Variety (August 15, 1951)

FILM REVIEWS U> Ml lavfldl and (COLOR) “DJbB” socko b.o. SOth-Fox release of Darryl F. Zanuck E tducdon. SUrs Gregory Feck. Suaan yward; features Ra y mond Massey* Kieron Moore, J. R Justice. Jayne Mead- ows. Francis X. Huahman. John Sutton. Dennis Hoey. Directed by Henry King. Screenplay. Philip Dunne: music. Alfred Newman (orchestrations. Edward Powell); camera (Technicolor). Leon Shamroy; color consultant. Leonard Doss: costumes. Charles LeMatre. Edward Stevenson; dances. Jack Cole; special effects. Fred Screen; editor. Barbara McLean. Trade- shown Aug. 9. *51. Running time. 1SJ MINS. David Gregory Peck Rathah* ba Susan Hayward Nathan Raymond Massey Uriah. Kieron Moore Abiahai James Robertson Justice Michal Jayne Meadows Ira John Sutton josb Dennis Hoey Goliath Walter Talun Adulteress Paula Morgan King Saul Francis X. Burhman Jonathan ..Teddy Infuhr David (boy) Lc© Pessln Snedalty Dancer. Gwyneth Verdon Abaolom Gilbert Barnett Prleit John Burton Old Shepherd Lumsdcn Hare Egyptian Ambassador .... George Zuc-a Amnon... Allan Stone Samuel Paul Newlan Jesse Holmes Herbert Executioners Robert Stephenson. liM« ry Carter Jesse’s First Son . Richard Michelson Jesse's Second Son Dick Winters Jesae's Third Son John Duncan Court Announcer ........ James Craven ft Cure in the legendary tilt with David. The supporting characters, from the priesta to the courtiers, deport themselves with impressive dignity. The wardrobe investiture points up the careful research and authentic* ity. The Technicolor treatment enhances the pageantry. Abel Ferre of A Tender love story against a World War II background. Ex- cellent b.o. Hollywood, Aug. 14. Warner Bros, release of Anthony YeUler production. Stars William Holden. Nancy Olson. Frank Lovejoy; features Gsar Evans. Dick Wesson. Directed by MlrhsR Curtis. Screenplay. Ortn Jannlngs: from story by Richard Tregaskis; camera. Ted McCord; editor. Owen Marks; music. Max Steiner. Trade shown Aug. 10. *51. Run- ning time. 99 MINS. Peterson .William Holden Eleanor Nancy Olson Major Blackford. Frank Lovejoy McFee Gone Evans Klein Dick Wesson Sheridan .. Paul Plcernl Major Waldron Katherine Warren Hooker Rosa Ford Minto Ron Hagerthy Signor Maduvalll Mario Stlettl Signora Maduvalll ... Argentina Bruneiii i Maduvalll Amelia Cova Yost Slatts Taylor Webber.. Donald Gordon Frank Bob Roark This is a big picture in every respect. It has scope, pageantry, sex ‘for all its Biblical back- groun&^cast names, color—every- thing. It^s a surefire boxoffice entry, one of the really “big” pic- tures of the new selling season. It’s in the same idiom of ”King of Kings.” “The Ten Command- ments,” “Samson and Delilah” and Metro’s upcoming “Quo Vadis.” Here is a pic reduced to popular fundamentals as it projects the saga of the covetous David and the Binning Bathsheba, whom he later weds. It imparts a segment of Biblical lore which is highly palat- able in its more or less authentic adaptation. <20th-Fox attests to this with an impressive dossier of research notes by Biblical savants. Dr. C. C. McCown was the eccle- siastical technical advisor). The reign of King David projects the Old Testament in broad sweeps, depicting the obligation of David ‘Gregory Peek) to his subjects while at the same time spotlighting his frailties, namely his relation- ship with the beauteous Bathsheba ‘Susan Hayward). He is shown forsaking his first wife ‘of his harem) for Bathsheba, and pin- pointed is the stoning of an adul- tress for the same crime — her faithlessness while her husband was off to the wars with the Ammonites. With masterful strokes director Henry King and scripter Philip Dunne have highlighted Jehovah's wrath against David’s kingdom, his first-born of the meretricious relationship, h i s treachery, strength, arrogance and compassion at the Ark of the Covenants. Expert casting throughout fo- cuses on each characterization Raymond Massey plays the prophet Nathan, whom Jehovah sends to King David to hold him up to judgment. The parable of David’s atonement for his lechery and treachery is capped by the 23d Psalm which he, in his poetic youth, had conjured along with his other psalms. When the rains come to succor his people’s flocks and grain, as he prays and soliloquizes in the tabernacle of the Testaments, there flashes back his early days against the Philistines, his besting of Goliath in battle, his destiny for the kingdom. The Aim unfolds how he lived by the sword but refused to concede to the prophet Nathan that he and Bathsheba had to die by the sword without first pleading his cause to Jehovah in his own way. The emotional Impacts are high- lighted by sterling splashes of drama and vivid scenes of conflict. The chariot warriors, the pomp of rule, the military campaigns are projected excitingly on a broad canvas. Also told is the birth of David’s and Bathsheba's first-born, with manifestations oi Jehovahs displeasure asserting themselves, and his people likewise rising up in anger and shame. Peck is a commanding personali- ty as the youth destined to rule Israel. He shades his charaeter ex- pertly. His emotional reflexes are not as static as the sultry Miss Hayward in the femme lead. Kieron Moore is earnest as the Hittlte whom David betrays be- cause he covets his wife, Bath- sheba. Massey, as the prophet, is a dominant personality throughout. A flash of Paula Morgan, as the adultress, projects a vivid camera personality who indicates poten- tials. Leo Pessin is a good face in the role of David as a boy. Walter Tulan is indeed a Goliath of a A tender, dramatic love story, played off against a World War II background, sets up “Force of Arms” for excellent boxoffice prospects. Its entertainment val- ues have popular appeal, being ex- pertly fashioned for both femme and masculine reaction. Exploita- tion possibilities also are good. The Richard Tregaskis story, on which the Orin Jannings script is based, uses an Italian battlefront setting as the frame for the cora- pellingK projected romance be- tween william Holden and Nancy Olson, a soldier and a WAC. -The Anthony Veiller production is adult, as are the script and Michael Curtiz’s direction. The threesome insures realistic battle action, human situations and dialog. Oniy minor flaws happen midway, when pace slows somewhat, and footage is a trifle overlength at 98 minutes. Holden, as a sergeant, and oth- ers of the company commanded by Frank Lovejoy, .are pulled* from the San Pietro front for a brief rest period. During the siesta. Holden meets Miss Olson, a WAC lieutenant, and from an antagon- istic start they soon are drawn to each other. In his next battle ac- tion Holden is wounded and suf- fers the added burden of believing he could have saved Lovejoy and other buddies from death had he not been so anxious to return to his love. Script gets them married and. despite Holden being assigned to limited duty, he returns to his com- pany to prove himself. Again he is wounded during a sortie near Rome, is left behind and presumed dead. Film comes to a heart-touch- ing climax when Miss Olson, con- vinced he is still alive, hitch-hikes to Rome and finds her man among a group of liberated prisoners-of- war being taken in for treatment. The story line is filled out with many gripping scenes. The ro- mance rings true and the battle action sequencer are dangerously alive under the forthright staging of Curtiz. Masculine phases of war, when men live tough lives and re- lax with wine and women, are not overlooked, furnishing some touch- es of salty humor that score. Miss Olson and Holden, not new to romantic teaming, are most ef- fective in the natural reactions to the circumstances in which they are plunged. Frank Lovejoy makes his role of the friendly major a standout. Gene Evans, as a tough GI waiting for letters from home, and Dick Wesson, a comically-in- clined fighting man. both score. There is a very humorous scene showing Wesson and Paul Picemi dancing togetner after failing in attempts to find femmes. Among the supporting players Amelia Cova, foreign actress, im- presses as the girl who befriends the honeymooners. Katherine War- ren. Ross Ford, Ron Hagerthy and Slatts Taylor are among others registering. Ted McCord’s cameras make the action come to life strongly, and the Max Steiner music score is ex- pertly cleffed and nlayed to back the film’s entertainment drive. Battle footage is among some of the most realistic yet staged for a picture and has the added authen- ticity of using some brief clips from the actual Italian campaign. Brog. Rep Sett Bernard* Hollywood. Aug. 14. Bernard Bros., pantomime team, has been inked by Republic for “Gobs and Gals," slated for fall production. An American act, they were spotted by Rep’s prexy. Herbert J. Yates during his recent trip abroad. Fatly contrived melodrama of lovers oa run from tlm law. Hollywood. Aug. 9. Warner Broo. release ol Henry Blank* production. Stars Ruth Roman. Stevs Cochran; features Lurene Tuttle. Ray Teal. Morris Ankrum. John KsUoii. Lee Patrick. Directed by Felix FelaL Screen- play. Art Cohn. Guy Endore; from story by Endore; camera. Robert Burk*; editor. Alan Croalaad. Jr.; original music. Danlele Amfltheatrof. Tradeahown Aug. f. si. Running time. *t MINS. Catherine BUi Clark Steve Cochran Mrs. Dawson Lurene Tuttle Mr. Dawson Ray. Teal Hugh Wagner Morrt* Ankrum Monroe John Kellogg Janet Higgins - p »* rUk Conover . H\)gh Sanders Frank Higgins , . n Johnny Bobby Hjratt Warden Hf/ry Antrim Sheriff Walter Sande Boxoffice expectancy for “To- morrow Is Another Day” is not very bright. Its entertainment values are just fair, mostly be- cause of a contrived story that projects pat situations. For the record. Warners is refilming the ludicrous riming that was pre- viewed, but it is doubtful if this new footage will be able to change its present b.o. classification or overall entertainment worth. Ruth Roman and Steve Cochran are the star team involved in this chase melodrama. He is a young man released from prison after serving 18 years for having killed his father when 13 years of age. In the big city he meets up with Miss Roman, brassy, dime-a-dance hostess, and fails for her. Accom- panying her to her apartment one night, they find Hugh Sanders, an off-duty detective, waiting. A fight ensues and. while Cochran is knocked out. Miss Roman ac- cidentally shoots Sanders. The girl lets Cochran believe he did the shooting, and they team for a flight from the law when Sanders dies. Flight puts them into a num- ber of situations that are good melodrama but, on the whole, scripters Art Cohn and Guy En- dore contrive too many obvious coincidences that do not ring true. There is never an explanation for Sanders’ presence, nor of his relationship *o Miss Roman. The previewed ending finds Cochran and Miss Roman in custody after his identity is tipped by a $1,000 reward notice in a crime magazine. Both claim responsibility for the killing but the d a., after not be- ing able to make a case against either, calmly admits Sanders al- ready had cleared them by admit- ting the shooting was accidental and in self-defense. New finale will show couple was sought by the police only so they could be told of Sanders' confession. Some individual scenes in the 90-minute footage show up rather well and are excellently played and directed. Miss Roman and Cochran work together with an ac- cord that adds sympathy for their plight. Lurene Tuttle is fine as the woman who turns them in when a family emergency makes it necessary to raise money. Ray Teal, her husband; John Kellogg, a reporter, and Walter Sande are among others contributing com- petent performances. Felix Feist's direction makes a good play for meller realism and gets the story off to a promising start. Several suspense sequences are played up to the fullest, such as the couple's escape on an auto- carrying truck. Henry Blanke sup- plies capable production super- vision except in permitting a few story holes to bog down the over- all rating. Lensing by Robert Burks is first-rate, as is the original music written by Daniele Amfltheatrof and directed by Ray Heindorf. Brog. age.* Boxoffice appeal In the eral market la rather limited, and in this release film will be beat held to companion hookings. There is some merit 'for either presenta- tion in the sureseater art house or the small showcase theatre where a run can be stretched to the max- imum but, in any case, big returns do not appear likely. Two figures who made their names in World War II go back to the days of the War Between the States to enact the principals in Crane’s story. They art Audie Mur- phy, the youth who goes into his first battle afraid but emerges a man, and Bill Mauldin, on whom the same fears and misgivings have less sensitive impact. Both are very good in delivering the demands of John Huston's direction; latter also wrote the screenplay. Rather than any clearly defined story line, picture deals with a brief few hours of war and the ef- fect it has on the few characters with which the script is concerned. Within the limited format, Huston artfully projects the characters to capture a seemingly allegorical mood of all wars and the men in- volved in them. His battle scene staging ha^ punch and action, and his handling of the individual play- ers makes them stand out. The Allsert Band adaptation from the Crane story deals with a de- tachment of Union forces who are relieved from tile boredom of daily drill to try their m%ttle against the Confederates. In their first con- tact with the boys in grey. Murphy breaks and runs out nis terror in a wild dash through the woods. When shame sets in, he comes back to camp, finds his disgrace is not 1 known and, in the next encounter with the enemy, grows up into a savage fighting man. Huston’s script catches an ex- cellent feel of timid bravado in youth that leads to foolhardy deeds, and the words he gives the char- acters are realistic. The use of the camera by Harold Rosson is meri- torious in achieving on film the mood nought by Huston, as is the Bronislau Kaper music score, filled with the folk and marching tunes of the period. Narration, taken di- rectly from the text of Crane’s story, does a great deal to make clear the picture’s aims. There is an unbilled guest ap- pearance by Andy Devine as a cheery soldier who lets God do his worrying, and it makes a single scene stand out. John Dierkes, a tail, gaunt soldier. Royal Dano. Arthur Hunnicutt, Tim Durant. Douglas Dick and Robert Easton Burke are the others involved to their acting advantage. Gottfried Reinhardt’s production backs the psychological intent of the story with realistic physical support. Technical contribution is excellent. Brog. ( vclone Fury (SONGS) Citato tl mt a young For lowercase _ .. Hollywood, Aug. 14 Columbia reloan of Wallace MacDon.ia E xluction. Features Richard GrJSS? raaret Field. Marta Mltrovtch. Har^Sa L n *[*y* c *' Connie cK xsst PMlip Tannura: editor, Aaron St*II p r !‘ Mnls d Au * 10 * * 81 * Runnln * Urn*. M T«m Dawson. Richard Grayso a Routine Charles Starrett oater for programmer hookings. The Red Badrfe of Courage Artistic study of the psycholog- ical Impact of war on youth. Better chancea in showcase runs than general market. Hollywood, Aug. 14. Metro release of Gottfried Reinhardt production. Stars Audie Murphy. Bill Mauldin; feature* John Dierkes. Royal Dano, Arthur Hunnicutt. Tim Durant. Douglas Dick. Robert Easton Burke. Di- rected by John Huston from Mi own screenplay; adapted by Albert Rand from the Stephen Crane novel; camera, Harold Rosson; editor. Ben Lewis: music. Broniw lao Kaper. Tradeahown Aug a. '51. Rurv nine time. M MINS. The Youth Audie Murphy The Loud Solffter Bill Mauldin The Tall Soldier John Dierkes Tbf Tat’ered Mas Royal Dane 2jf) Porter Arthur Hunnicutt The General Tim Durant The Lieutenant Douglas Dick Thompson Robert Easton Burke This is a curiously moody, arty study of the psychological birth of a fighting man from frightened boy, as chronicled in Stephen Crane’s The Red Badge of Cour- Hollywood, Aug. 10. Columbia release of Colbert Clark pro- duction. Stars Charles Starrett; features Smiley Burnette. Fred F. Sears. Clayton Moore. Bob WUke. Merle Travis A Ills Bronc Busters. Directed by Ray Naisrro. Written hr Barry Shipman. Ed. Earl Repp; camera. Henry FreuUch: editor, Paul Bo- rofaky. Previewed Aug. f, '51. Running time. S) MINS. Steve Reynolds | The Durango IUd( Charles Starrett Smiley Burnette Smiley Burnett* Capt. Barham Fred F. Sears Grat Hanlon Clayton Moore Bunco Bob Wilke Johnny Louis Lettter! Bret Fuller George Chesebro Doc . Frank O'Connor Merle Travis A His Bronco Busters Charles Starrett has only a fair oater in his latest Columbia entry, “Cyclone Fury.*’ Studio drew rather heavily on its film library and held new footage to a mini- mum in padding out the 33 minutes that this one runs. While this helps to keep costs down, it doesn’t make for a smooth-running western actioner. Strictly for the program- mer market. Starrett, in his dual role of Steve Reynolds and the Durango Kid. this time has the chore of round- ing up a herd of wild horses in time for a young Indian orphan to fulfill a contract with the U. S. Cavalry. The heavy. Clayton Moore, wants to win the contract himself, so plaees obstacles in Starrett’s way. but the hero man- ages to shoot and fight his way through them and deliver the nags on schedule. Script makes no acting demands on the cast. Starrett turns in a standard performance and Smiley Burnette supplies a little comedy as the hero’s rotund friend, as well as singing two range tunes with Merle Travis and His Bronco Busters. Fred F. Sears, cavalry officer, Moore. Louis Lettieri, the young Indian, and others are adequate. Ray Nazarro gave the Colbert Clark production stock direction. Technical credits are acceptable for budget outlay, Brog. iom uewooa Richard Crayton Dell Dawson Margaret field *Me Carpenter ...Marta Mitrovica • • .Iferold T Kennedy Emily Greer. Helen Waii* c i Mrs. Mulling ....Connie Cllchri* Dr. CaUen ..Larry Dobkin Fred Martin dale......... Sumner Getchell SW James Criffh* Traeger Oliver Blake facet...... .. Percy Helton Lieut. Fenning Douglas Fowley Lieut. Sands Carleton Young Columbia has a filmed daytime loap opera, with all the teaiierking of such ether sagas, in “Chain of Circumstance.” As supporting ma- terial in the program market, the field at which it is aimed, enter- tainment values are mild. A footnote states it was made in cooperation with True Story maga- zine. and the lines of the David Lang screenplay ares in keeping with that origin. Richard Grayson And Margaret Field are the young married couple almost beaten by a chain of circumstances. They gain film experience, if little else, in the round of maudlin adven- tures they are put through during the 68 minutes of running time. Happily married and expectant parents, they lose the baby and adopt one. During the probationary period for adopted parents. Gray- son lends a helping nand to a girl, who is a co-worker at the jewelry company where he is employed, by K iwning an antique ring for her. e later discovert the ring was stolen but she commits suicide over a broken love affair and her romancer is killed in an accident He and 7»ia wife go through har- assed momenta trying to prove he had nothing to do with the theft or suicide, and a last-minute wit- ness is turned up to save him. Most of the footage is given over to the two principals under Will Jason’s direction. Others in- volved in assorted character ap- pearances include Marta Mitro- vich, as the girl who commits sui- cide; Helen Wallace, of the adop- tion agency; Connie Gilchrist, a greedy landlady; Sumner Getchell, head of the jewelry firm; James Griffith and Percy Helton, the last- minute witness. All are adequate. Physical values ln the Wallace MacDonald production are excel- lent for the small budget, and Philip Tannura’s lensing shows them up nicely. Music score em- phasizes tearjerker flavor with sobbing string passages. Brog. L’Algirilto Koajge (The Red Needle) (FRENCH) Paris, Aug. 7. DLarina release of Alcina pioduition. Stars Michel Auelair. Michele Philippe. Directed by E. E. Relnert. Andre LecrasA Andre Hufuel. from novel by Vicky Baum: camera. Andre Bac; editor. Monique Klreonoff At Ave- nue. Paris. Running time, M MIMS. Flortaa Michele Philipps Myra Michel Aurwir Berger Jean March** Fanny Margo Lioa This is a feeble love story, with a mountain climbing background. Characters are unreal and picture never catches hold. Film is not for the U. S. On theme and locale it might do for filler fare. . An attempt is made with an ironic tale of short-lived love and frus- tration but director E. E. Reinert has not put much zing or credibility into the proceedings. Usual plot about an alpine resort and a love affair ends in tragedy when the young man falls while mountain climbing. Michel Auelair and Michele Philippe as the lovers are stilted and self-conscious in their one-di- mensional role. The lensing is or* dinary and editing does not help speed the*lagging pace. The moun- tain climbing sequences are spirit- less with the papier-mache sets and background work Qbvious. Mosk. WB Readies 'Rogers’ Biopic For Fall Start „ Hollywood. Aug. 14. Warners’ long-delayed “Story of Will Rogers” ^vfll get under way about Sept. 15. with Robert Arthur producing. Jack L. Warner over- ruled several of the studio execu- tives who theorized that the Rogers name would not appeal to the younger generation of film cus- tomers. Thus far James Stewart. Chill Wills. Stuart Erwin and Will Rog- ers, Jr., have been mentioned for the title role, but the job is open.