Variety (August 22, 1951)

10 FILM REVIEWS / Wednesday, Aigort 22, 1«1 Pfoplr Will Talk Carr Grant, Jeanne Crain in adult drama; OK b.o. Hollywood, Aug. 17. aOth-Kos releuM of Darryl F. Zanuck induction. Stars Cary Grant, Jeanne rain; features Findlay Currie. Hume Cro- ton, W«llci Sleaak. S,unc j BlUikiV.er, Basil Kuyadael Written for the screen and directed by Joseph L. Mankiewlci. from the play, “Dr. Praetorlus.*' by Curt Goetz: camera. Milton Krasner; editor. Barbara McLean; music conducted by Al- fred Newman. Tradedhown July 19. 'SI. Bunnlnt tiny. 199 MINS. I>r Noah f’rtetorius Cary Grant Annabel Higgins Jeanne Crain Shunderson Findlay Currie Prof. FI well Hume Cronyn Prof. Barker Walter Sletak Arthur Higgins Sidney Blackmer l>ean Lyman Brockwell Basil Ruysdael Miss James Katherine Locke John Higgins Will Wright Miss Pickett Margaret Hamilton Mrs. Pegwhistle Esther Somers Technician Carleton Young Business Manager Larry Dobkln Doctor Hay Montgomery Nurse Jo Gilbert Dietician . Ann Morrison Old Lady . Julia Dean Secretary Gall Bonney Student Manager William Kirin Haskins ... George Offerman Mabel Adele Lonrmtre Coonaa Billy House Photographer Al Murphy Toy Salesman Parley Baer] Cook Irene 5eulN*r>i Gusale Joyce Ms«*Kenzie Nieht Matron ........... Maude Wallace Bella Kay Lavelle 20th-Fox has a promising box- office entry in “People Will Talk.” Holding out that promise of a fa- vorable ticket window reaction is the star bracketing of Cary Grant and Jeanne Crain, and the added importance it gains from being a Darryl F. Zanuck production, insur- ing it a strong selling push all down the line. “People” again teams the suc- cessful combination of Zanuck and Joseph L. Mankiewicz. As to be ex- pected from the pairing, this is a well-polished presentation, slickly east and smoothly turned out. In- terest for adult ticket buyers is good, and story content is especi- ally slanted for distaffers, who will give the film its biggest boost. Curt Goetz’s play and film, “Dr. Praetorius," was used by Mankie- wicz as the basis for his screenplay, and the script reflects his construc- tion skill at melding drama. Seri- ous aspects of the play, concerning a doctor who believes illness needs more than just medicinal treatment, have been brightened with consid- erable humor, and the camera adds enough scope to help overcome the facj that tne picture’s legit origin Is^still sometimes apparent. As usual, Mankiewicz’s dialog is polished to the nth degree and he uses a lot of It during the 109 min- utes. but the words are smooth al- though occasionally erudite. His directorial lhandling is just as smooth, keemng the slightly over- length footag£ moving and inter- esting. The players, individually and as a whole, react correctly to his direction to help point up the story. There is a good satirically humorous touch in the way the script takes a poke or two at ac- cepted medical foibles and prac- tices. Grant is the doctor aftd Miss Crain the medical student who are the principals mixed up in the plot. Grant, facing charges of conduct unbecoming to his profession, finds time to become interested in Miss Crain when she faints during a classroom lecture. He discovers she is pregnant, but w'hen she tries to commit suicide, he proclaims the diagnosis a mistake and marries her. Masculine reaction to (his de- velopment should stir up some pros and cons, but Mankiewicz handles it expertly and femmes will re- spond favorably. Climax is hung on Grant’s trial by the college board, and its more serious touches are carefully leav- ened w ith a lightness that makes it Bitter Springs I "Bitter Springs," an Aus- tralian import tradeshown in New York last Thursday (16 > • was reviewed in Variety from Svdney in the issue of July 12, 1950. Rick, thought that “di- rector Ralph Smart has cap- tured the real spirit of Australia pioneer days In this film . . . bringing t<Tthe screen a grand piece of cinematic fare." He predicted a “good chance of healthy coin in se- lected U. S. keys." An Ealing Studlos-Michael Balcon production. “Springs" stars Tommy Trinder and Chips Rafferty. Bell Pictures Corp. is distributing in the U. S. Story revolves around Rafferty, who secures a gov- ernment grant on a tract of land in the heart of Australia. How he compromises differ- ences with the aborigines is the crux of the film. Original running time of 89 minutes has been edited down to 73 for the American market. back lip the picture. Among them are the photography by Milton Krasner. the art direction and spe- cial photographic effects. Brog. The People Agalntft 0*11 lira Spencer Tracy toplfning Just fair melodrama. Average b.o. Hollywood. Aug. 2T. Metro release of William H. Wright pro- duction. Stars Spencer Tracy; co-atars Pat O'Brien. Diana Lynn. John Hodiak; fea- ture* Eduardo Ciunnelli. James Arnes*. Yvette Duguay, Jay C. Flippen. William Campbell. Richard Anderaon. Directed by' John Sturgea. Screenplay. John M^nk*. Jr., from novel by Eleazar Lipskv. camera. John Alton; editor. Gene Rusciero; muaic. Carmen Dragon. Tradeshown Aus. 19. ‘91. Running time. 191 MINS. James P. Curtavno Spencer Tracy Vince Ricks Pat O'Brien Virginia Cnrlayne Diana Lynn Louis Barra John Hodiak Knuckles Lametta Eduardo Ciannelli John O'Hara James Arnes* Carmilita Lametta Yvetto Duguay Sven Norston Jay C. Flippen Frankie Korvac William Campbell Jeff Chapman ........ Richard Anderson Judge Keating * Henry O'Neill Mr. John O'Hara Arthur Shields Mrs. O'Hara . Louise Lorimer Betty Clark Ann Doran Capt. Tom Mulvane) ....... Emile Meyer Fred Colton Regis Toomey Mrs. Sheffield ........ Katharine Warren Spencer Tracy and his costars furnish enough marquee strength I to help get “The People Against O’Hara" rolling initially, but en- tertainment values do not have enough punch to give It any sus- tained drive. Boxoffice indications are just about average at best on the overall release. A basically good idea for a film melodrama is cluttered up with too many unnecessary side twists and turns, and the presentation is un- comfortably overlong at 101 min- utes. Death of Tracy at the finale also is unnecessarily downbeat, as is the side issue of having him an alcoholic. These factors, plus sev- eral others, get in the way of clean, straight story-telling and serve to lessen some sound, basic suspense that director John Sturges has worked into the foot* age. Plot premise finds Tracy, prac- ticing civil law after pressure of criminal cases had driven him to the bottle, taking on the defense of James Arness, a young man he has known since a boy, who has beep charged with murder. Arness has been neatly framed for the kill- ing. and asst, district attorney John Hodiak sees it as -a cinch case. Despite careful work by Tracy, even to bribing the state's star witness to swing his testimony, he loses the case to Hodiak. more effective. The on-trial medico gets off the hook by explaining the reasons why he had brought a man back to life, and why, during the early days of his practice, he had dispensed medical advice in the guise of a butcher because most people like to believe in miracle working. Grant and Miss Crain turn in the kind of performances expected of them ana their work receives top support from the other members of the largish cast. Findlay Currie is grand as the faithful companion of the man who had saved his life. Hume Cronyn, the small-minded j medical professor whose jqalousy started the investigation. /Agisters, as do Walter Slezak. another of the professors, Sidney Blackmer, Miss Grain's father, and Basil Ruysdael, the dean. Among others noticeable for good work are Katherine Locke, Will Wright and Margaret Hamil- ton. Quite a point is made of music In the dr&pia through having Grant practice nis hobby of conducting a hospital orchestra. Used are Brahms’ Academic Festival Over- ture. and Wagner's Prize Song, both beautifully integrated into the film under Alfred Newman’s baton. Zanuck s production helming in- sured t< pflighl technical experts to Arness is convicted, but Tracj does not give up and finally con vinces Hodiak and homicide police man Pat O'Brien there Is still i chance to prove 4he frame. Dope smuggling is mixed in with th< murder and Tracy, equipped witl a tiny lapel mike and transmitter maneuvers at the killing site a police listen in while he tries t( trap the killer. Sturges' handlini injects plenty of suspense into thi sequence, but, although Tracj clears his client, he is shot dowi in the exchange between the hood and the law. Despite the complications an< confusions to be found in the Johi Monks, Jr., script, based on i novel by Eleazar Lipsky, the pic lure has a number of very goo< performances, sparked by the al ways soundly valued work o Tracy. As the three costar* O'Brien. Hodiak and Diana Lynn latter doing Tracy’s daughter, hav comparatively shorter footage, bu each comes through excellently. Arness. the accused, perform naturally, and there is a very ef fectlve portrayal of a cheap, lyln young hoodlum by William Camp bell. Eduardo. Ciannelli, racket boss married to a young wife Yvette Duguay, is good, as is Jay C Flippen as the Swedish sailor wh is the state's star witness. Among others showing up are Richard Anderson; Arthur Shields and Louise Lorimer as the parents of Arness, Henry O’Neill and Ann Doran. The William H. Wright produc- tion has been given low-key photography by John Alton, an ev cellent music score by Carmen Dragon and other good technical assists, but is in need of further editorial tightening. Brog. Pardon Mv Erenrh (FRENCH-MADE) 4 Minor comedy entertainment lensed in France. Mild b.o. Hollywood, Aug. 2L. LA release of Peter Cusick-Andre Bar- rut (Cuikt International Films) produc- tion. Stars Paul Henreid, Merle Oberon: features Maxlmilienne. Paul Bonifaa. Jim Gerald. Marina. Directed by Bernard Vor- ha us. Original screenplay. Roland Kib- bee; camera. Gerald Gibbs; editor. Derek Armstrong. Gordon Hales, music. Guy Bernard. Previewed Aug. 16. '91. Run- ning time. SI MINS. Paul R^ncourt Paul Henreid Elisabeth Rockwell Merle Oberon Mme. Bleubois Maxlmilienne Bleuools Paul Bonifas Pmnmi . Jim Mobet Martial Rebe Yvette Dora Doll Mme. Mobet Lauria Daryl ‘ Inspector Luclen Callemand Francois Victor Merenda Marie-Clalre Gilberts Defoucault Jacqueline Marina Michel....... Gerard Roeset Andre Albert CuUas Pierrot Andre Aversa MurceUe Nicole Mosnls sK ■ — There’s not much to recommerid, entertainment-wise, in “Pardon My French.” Filmed in France with Paul Henreid and Merle Oberon as the only two names known in tbe States, it will rate a very mild boxoffice reaction in general re- lease. Scenic values caught by the cameras provide a beautiful back- ground for a trite little comedy that has been given cloyingly cute scripting and direction. Laugh situations set up by Bernard Vorhaus’s direction are strictly stereotype and the players respond in kind. Miss Oberon is a poor Boston schoolmarm who has inherited a French chateau in Cannes. She arrives to take possession and give herself a fling on the few savings left, only to find the chateau already occupied by a motley group of squatters, led by Henreid. a com- poser of sorts. It isn’t hard to figure that Miss Oberon will fall for Henreid and have a change of heart about throwing out the, squatters. AJittle more ingenuity and smartness in approaching this inevitable conclusion would have given the comedy some lift, but it is played off in an entirely stock manner. Henreid and Miss Oberon had little to work with and it shows. In addition, the camera has been ungracious to Miss Oberon. Other players involved do not impress, with the exception of Marina, play- ing the young daughter of Henreid. Roland Kiobee did the original script for production by Peter Cusick and Andre Sarrut. Other than the beautiful French scenery, there’s little to the physical fur- bishings that attract the eye. Tech- nical accomplishments are not up to Hollywood standards. Brog. Saturday’* Hera Topflight drama probing col- lege football, with exploitable b.o. chancea. Hollywood. Aug. 2U Columbia release o 4 Sidney Buchman J roduction. produced by Buddy Adler. tara John Derek, Donna Reed; features Sidney Blackmer. Alexander Knox, with Elliott Lewis. Otto Hulett. Howard St. John. Aldo DaRa. Alvin Baldock. Wilbur Robartaon. Charles Mercer Barnes. BiU Martin. Mickey Knox. Sandro Giglto. Tito Vuolo. Don Gibson. Directed by David JgUlar. Screenplay by MlUard Lampell. Sjdney Buchman; baaed on novel, ‘*The *'«r # . by Lampelli camera. Lee Carmcs: editor. William Lyon; music score, Elmer Bernstein. Previewed Aug. IT. '91. Run- ning time. 199 MINS. Steve Novak John Derek Melissa Donna Reed T. C. McCabe Sidney Blackmer Mexroth Alexander Knox Eddie Abrams Elliott Lewis Coach Tennant Otto Hulett BeUraM Howard St. John Gene Hausler Aldo DaRe Francis Clayhorne ...... . Alvin Baldock Bob Whittier Wilbur Robertson S loose Wiener Charles Mercer Barnes oe Mestrovtc Bill Martin Joey Nevak Mickey Knox Poppa Sandro Glgllo Manuel TUo Vuolo Red Evans Don Gibson Vlatko Peter Virgo Jamieson Don Garner RuUor Robert Foulk Turner Wvlie John W. Baer Dr. Comstock. ... Mervln Williams John Fltzhugh. Peter Thompson Toby Peterson. ...... Noel Reyhurn Ted Brlcker Steven Clark College foci bail gets quite s probing in this Sidney Buchman presentation for Columbia release. The forthright baring of athletic subsidies for players of ability, plus topflight gridiron action, fur- nish a sizeable exploitation pegsqn which to push “Saturday s Hero’ into promising boxoffice possibili- ties. General excellence of the story supplies good entertainment The Wn4m Rtrsp *Thd Wooden Horst," a British-made entry, scheduled to preem Aug. 28 at the Trana^ Lux 72d St. Theatre, N. Y. f was reviewed from London by Variety in the issue of Aug. 2, 1950. Myro. felt that “a com- mendable degree of documen- tary fidelity has been estab- lished in this picturization of the escape of three prisoners of war from a German camjS." Reviewer wrote that the film’s slow pacing “won’t harm it as a boxoffice attrac- tion .at home, but may limit its appeal when it eventually reaches the U. S." Leo Genn stars in this Sir Alexander Korda presentation. which Snader Productions is releas-. ing in America. Cast’s per- formances were described as "good" while Jack Lee’s direc- tion was libeled “simple and straightforward." Mm la the White Sait Eallng-Gulaneaa comedy win. ner; may do also for U. S, market. London, Aug. 14. CTO J«!«a M Ot Xeliug Studios pro. duction. Stars Alsc Guinness. Joan Green. »ood. CscU Parksr. Directed by Alexan- der Mackendrtck. Screenplay, Roger Mac- Dougatl. John Dtghton. Alexander Mack- endrtck; camera. Douglas Slocum be; editor. Bernard Cribbles muaic. Beniamin Frenkel. At Odeon, London. Aug. T, '91. Running time. 97 MINS. Sidney Stratton Alec Guinness Daphne Birnley Joan Greenwood Alan Blmlay A Vqacil Parker Michael Corland Michael Gough Sir John Kierlaw ..Ernest Thesiger Cranford Howard Marion Crawford Hoskins Henry Mollison Bertha Frank Harry Wilkins Hill ........ . ▼ Ida Hope Patric Donnan Duncan Lamont Harold Goodwin Colin Gordon Miss Johnson Joan Harben Roberts .....Arthur Howard Green. Rody Hushes Harrison Stuart Latham The Tailor Miles Mallesoa values to back full scale ballyhoo. It ties up with current college ath- letics’ exposes. A fall release will be another assist. Buchman and Millard Lampcli did the screenplay from latier’s novel. “The Hero." smartly shaping the story for full dramatic value. While athletic subsidies have long since come out more or less in the open, this picture treats them more honestlv than most films and keeps the old rah-rah school tradition and spirit to a bearable minimum. Buddy Adler’s production of the Buchman presentation registers strongly In the gridiron depart- ment, being particularly able in catching the rough-tough flavor of training and game play as prac- ticed all over the land each fall. It is equally able in the presentation of the human story line of a young highschool football flash who elects to go to a tradition-bound southern college on a pigskin scholarship, in order to have a chance to bet- ter his station in life. John Derek is the highschool hero who seeks to rise above his lowly beginning as the son of Polish im- migrants in a New Jersey mill town. He enters the southern col- iege hopefully, sure that the can master the cultural, social and ed- ucational requirements, as well as taking his proper place on the grid- iron. Disillusionment comes slow to Derek, and it is not until his junior year, and after an accident that permanently bars him from fur- ther football activity, that he fi- nally admits to himself that he has been used by a politically ambi- tious. wealthy alumnus. Sidney Blackmer, to promote the school and Blackmer’* personal aims. Be- fore this happens, though, he has found romance with Blackmer’s niece, Donna Reed, herself a cyni- cal girl afraid of her uncle, and picture ends on a note of hope that Derek will continue his studies at night school while working day- times to provide a life with Miss Reed. Script’s dialog is cynical in treat- ing the phony jobs, tne expense ac- counts and charge accounts fur- nished promising athletes by schools and alumni. Some of this cynicism carries over into the ro- mance, but there is a sensitive feel here which assures that everything will work out right. Under the capable direction of David Miller, the players register effectively. Derek is fine as the young man, and his ambitions are so projected at to command sym- pathy. It takes Miss Reed’s char- acter a bit longer to catch, but it scores. Blackmer's part is per- formed to perfection, and Alex- ander Knox is a standout as Derek’s faculty adviser and English professor. Elliott Lewis, better known for his radio performances, comes over as the sports writer-mentor. Im- pressing strongly are the football characters done by Aldo DaRe, Alvin Baldock, Wilbur Robertson, Charles Mercer Barnes and Bill Martin. Otto Hulett and Don Gib- son, coaches, are good. Role of Derek’s father is tellingly per- formed by Sandro Giglio. and Mickey Knox is good as his broth- er. Others are satisfactory. Lee Garmes’ cameras present the story and action with plenty of movement, lensing being partic- ularly excellent. There is a first- rate music sdbre by Elmer Bern- stein to help the mood, and It is laced through with typical college numbers. Other technical assists are in keeping. Brog. Taylor’s $12; ,000 Load Hollywood, Aug. 21. Robert Taylor, currently playing the title role in "Ivanhoe" in Eng- land, is toting a Metro investment of $12,000,000 in addition to his lance and shield. That sum includes budgets for the unreleased pictures. “Quo Vadis" and “Westward, the Wo- men," In addition to I’lvanhoe." The combination of Ealing Stu- dios and Alec Guinness has clicked again. Within a few weeks of the success of "The Lavender H«H Mob," they have come across with a new comedy winner which is set for big grosses locally. It may make an impression in the U. S. market, too, the Guinness Tag be- ing figured to help. The comedy stems not so much from the dialog, as from the pathos inherent in the story and principal characterizations. There is, too, an almost slapstick approach which never gets out of hand. This is the source of many laugh situations. They have been controlled with real skill by Alexander Macken- drick’s direction. The plot is a variation of an old theme, but it comes out with a nice fresh coat of paint. A young research scientist invents a cloth that is everlasting and dirt resist- ing. The textile industry sees the danger signal and tries to buy him out. but he outwits them. Then comes the disillusionment when the invention doesn’t quite measure up. The polished script merits full praise, out in this film, particular tribute must be paid to the sound effects department. The bubbly sound of liquids passing through specially prepared contraptions in the lab is one of the most effective running gags seen in a British film. The lab scenes generally are han- dled in a rich comedy style. Acting standards are universally firstrate. Guinness, as usual, turns in a polished performance. His in- terpretation of the little research worker is w g r m, understanding and always sympathetic. Joan Greenwood is nicely provocative aa the mill-owner’s daughter who encourages him with .his work, while Cecil Parker contributes an- other effective character study as her father. Michael Gough and Ernest Thesiger represent the tex- tile bosses who see disaster. Vida Hope makes a fine showing as ont of the strike leaders who fears un- employment returning to the mills. Myro. The HighwavmAn (COLOR)* Costume swashbuckler with fair chances In general release. Hollywood, Aug. 15. Monogram releaM cl Jack Dietz (Allied Artists) producUon. produced by Hal E. Cheater. Stars Charles Coburn. Wanda llendrlx. Philip Friend; costars Cecil Kell- away. Victory Jory; features Scott Forbes. Virginia Huston. Dan O'Herllhy, Henry Morgan. Albort Sharpe. Lowoll Gilmore, Alan Napier. Directed by Lesley Se lander Screenplay, Jan Jeffries: based on poem by Alfred Noyes and story bv Jack DeWttt and Renault Duncan: camera <Clneco J *»»». Harry Neuman; muaic. Iferachel Burke Gilbert. Previewed Aug. 14. *91. Running time. It MINS. Lord Walters Charles Coburn Bess Wanda Hendrix Jeremy Philip Friend Lord Herbert Cecil Kellawsf Lord Douglas Victor Jory Sergeant Scott Forbes RUeit Virginia Huston Robin Dan 0*Herlihf Tim . .....Henry Morgan Forsythe Albert Sharpe Oglethorpe .* Lowell GUmnre Burton. Alan Napier Alfred Noyes' poem of Intrigue In 18th century England and a hero who dies for love provides the swashbuckler elements for this Allied Artists production that * Monograms will release. As A ponn, the death of the hero and heroine at the finale reads all right. As a motion picture that will play the general market, however, a happy ending would have been more order and would have helped its grossing prospects. Outlook is ju*t fair. The Jack Dietz presentation, pro- duced by Hal E. Chester, has Philip Friend in the title role as a noble- man who poses as a Quaker and rides at night robbing the rich to help the poor. His activities are broadened when he discovers a plot by the titled Charles Coburn and Victor Jory to fatten theif purses by enslaving free men and shipping Ihem to the Colonies to work. The skullduggery is put do"** (Continued on page 24)