Variety (February 1951)

FILM REVIEWS Wednesday, February .7, 1951 Royal Wedding (MUSICAL—COLOR) Hollywood,. Feb, 2. Metro release of, Arthur Freed pro- duction. Stars Fred Astaire, Jane Powell, Peter Lawford, Sarah Churchill,' Keenan Wynn; features Albert Sharpe. Directed by Stanley Donen. Story, ana screenplay, Alan Jay Lerner; camera (Technicolor), Robert Planck; editor, Albert Akst; musi- cal direction, Johnny Green; dances, Nick Castle; orchestrations, Conrad Salinger, Skip Martin; songs. Burton Lane and Alan Jay : Lerner. Tradeshown Jan. 31, ’31, Running time, 93 MINS. . ■ '■ Tom Bowen• •«•««*•••••••• * •Fred ,Astftlr® Ellen Bowen. > Jane Powell Lord John Brindale... ... Peter Lawford Anne Ashmond.... V. ^ .Sarah Churchill Irving and Edgar Winger.. Keenan Wynn James Ashmond. .Albert Sharpe This is ah engaging concoction of songs and dances in a stand- ard musical framework, brightly dressed in color to show off its physical attributes; /With names of Fred Astaire, Jane Powell - and others to light up the marquees and help the initial draw, “Royal Wed- ding” has promising boxoffice pros- pects for its playdates. Score uses up nine tunes to back the singing and terping, and two of the numbers are sock enough to almost carry the picture by. them- selves. They are Astaire’s solo dance on a ceiling, upside-down, and the teaming 'with Miss Powell in a sort of Frankie-ahd-Johnny- apache-hepcat presentation that will click with audiences. The ceiling stepping to the Bur- ton Lane-Allan Jay Lerner “You’re All the World to Me’’ combines technical magic and Astire’s foot wizardry into a potent novelty, “How Could You Believe Me’’ sets up the earthy Astaire-PoWell de- livery of the other outstanding musical sequence. As a dance part- ner, Miss Powell serves very well; her pert cuteness making up for anything lacking in terping ability,! spurs.” Business seems likely to Lerner did the story and script, ■ as spotty as the entertainment, as well-, as teaming^ with Lane on j anc j it s best chances will be in the the nine tunes._Light plot sees^As- \ more general situation and family taire and Miss Powell as a brother-! trade spots, where this attempt at Miniature Reviews “Royal Wedding ’ 1 (Musical- Color) (M-G). Breezy, tinted musical with Fred Astaife, Jane Powell and promising b.o. outlook* , “The Grqom Wore Spurs” (Song) <U). Fairly amusing takeoff on. film cowpokes. Gin- ger Rogers, Jack Carson and moderate prospects. “Vengeance Valley” (Color) (M-G). Burt Lancaster starred in western melodrama* Good b.o: outlook. “Cry Danger.” (Song) (RKO). Suspenseful melodrama, Dick Powell, Rhonda Fleming and good prospects. “Liicky Nick Cain” (20th). George Raft and : Coleen Gray in a counterfeiting mel- ler that’s stout supporting fare. “My Brother, the Outlaw” (ELC). Poor western with Mickey Rooney, Wanda Hen- drix; little b o. possibilities. “ B1 a ckm a i led” (GFD). Creaky British murder melo- drama of limited appeal. ; “Rough Riders of Durango” (Rep). Good Allan “Rocky” Lane sagebrusher for houses playing westerns. “Rhythm Inn” (Musical) (Mono). Okay program musi- cal for lowercasing in general situations. . « “Spoilers of the Plains” (Songs) (Rep). Actionful Roy Rogers galloper, best of recent entries. Vengeance, Valley (COLOR) Hollywood, Feb. 2, Metro release of Nicholas. Nayfack . pro- duction, Stars Burt Lancaster, Robert Walker, Joanne Dru, Sally Forrest; fea- tures John Ireland, Ray Collins, Directed by Richard Thorpe. Screenplay, Irving Ravetch; based on novel and Satevepost serial by Luke Short; camera (Techni- color), George J. Folsey; editor. Conrad A.' Nervig; music, Rudolph G. Kopp. Tradeshown J&n. 24, ’51. Running time, 82 MINS. „ ■ ■ Owen Daybright... ....... .Burt Lancaster Lee Strobie........ . .Robert Walker Jen Strobie...*«. Joanne Dru Lily'.-........................Sally Forrest Hub Fasken......, • • John Ireland Hewie .;........... <..Carleton Carpenter Arch Strobie........, •. *.Ray Collins Herb Backett............. Ted de Coma Dick Fasken . .Hugh O’Brian Mr. WWougbby..,......... . Will Wright Mrs. Burke .....». . . Grace Mills Con Alvis James. Hayward Orv Esterly........... .... . James Harrison Mea£ Calhoun......... .Stanley Andrews A good western title, Technicolor and value of Burt Lancaster’s name in the action market are assets that should help push “Vengeance Val- ley” to satisfactory grosses. Story stress is mdre on characterization than slambang action, a fact that keeps it from being as promising as it might have been in the more general situation, but it can be ex- j plotted to attract the average out- j door fan, ■ ! • The Luke Short novel is endowed [ with His usual working-ranch fla- vor, and; both production and di- rection'/bring this to life as the heroics are played off against such Work-a-day stuff as breaking horses, roundups and brandings. Richard Thorpe’s direction spots a number of tough action moments, like Lan- caster . in a couple of slugging brawls, an ambush and a gunfight, which come across strongly. Miquette ‘Miquette,” a French import which opened at the 55th St. Playhouse, N. Y., Saturday (3), was reviewed* by Variety May 24, 1950. Mosk , who saw the film in Paris, appraised the Louis Jouvet-Daniele Delorme starrer favorably as having “appeal in sureseater and art house situations as a Gallic farce on turn of the century manners.” Story revolves around a stagestruck lass who runs off with a lecherous marquis who promises her a career. Re- viewer wrote that Jouvet “.chews up the scenery as a ham actor and Miss Delorme is properly winaonie as the ado- lescent Miquette,” Henry- Georges Clouzot’s direction is “clear and fluid . . .” Discina International is distributing in the U. S. Original running time of 100 minutes has been trimmed to 85. sister team of Broadway musical stars. They go to London to open satire in taking off film cowpokes and femme lawyers should prove their show during the period when! f a i r iy acceptable escapist fare, preparations are being made for ; the royal marriage. In between presentation of the musical num- bers, Astaire falls in love with Sarah Churchill, show hoofer, and Miss Powell catches the love bug from Peter Lawford, an English lord-romeo. Astaire has two solo spots in the Independently made by Fidelity Pictures, film Is being distributed through Universal and has some marquee value in the names of Ginger Rogers and Jack Carson. There is a certain measure of chuckles, to be found in the screen antics, but overall worth is not crippled Marine vet, Richard Erd- ihan, who figures Powell will be j grateful enough to cut up some of i the. $100,000 loot he is supposed! to have hidden, 1 Powell sees the pardon as an opportunity to bring the guilty par- ties to justice and free a friend still in prison. 1 Scene of all the plot movement is the poorer section of ! Los Angeles, where Powell and Erdman have holed up in a crummy trailer camp to be near Rhonda Fleming, wife of the friend still in prison. As Powell begins to get a reaction to his private investiga- I4V1* . WV1UV U.VAVM0 MV* • | . . m t • , 1 1,. T w i tions, Miss Fleming tries to halt Lancaster underplays his hero | n nAC William rWrart role neatly and has the appearance of a real saddle-polisher to help footage and demonstrates his 1 solid, . Comedy value is further rhythmic agility to the instrumen- j marred by unusually bad editing, tal “Sunday Jumps” in a shipboard j Carson, as a big cowboy film setting that has him using gym I star, is the direct opposite in per- i i • i I *11 i.1 1L. w- props while dancing. He and Miss Powell are together in the opener, “Every Night at Seven,” again in “Open Your Eyes,” a ballroom stint that takes on a comedy flavor as it is done while the ship rolls and plunges in a storm, and “I Left My Hat in Haiti,” a typical West In- dian musical froth. Miss Powell displays vocal prow- ess on five of the songs and her top solo is “The Happiest Day of My Life.” Also good is her chirping of “Open Your Eyes”' and “Too Late Now.” Final song is “What a Lovely Day for a Wedding,” With Keenan Wynn and a strolling cho- rus wrapping it up in a London street sequence. Stanley Donen’s direction keeps the footage breezing along pleas- antly and the players respond to his handling amusingly. Nick Cas- tle’s dance staging is a major con- tribution to the generally good en- tertainment values. Lending the two top stars expert assistance are Lawford, who keeps his English lord from being too supercilious; Miss Churchill, who puts some honest values into her chorus char* acter, and Keenan Wynn, who plays the twin agents of the brother-sister team, a dual char- acter good for chuckles. Albert sonal life of all the things such cowpokes are supposed to stand for. He doesn’t like kids, fears horses, can’t sing or play the guitar he supposedly strums and, worst of all, chases dames. He loses $60,- 000 gambling In Las Vegas and calls in a lawyer to help him get out of the jam. . Miss Rogers is the legal eagle assigned to him. They junket to the Nevada gambling spot, Carson gives his lawyer a quick romantic rush, they many and then separate in a contrived marriage mixup. However, the bride takes up resi- dence in the cowpoke’s Hollywood home to carry out the marital mas- querade, tipping that it won’t be Llong before she. turns him into a legitimate hero and a happy finale clinch will result. The screenplay by Robert Car- son, Robert Libott and Frank Burt brings in a mystery phase by hav ing a gambler bumped off and Car- son suspected. The lawyer frees him long enough for the pair to chase, down the real killer and capture him in an airport sequence of careening planes and other wild slapstick right out of the Mack Sennett book. The two stars acceptably put over their assignments under Rich ard Whorf’s direction. Joan Davis make the character seem autheh tic. He is pitted against Robert Walker, wastrel son of Ray Collins, on whose ranch Lancaster has been raised as a son. After a lifetime of pulling Walker out of scrapes and covering for him with his father and wife, Joanne-Dru, Lan- caster rebels when the heel adroitly shifts the blame for Sally Forrest’s nameless child on to his shoulders. Blame-shifting makes Lancaster the object of a vengeance chaise by Miss Forrest’s brothers, John Ire- land and Hugh O’Brian. He is able to hold his own easily, though, un- til Walker schemes to aid the brothers, figuring to make off with the proceeds of a steer roundup and get Lancaster’s share of the ranch. An ambush is‘ set up, but Lancaster again proves too much of a hero, downing all the heavies and winning Miss Dru. Cast is generally satisfactory in putting over the Irving Ravetch screenplay, selling their assorted characters ably. Comely femme in- terest is supplied by Misses Dru and Forrest, and Walker makes his weakling role jell. Ireland, Collins, O’Brian, Ted de Corsia, Will Wright and. others measure up. Carleton Carpenter handles much of the narration that explains the plot as a bashful young cowpoke in love with Miss Forrest. Nicholas NayfacKV production supervision provides the film with real western trappings to back up the story, and George J. Folsey’s camera beautifully displays the outdoor settings. Brog. Sharpe, British pub-keeper, also helps the fun. ,. .. ..... ^ Arthur Freed gathered together i ® i° f * e 5 pflight technical aides to put over .-the featured players, and the same goes for James Brown. Stanley Ridges, John Litel* Victor Sen Yung, Mira McKinney and the others are ade- quate to the light demands. Outside of the glaring technical errors in the scissoring, Howard W e 1 c h’s production supervision achieves suitable physical values in presenting the comedy. A satis- factory musical score by Emil New- man and Arthur Lance,' including the tune, “No More Wandrin’ Around,” by Newman and Leon Pober, and good lensing by Pever- ell Marley head the other technical credits. Brog. topflight technical aides to put the amusement. Robert Planck’s Technicolor 1 e ns ing; Johnny Green’s musical direction and the orchestrations by Conrad Salinger and Skip Martin; the special effects by Warren Newcombe and Albert Akst’s scissoring are among the good contributions. Brog. Groom Wore Spurs (SONG) ■ . Hollywood, Feb. 3. . Universal release pf Howard Welsch (Fidelity Pictures) production. Star!) Ginger Rogers,. Jack Carson; . features Joan Davis, Stanley Ridges, James Brown. Directed by Richard Whorf. Screenplay, Robert Carson, Robert Libott, Frank Burt; based on Collier’s mag story, ' "Legal Bride,’ by Robert Carson; camera, Pev* ercll, Marley; editor, Otto Ludwig; music . Score, Emil Newman. Arthur Ldnce; song, Newman and Leon Pober. Previewed Jan. 30, '51. Running time, II MINS. Abigail Furnival Ginger Rogers Ben Castle .......,......... Jack Carson Alice Dean. ................ Joan Davis Harry Kallen ............. Stanley Ridges Steve Hall .James Brown District Attorney ..,......... John Litel Ignacio .............. Victor Sen Yung Mrs, Forbes Mira McKinney Ricky Gordon Nelson Bellboy ..... George Meader Killer Kemp Niver R. Cry Danger (SONG) Hollywood, Jan. 31. RKO release of Sam Wiesenthal-W. Frank (Olympic) production. : Stars Dick Powell, Rhonda Fleming; features Rich- ard Erdman, William Conrad, Regis Toomey, Jean Porter, Jay Adler. Directed by Robert Parrish. Screenplay, William Bowers; from story by Jerome Cady; cam-, era, Joseph F. Biroc; editor, Bernard W. Burton; song, Hugo Friedhofer, Leon Pober; music score, Emil Newman, Paul Dunlap. Tradeshown Jan. 29* '51. Run- ning time, 7fMI NS. Rocky.,................ . .Dick Powell Nancy................ .Rhonda Fleming Delong.,, ,.,. ....... . . .Richard Erdman Castro.................. . William Conrad Cobb i....... r . Regis Toomey Darlene .................. . . .. Jean Porter Williams,*...,........... Jay Adler Alice Fletcher..^.............Joan Banks Cigarette Girl;........,,,Gloria Saunders Bookie...........,... Hy Averbach Taxi Driver....... ........ .Renny McEvoy Hank,,. Lou X,ubin Bartender... : ..;.,,,;......... Benny Burt him. So does William Conrad, racketeer, who is Powell’s chief target* Bullets fly, Powell is beaten, does some beating himself, and is nearly caught in a neat fraihe with some of the stolen money before he puts the finger on Conrad and Miss Fleming as the real heavies of the piece. Performances are very capable right down the line. Script, direc- tion and playing give the char- acters a good chance. In addition to the four players named, Regis Toomey, a hep police detective; Jean Porter, a lignt-fingered gold- digger; Jay Adler, very good as the trailer camp owner; Joan Banks, Gloria Saunders and the others supply firstrate support. Robert Parrish, erstwhile film editor, makes a strong directorial bow with his handling of the Wil- liam Bowers script, based on a story by Jerome Cady, Co-pro- ducers Sam Wiesenthal and W. R. Frank have given the story a top- notch framing, and technical assists are excellent, including lensing, mood music, plus the title tune, and editing. Brog. Lucky Nick Cain 20th-Fox release of Kaydor (Joseph Kaufman) production. Stars George Raft, Coleen Gray. Directed by Joseph M. New- man. Screenplay, George Callahan and William Rose, based on novel, "I'll Get You for This," by James Hadley Chase; camera, Otto Heller; editor, Russell Lloyd; music, Walter Goehr. Tradeshown N. Y,, Feb. 5, ’51. Running time, 17 MINS. Nick Cain George Raft Kay Wonderly.............. Coleen Gray Toni.: Enzo Staiola Massine .Charles Goldncr Mueller Walter Rilla Sperazza .Martin Benson Ceralde * Peter Illing Travers Hugh French Hans Peter Bull The Fence. Elwyn Brook-Jones Nina Constance Smith Claudette. .Greta Gynt Mrs. Langley.... .Margot Grahame Kennedy..... .Donald Stewart carat table, furnishes what little romantic interest the film contains. While the Raft eye—and that of the camera—frequently lingers on bosomy femmes, Joseph Newman’s directorial touch emphasizes action rather than amour. Raft is well cast as the big-time Yank gambler. It’s the type of role he’s often done in the past and he plays it with a sure hand. Miss Gray doesn’t have much opportu- nity to display her abilities. Enzo Staiola, who played the boy in the Italian-made “Bicycle Thief,” shows up neatly as an urchin with a fancy for Raft. Charles Goldner’s portrayal of an Italian treasury agent is business-like* Less im- pressive is the work of Walter Rilla, Martin Benson and Peter fil- ing as the heavies.. Although they make a good try they can’t quite overcome the stereotyped nature of their parts. Greta Gynt and Margot Grahame are pleasantly decorative in bit parts. Despite the 87-minute running time, director Newman managed to keep things moving briskly with only an occasional lag. Joseph Kaufman’s Riviera production mountings imbue the celluloid with a realistic flavor. Camerawork of Otto Heller is competent, as are other technical credits. Picture was made in association with Wolf brothers’ Romulus Films of Britain. Gilb. My Brother 9 the Outlaw Eagle Lion Classics release of Benedict Sogeaus production. Stars Mickey Roo- ney, Wanda Hendrix. Robert Preston, Robert Stack. Directed by Elliott Nugent. Screenplay, Gene Fowler, Jr„ based on Max Brand's "South of the Rio Grande’’; camera, Jose Ortiz Ramos; editor, George Crone. Tradeshown N. Y.» Feb. 1, ’51. Running time, 82 Ml NS. Denny O f More .Mickey Rooney Sehorita Carmel Alvarado Wanda Hendrix Joe Warnder.:,...... .Robert Preston Patrick O’More............. Robert Stacy El Capitan, .............. .Carlos Muzquiz Ortiz, .....V.. .Jose Torvay Burger....,,.......... .Fernando Waggner Jose................ .Filipe Flores Senora ................... Hilda Moreno Indio Gullderma Calles Lorenzo .Margarita Luna Pablo Jose Velasquez Enrique Enrique Cansino Pancho. . .Chel Lopez All the ingredients for a sus- pehseful melodrama are contained ! in “Cry Danger,” and they are R. Hollywood, Feb. 6. Richard L. Breen was appointed “Lucky Nick Cain” is a well-done Chase melodrama that will cut a fair swath at the b.o. George Raft- Coleen Gray starrer isn’t strong enough to hold down the top end of twin-bills, but it packs enough action to rate as stout supporting fare. Countless variations of this chase theme have been done by Holly* wood in the past- This basic story thread of “Cain” is a familiar one to most filmgoers. However, the natural backgrounds of the Italian Riviera where the picture was made, along with a seasoning of suspense provided by the script, help make this independently-pro- duced entry an above-average meller. Based oil the James Hadley Chase novel, “I’ll Get You for This,” the George Callahan-Wil- liam Rose screenplay builds its dra- matic values around a set of coun- teirfeit U.S, currency plates said to have been made by the Nazis. The engravings are held by a ruthless international ring which uses a Awards presentation ceremony, to be held March 22 at the RKO Pan- tages theatre. Por three years Breen has func- tioned as a member of the presen- , tation committee and served as spe- Only mild comedy results are ob-' cial script writer for the event last ’ Jake Harris Robert B„ Williams tallied in 4 VThe k.i X . Gropm , Wore year,. „ x , used very well. Story rolls along with the proper balance 'between mood, action and characterization, maintains a good pace and should find the going easy in the majority of playdates. Film, turned out by Olympic Productions, Inc., for RKO release, has the advantage of Dick Powell’s 1 ^ name for the melodrama market, Ri yiera casino as a front. and presentation has the same * n to this taut atmosphere comes „„ tough^,.terse feel of his other sue- American gambler George Raft. general director, of the Academy cessful cops-and-robbers offerings.! He S wined and dined by. the casino — J - A ■ Underplaying in all departments ! management which later frames enhances suspense and sharpens in the murder of a U.S. Treas- excitement. Ury agent. Raft’s escape from the Plot opens with Powell return- counterfeiting ring and his subse- ing after five years in prison, hav- Quebt efforts to nab those respon- ing been tpardoned from a life sen- si . ble for pinning the phony rap on tence when new evidence turns up him fills most of the footage. that clears, him Of a robbery rap. i Cbleen Gray, as an American “My Brother, the Outlaw,” fails to qualify as adult entertainment and rates as mediocre fare for ju- venile audiences. It’s hard to un- derstand why players such as Mickey Rooney and Wanda Hen- drix, and a director of Elliott Nu- gent’s calibre, were wasted on trite pulp fiction. Picture may pick up some business in secondary situa- tions with the help of the Rooney name but there’ll be scant word-of- mouth. Producer Benedict Bogeaus may have been aiming at a fresh twist when he cast Rooney in a major oater role, But the pint-sized thes- per is totally out of place on a horse, on the mesa or on a buck- board. For purposes of plot he’s on his way from New York’s 10th avenue to Mexico where brother ' Robert Stack is posing as a mine owner. Actually Stack is a notori- ous outlaw. As adapted from Max Brand’s “South of the Border,” the script is so peppered with obvious situ- ations and phony dramatics that it recalls * to mind, the oldtime cliff- hanger serials which used to pack ’em in oh Saturday afternoons. Relatively simple yarn tries to achieve a suspenseful aura through Rooney’s efforts to track dowfi his brother. Assisting him in the quest is ranger Robert Preston. Both are seized by the outlaws, but succeed in escaping along with Miss Hen- drix, with whom Stack had been romantically inclined. A chase then develops and the frontier odyssey conveniently ends when the Mexi- can gendarmes intercede. Performances, with few excep- tions, seem half-hearted. Rooney is woefully miscast. ' Preston and Stack give a mechanical interpre- tation to the roles of the ranger and bandit chief, respectively. Miss Hendrix has little to do as a comely senorita. Jose Torvay tops the sup- porting cast. Most of these players are Mexican talent inasmuch as the film was lensed at a Mexico City studio. Elliott Nugent’s direction was never able to overcome the slow pace of the Brand original. Camerawork of Jose Ortiz Ramo is fair. Gilb. Blackmailed (BRITISH) London, Jan. 30. GFD release of H. H, Films (Harold Hutn) production. Stars Mai Zetterling* Dirk Bogarde, Fay Compton, Robert , Flemylng; features Michael Gough, James ; Robertson Justice, Joan Rice. Directed : by Marc Allegret. Screenplay, Hugh Mills, i Roger Vadim; camera, George Stretton; i editor, John Shirley; music, John Woold- ridge. At Odeon, London, Jan; 30, ’51* Running time, 85 MINS. Mrs. Carol Edwards........Mai Zetterllng Stephen Mundy Dirk Bogarde Mrs. Christopher ... Fay Compton Dr. Giles Freeman ..... . Robert Flemylng i»Maurice Edwards .... Michael Gough I Mr. Sine. ..... .James Robertson Justice Alma.; .. Joan Rice Hugh Sainsbury...... .. Harold Huth . Lord Dearsley...... Wilfred Hyde . White i. i i ; ~ I Wl vvai f Ut9 niUGI ivau , 1 Evidence was manufactured # l^y p ; tourist; wjio loses her rpll at a ,bac- A slow, old-fashioned style dom- inates this Harold Huth produe- (Continued pn page 3,8) «