG-COLOR) Hollywood, Aug. TO. Eagi* Lion release of George Temple^ ton. '(LeMay-Templeton Pictures) produc- tion. Stars John Barrymore, Jr., with ChilF Wills, John Archer, Lois Butler, Kristine Miller; features Basil Ruysdael, Jack Elam, Dave Kashner. Written and directed by Alan LqMay; camera (Techni- color). W. Howard Greene; editor. Jack. OgUvie; song. Chill Wills. Previewed Aug. 9..'50. Running time, 30 MINS. . . . Cboncat * .John Barrymore, Jr. Boatwhlstle.................. Chill Wills. Pat Farrell.................. .John Archer Meagan. Davis.......;,,,... Lois Butler Abbey Davis.. v....... * *. . Kristine Miller Horse Davis ............ .Basil Ruysdael Smiling Man..... 7 Jack Elam Roper............ .Dave Kashner Frank..... ..............Frank Cordell Dixie... *• ............. . Clem: Fuller Art Simms.....,...;......- Hugh Aiken. jim Shell-.................Howard Joslln As good Western action fare, “High Lonesome” holds its own. In other than top key situations R should give an okay -account of it- self. Film is the second from the Alan LeMay - George Templeton team and, like the first, was filmed in Technicolor in. the cattle country of Texas’ Big Bend. Title deriver from the high, lonesome plateaus of the area. Locale serves to em- phasize the air of expectant danger and suspense with which the story is played. John Barrymore, Jr*, who also appeared in the producing team’s first effort, carries ; the story lord in this* .6no arid does- k firstrate job.* He is a homeless youth in- volved in several murders and is being held by a ranch family until hls : innocence or. guilb Can be. es* tabliShed. Mixed in the plot is a revenge motivation that supplies the feeling of impending doom surrounding the ranch family,* a disaster which Barrymore is trying to prevent* LeMay ' scripted and directed^ His plot is sound and so is most, of his. directorial development, al- thciUgh story-telling is inclined to Wander a bit too much while briijig« irtg together plot threads. Mehaco comes from two members of fam^ ilieis supposedly wiped out in * a fenqe war some years back who have returned to kill all' of thete old enemies. They use Barrymore 1 as the patsy^and it is not until he is wounded saving the family that they are finally convinced of dan- ger and rid the range of the trou- blesome pair. ' Chill Wills sharpens his role as ranch foreman and Basil Ruysdael is excellent as the elderly ranch owner. John Archer, neighbor rancher; Lois Butler arid Kristine Miller, daughters of Ruysdael* Jack Elam and Dave Kashner, the heavies, and the others' in the cast supply good touches to the char- acters not usually found in oater- plots. Templeton’s production values: benefit from the color framing furnished by W. Howard Greehe’^ photography. Music score is good- and there’s a prairie tune, “Tw(m:y Miles From Carson,” written arid sung by Wills, plus square darice$’ to round out the cleffing/ Editing holds footage to a tight 80 mih- utes, Brog/ ;; streets of Ghost Touqi (SONGS) p Hollywood, Aug. y —Columbijiel«^-of“Colbert^I^rlariHr dilution. Stars Charles Starrett; features |™h e y B « r nette. George Chesebro, M^r*. EUen Kay, Stanley Andrews, DlrecteSTbV Ray Nazarro. Written by Barry Shipimani-. .camera, Fayte Browne; editor, VPaiu- f « ky - f. re ^ i . e ^ ed < A u .g* 8, '50. Run*' nlilg time, 54 MINS.: • & .- Steve Woods V 1 ' • The Durango Kidf....... .Charles Starrett Smiley Burnette.Hiihs^li WH Donner........ .......George ChesebtfJ Doris Donner........... Mary Ellen Hiy Sheriff .Stanley Andjtoty# ® art , Sel by Frank Fi^iu|. Tommy Donner.* .Don ReytfoW# John Wicks... ........ John Casbrt Kirby ........... .. ......... . jack Ingrant and Ozle Waters Sc His Colorado Rangers Saturday matinee trade will Tbid; “Streets of Ghost Town” a mighty confusing sagebrusher. Only ommendation is plenty of actioh/ri factor that will see it through/^ western iriarket. ' , Stock footage from past oateri comes back to haunt this one, ‘ line featuring constant switrihi back and forth between old new scenes. This frequent flash? back manner of staging doe&ifi help clarity or interest. Charles Starrett, his comic side? kick Smiley Burnette and sheriff!: Stanley Andrews come to a ghbsf town on the hunt for $1,000,000'irt robbers’ gold.. In between cha^iiri^ spooks, the principals sit arouti<| telling, via flashback, of the histdi^ of the money and the gang Whd thefted It. Windup sees Staftgtt recovering the coin and doingTpi the remnants of the robber after the yesterday footage of r$rild fires, land rushes, stampedes,: etc# is out of the way*, Burnette .finds time to siij^/ri variation on “Streets of Larejwjv while Ozie Waters and his Colot#a<9 Rangers add “Oh, Susannah” to the tune footage. Cast lineup is typical of a program western, and Ray Nft? zarro’s direction is adequate to the Barry Shipman script. Lensing -arid other, factory are in keeping. Brog t , The Original Sin - “The Original Sin,” Grir^ ; man-made musical comedy* which , opens at the 55th St/ Playhouse, N. Y., Saturday^ (19), was reviewed in Variety from Darmstadt, Gerinany;. Jan. 26, 1949, under its orig- inal title, “Der Apfel 1st Ab/*;; Pic, tabbed as an allegorical f fantasy about Adam and Eve/ \ deals with a man in love with ■ both his wife and secretary/.;. Reviewer Sand noted “some of 0 its satire is topical a nd Wouldn't register heavily with . stateside audiences.” It was also cited that the Production Code Administration “lijo* doubtedly would take a dim view of the cellophane ‘heav*. enly’ costumes of the leads, especially the above-the-waist v transparency worn by Bettiria Moissi.” Special considera- tion was given in the review to director Helmut Kaeutner, who Was credited with having “a Lubitsch touch that runs ; all over this picture.” F|lm has: had- *15 minutes :• Sliced , from its original ning iirite' of*»*. 105 miriutes.' * Lopert Films is releasing the picture in the U. S.