Variety (August 29, 1951)

FILM REVIEWS Wednesday, Angus! 29 , 1951 Am Aiserifsa la Paris (SONGS COLOR) Gene Kelly starred In Gerab- win cavalcadfffor ssck crosses. Metro r*te«M of Arthur frood produc tivii- Start Cent K»n*. Inlie Caron, features Oacar levant. Georget GueUry, Nina Focti Directed by Vincente Minnelli. Original ana screenplay. Alan Jay Lerner: songs. George and Ira Gershwin, chore oaraphy. Kelly; camera tTeehnicolorl. Al- fred Gilha (with ballet leased by John Alton*; sets. Edwin B WilUa. Ksogh Glea- son; musical direct ion.\Johnny ^reen. dance on «| Got Rhythm.” In which he’s joined by a wonderfully ani- mated group of French moppets; “Embraceable You.” which serves to introduce Miss Caron's terp Saul Chaphn: special effects. Warren New combe. Irving G P "'J« wed Aug. 14. ’51. Running Ume* 111 MINI Jerry Mulligan Ce*»e Kelly Lise Hour* »er Le^a-Caron Adam Cook Oscar Levant iienrt Raurei Georges Guetary talents in highly imaginative style; kilo Roberta Eugene'serdin “By Strauss,” an engaging song- Martha Bamattre anil-dance by Kelly. Guetary and Mary Young Levan t; “Tra-La La.” done by Kelly and Levant; ‘“SwonderfuK Milo Roberts Georges Mattieu .. Malhilde Msttieu Old Woman Dancer baseball commissioner. But the Heavenly Choir pulls Douglas through to the pennant. Miss Leigh, an adopted orphan and the realisa- tion that there are more important things in life than winning base- ball games. Douglas is perfect as the brawler reformed by a little girl’s prayers. Never has he been so strictly-from- Runyon. Scenes in which he bel- lows at the team and the umpire Kelly’s song-and* [ while the soundtrack crackles with an insane gibberish, are among the most hilarious of a howl-filled film. Miss Leigh foils cleverly. Miss Corcoran plays the orphan, of course, and there will be plenty more important parts for the wide- eyed. lovable tot. Keenan Wynn as a venomous sports announcer out to get Doug- las’ job is a delight throughout, as in the background score. With the ballet finale, as well as the picture’s innate color, providing top produc- tion values, producer Arthur Freed has wisely included only one other major production number — Gue- tary’s rendition of “Stairway to Paradise” on a musical stage, complete with the temme line and lush sets and costuming. But the other tunes are each excellently projected. Standout is Metro has another sock boxoffice which again projects Kelly and are Spring Bvington and Ellen winner in “An American in Pans. ’ Guetary for top results, and “Our i Corby as nuns with a yen for base- Film is one of the most imaginative Love Is Here to Stay.” appealingly hall. Other fine contributions are musical confections turned out by i danced by Kelly and Miss Caron, chalked up by Bruce Bennett as a Hollywood in years, spotlighting And then, of course, there’s Le- vet p j tc her. Lewis Stone as the Gene Kelly, Oscar Levant. Nina vant’s fine solo on the “Concerto’’ commissioner and Marvin Kaplan Foch. and a pair of bright new- and the terrif ’’American in Paris” as the obituary writer on Miss comers (Leslie Caron and Georges ballet. Leigh’s paper. There are also “sur- Guetary) against a cavalcade of i Full credit goes to director Vin- pr ise” appearances by Joe DiMag- George and Ira Gershwin’s music, cente Minnelli for his meritorious gj 0> jy Cobb, Harry Ruby and Bing While it may not achieve quite the pacing of the story and the sharp Crosby. record runs racked up this season way he reins his cast. Production by M-G’s “Great Caruso” and credits lined up by Freed contrib- * Show Boat." it will tag right u te as much to the film’s overall Richard Conlin wrote the orig- inal. and the Kingsley-Wells script- ing team hasn’t missed a bet in Doa Taylor. Holden’s colleague in the pic, whoso main objectives are women and whiskey. Lenslng and technical assists all are good. Gene. Joernev Into Light Off-beat drama for mild re- action as program dualer. behind them to help widen that quality as any other factor. Alfred ^nging it out with memorable n ,. w I.«hihilnr cmil# rvPll more I r.ilk', T,»rhnirnlnr Miner- V.* 1 ."* 1 "* - .. . T* • new exhibitor smile even more. • Gilk’s Technicolor camera super Kelly is the picture’s top star and vision is tops, and the ballet, spe- rates every inch of hi* hilling. His cially lensed by John Alton and diversified* dancing is great as ever costumed by Irene SharafT. is a and his thesping is standout. But masterpiece. Musical direction by he reveals new talents in this one Johnny Green and Saul Chaplin, with his choreography. There’s a i the art work. sets, other costumes lengthy ballet to the film’s title song for the finale, which is a masterpiece of design, lighting, costumes and color photography. It’s a unique blending of classical and modern dance with vaude-.style tapping, which will undoubtedly trailblaze new terp techniques for Hollywood musicals. British-made '•Red Shoes” and “Tales of Hoff- mann.” of course, have initiated American art house patrons to such work but this one will hit the mass audience—and it’s going to hold 'em completely entranced. In Miss Caron and Guetary. by Orry-Kelly and Walter Plunkett and all else involved contribute to make this a great boxoffice film. Stal. .ingelN in Ike Outfield Fine b.o. outlook for this rip- roaring comedy-fantasy, star- ring Paul Douglas, Janet Leigh. dialog—not the least being some wonderful throwaway lines about the cause of Douglas' cussedness: a girl m Minneapolis, where he played third base in the minors, who walked out on him and mar- ried the shortstop. Paul C. Vogel’s photography threads the footage with exciting shots of actual games, background- ed by the Pittsburgh Pirates’ own grounds and dolled up with fine ef- fects by A. Arnold Gillespie and Warren New combe and montages by Peter Ballbusch. Tops too are Daniele Amfitheatrofs score, the Cedric Gibbons-Edward Cartagno art direction, and editing by Robert J. Kern. Mike. Hollywood, Aug. 28. 20th-Fox rdriM of Jo««ph Bernhard E reduction. Stars Sterling tia>den. Vlveca Indfors. Thomas Mitchell. Co-producer, Anson Bond. Directed |y Stuart Heisler. Screenplay by Stephanie Nordll. Irving Shnlmsn. from ortgTml by Bond; camera, Ed wood Bredell; editor. Terry Morse; music. EmU Newman. Paul Dunlap. Trade- shown in Hollywood, Aug. S3. ’51- Run- ning time, 17 MINS. John Burrows Sterling Hayden Christine Thor seen ...... VI* era Lindfors Gandy.. Thomas Mitchell “Doc** Thorssen .Ludwig Donath Wl* tWino) H. B. Warner Mark Jane DarweU Rarky . John Berkea Jane Burrows Peggy Webber Fanatic Paul Guilfoyle Bishop Logan Charles Evans Diana .. ..... Marian Martin Deacon Adams Everett Glass Deacon Edwards Raymond Bond Gertie Billie Bird Lippy. O. Z. Whitehead Jerry ... Myron Healy Policer..an Bvron Keith Church Women. .Kathleen Mulqueen and Leslie Turner Clothing Salesman Frits Feld Interviewer Lor in Raker Bums Emmet Lynn. Paul Brlnegar. David Marsh Flophouse Clerk Bernard Gorcey Handbill Woman...... Lynn Whitney Nurae Helene Huntington Woman In Fight Kate Drain Lawson Foreman Fred Aldrich Police Sergeant : W Htnton Truck Driver. Smoki Whitfield Hollywood. Aug. 23. Metro release of Clarence Brown pro- duction. Stars Paul Douglas. Janet Leigh; _ features Keenan Wynn. Lewis Stone. Metro has two’^tenUal tUrrin* ctSSS* SZZ possibilities who underscore that | Screenplay, Dorothy Kingsley and George studio s new stress on new faces. based on story by Richard Con- I lin; camera. Paul C. Vogel; editor. Rob- Miss Caron is a beauteous, lissome rrt j. Kern; music score. Daniele Ami- number with an attractively pert ' thentrof. Tradeshown Aug. 22. '31. Run- personality and plenty of s.a. She n,n * ume. t* mini. scores neatly with her thesping. , V. particularly in the appealing love i re u Bayies Submarine lommand Moderately overdrawn. Interesting but bridge! White Arnold P. Hapgood Sister Edwitha Saul Heilman . . Timothy Durney Sister Veronica.. Dave Kothherg.. Reynolds : :cGee Kube Honson scenes with Kelly, and displays standout dancing ability. Guet*»*v is better known in Europe for his legit and nitery work, althougn .,j co-starred on Broadway last year with Nanette Fabray in “Arms and the Man,” and demonstrates a socko musicomedy tenor and okay I Ton* Mineu" 7.7. acting talents. He’s east neatly as 1 ’Chunk the older man whom Miss Caron almost marries out of gratitude, and it’s a surefire role for his intro to films. 'Metro, incidentally, offered the role originally to Maurice Chevalier but the latter nixed it — which is a good break for Guetary.l Paramount release of Joseph Sistrom production Stars Wilham Holden. Nancy Olson. William Bendix. features Don Tay- _ . _ , lor. Arthur Granz. Darryl Hickman. Peggy Paul Douglas Webber. Moroni Olsen. Jack Gregson. Jack Janet Leljh \ Kelly. Don Dunning. Jerry Prtas. Charles Keenan Wynn , Meredith. Philip Van Zandt, Directed by Hill Baxter Patrick J Finley Donna Corcoran Lewis Slone Spring Byington .. Bruce Bennett .. Marvin Kaitlun .... Ellen Corby ...- Jeff Richards . John Gallaudet ..King Donovan Don Haggerty Paul Salata Fred Graham . John McKee Patrick J. Molyneaux John Farrow. Story and screenplay, Jonathan Lat*mer. Camera. Lionel Lin- don; editor. Eda Warreh; music, David Butolph. Previewed Aug. 22. N.Y. Run- ning time. 17 MINS. Commander White •William Holden Carol . Nancy Olson j C.P.O. Boyer ... William Bendix Lt. Commander Morris .... Don Taylor Lt. Carlson Arthur Franz Ensign Wheelwright .... Darryl Hickman Mrs. Alice Rice Peggy Webber Rear Admiral Rice Moroni Olsen Commander Rice Jack Gregson | Lt. Barton . Jack Kellv Angels in the Outfield” bids fair SEfSTrl-'.”” to be one of the year’s top grossers. ZttSS fSIff.'.*.'.; Chariea iKediVh It has great popular appeal for j Gavin Philip Van Zandt everyone, distaffers included, and these latter, despite its baseball A moderately agreeable enter- «.r..»nniav »iv Alan theme, by dint of Janet Leigh’s j tainment. “Submarine Patrol” is v l I ormo it a suriehtlv varn Portrayal of a newspaper gal who smooth, production-wise, and offers y L*emer IS a spngnuy 7® ....An Iha mlinn«l nsclim* nlnnclkio -inH katicallv tnnnri ctnrv J^y about an American GI (Kelly) who .■««£*»» *»«*")• *{!f d r v th wK P<ans are lo release ‘ Angels" Just to further his art study. While r , reports on the national pastime “from the woman’s angle.” Since plausible and basically sound story material. But the plot development tends to slowness, and appears In- sufficiently rounded out to warrant ... . ♦* a mnP u Qn before and during the World Se-. Gershwin wrote his Amor an rie., chances for an immediate so much footage (87 mins ). Paris suite on the basis of his own l>n K „ »«hik wkiu »»,« P ace might have been are some redeem- the story goes, it bridge the gap be- tween World War II and the Ko- rean conflict. But the taut staging of the latter, via a couple of neatly- 1947 “Rhapsody in Blue.” which starred Robert Alda as the com- poser. In fact. “Rhapsody” is the only major Gershwin number not played in the film. Levant, in “American.” plays an impoverished American concert pianist, but only by the farthest stretch of the imagination could he be thought of in terms of Gershwin. While he naturally scores with his pianistics. especially “Concerto In F.” he has a straight comedy role—and makes Kelly as the more than justified by this picture. It has so many points to recom- mend it, reviewers will be at a loss where to start. First and foremost j presented forays on Communist from the fans’standpoint, probably, soil for purr uses of sabotage, al- film’s is the film bow of little Donna Cor- most compensates for the coran. Moppet has been heralded weak spots, as ’ another Shirley Temple.” and she lives up to the billing. Stardom is a cinch for the child from this point on Great credit, of course, goes to angle clearly has exploitation pos- R reducer-director Clarence Brown, sibilities. Otherwise, the film e has carved a tremendously sat- shapes as a fairish money-maker Incidentally, a consideration in the pic’s saleability is the fact it does cover both the last global fracas and the battle in Korea. This Film picks up Kelly as * II . • *%. uno va» fvu « uviiiviiuvujij Jav ffiinpva m o m m>i ion laivtlVJ~ail«av 1 happy-go-lucky Yank, who s e j a f y j n g fiimization from a script by . mainly grooved for programmer favc of the nabe in his poor Mont-, n nrnthu win ff ci.v .»h w*iic cnni. martre quarters. Miss Foch, as a wealthy American playgal, “dis- covers” his art talents and takes ready to marry Guetary, a musichall star, because he saved her from the Nazis during the war. At the colorful Beaux Arts ball, she tells Kelly about her impending wed- ding. which sets the scene for the big ballet <a depiction in Kelly’s mind, told in terms of famous French paintings, of his doleful situation*. Guetary. however, nat- urally discovers the true situation and hows out of the scene for a i Dorothy Kingsley and George Wells spots, that, from every evidence, could | John Farrow’s direction, prob- have gone completely haywire if ably along with the Jonathan Lat- handled clumsily, dealing as it does j imer screenplay, both suggest the story could have been told in less time. Other than this, Farrow’s Brown has handled it ail master-] turn-calling is clean and clear. Jo- fullv. j seph Slstrom’s production appears Pivotal character is Paul Doug- widened in scope ♦hrough tne use him on as her protege to add h m fan^sy. Religious angle also to her retinue of lovers. Ke y presented a delicate situation, but accepts the idea warily but then 1 meets and falls for Miss Caron. She’s a poor gal who is getting las. who plays a Muggsy McGraw type multiplied by five—one of the most tyrannical, blasphemous man- agers in the history of baseball. His team is in seventh place and is headed into the sub-basement when somebody unknown to Douglas in- tercedes with the Angel Gabriel. A voice tells Douglas to look for a iriiracle in. the* third inning of - a crucial game. of some documenting on Navy oper- ations. including the reactivation of the moth-ball fleet to meet pres- enl-day exigencies, such as Korea. William Holden fits In nicely. He’s a naval officer who orders a dive of his submarine as a success- ful means of saving it from attack, although causing loss of the skip- per who had been machine-gunned topside. Misgivings over this action cause him much mental unrest Miss Leigh’s paper, the Titts- happy ending. Story is heightened burgh Messenger, prints her inter- later, by some fine characterizations by view with a little orphan girl who , Nancy Olson, as Holden's roman- each member of the cast and Lcr- swears she has seen angels stand- tic vls-a-vis. convinces in her effort neris hep dialog and situations. ing alongside the men of Douglas' to help him unload his emotional Gershwin s music gets boffo jeam, helping them win. Douglas, treatment throughout. While some accidentally conked by a line drive. 10 songs get special handling, true Gershwin fans will recognize strains of most of his other tunes admits to the press that the angels are helping him. This brings on an burdens. William Bendix has a lubberly sort of ro»e as chief tor- pedoman disdainful of Holden for the diving order. Light-hearted investigation into his sanity by the * segments of the film center on “Journey Into Light” is an off- beat and downbeat drama with in- sufficient ingredients to lift it above supporting dates. Starring trio of Sterling Hayden. Viveca Lindfors and Thomas Mitchell will provide only nominal voltage for marquee. Religious-minded patrons will likely resent the basic story prem- ise of rejection of God by an or- dained minister, even though he’s mentally confused at the time and eventually regains his balance to reaffirm faith in God. the Bible and the power of prayer. Hayden, pastor of a small New England church, goes berserk when his deranged wife, an alcoholic, commits suicide due to adverse at- titude of church leaders. Resign- ing. he condemns religion and prayer, and heads west to take odd jobs, which cannot be held due to nis physical and mental ills. Fi- nally winding up on skid row. he’s eventually taken over by Ludwig Donath. who runs a i»*arby mis- sion with his blind daughter, Vl- veca Lindfors. His true identity unknown. Hay- den takes a job of janitor in the mission, falls in love with the girl, and herds unfortunates into the mission with the aid of Mitchell. When the girl is seriously injured in an accident, Hayden mounts the mission pulpit to deliver the ser- mon and regain his spiritual bal- ance. It’s a happy conclusion when the pair are married, and Hayden elects to remain at the mission and carry on the objectives of the lat- ter. Hayden is okay as the minister, getting strong support from Miss Lindfors. Mitchell and Donath. H. B. Warner provides a fine char- acterization in several brief scenes. Major asset of the picture is the excellent delineations of characters of skid row by a well-selected en- semble of bit players. Joseph Bernhard produced, with Anson Bond as co-producer, and the pair combined to give the pic- ture okay mounting for a mod- erate budgeter. On the directing end. Stuart Heisler deftly etched the characters to good effect, al- though he was burdened with a downbeat story premise and an over-dialoged script. Technical contributions, including photogra- phy by Elwood Bredell, are satis- factory. this type. Net result it a program, mer of modest proportions. • Groundwork foo the gag material is long a-buildinc as the film un- veils on the death of an eccentric business man who bequeaths his fortune to his German shepherd dog. King. Miss Dow, trustee 0 f the estate, thereupon spends much time dodging promoters of various sorta. -Romantic interest is intro- duced with the appearance 0 f Charles Drake, who had been cor- poral of an Army canine squad 0 f which King was a member, \iigg Dow falls for him and his bogm line. The well-poised Mias Dow. who's been on the climb rapidly of late has her role in the film at full com- mand. but she’s forced to stumble through some zestless dialog at times. One scene in which she is “confiding” to King about her ro- mance, wrhile taking a bath, is an embarrassingly witless means of registering a story point. Pivotal point develops as King succumbs to a dose of strvchmne, and ascends to what’s offered as animal's heaven, described by an off-screen voice as “Beastatory.” It’s a depiction of various animals sketched in eerie design and un- imaginatively staged for good com- edy purposes. In any event. King pleads for and is granted passage back to earth to avenge nis own murder. From this point on, some amusing situation and conversational come- dic material is walloped across, as Xing Is Incarnate »« the home sapiens Po&ell. He has a com- panion in the trek back in the per- son of Joyce Holden who. in her original earthly appearance, had been a champion filly. Miss Holden deadpans it all the way and does right handily with her lines. Powell properly goes along with some of the chuckle some absurdities of the script in effortless fashion. His perform- ance as the private investigator tracking down the slayer of his former canine self is clever and effective. • Film, production-wise, is put up moderately. There was no need for any elaborate trappings and pro- ducer Leonard Goldstein correct- ly avoided them. Direction by Lou Breslow might have been tighter, there being some pieces of siory business on the screen neither ne- cessary nor contributing to the entertainment value. Editing and technical work, generally, are about adequate. Gene. When Worlds C ollide (COLOR) Science-fiction yarn with hefty exploitation values; stout b.e. prospects. You I an Tell Whimsical Idea about a slain dog which returns to earth as a human (Dick Powell). Modest b.o. Universal rrlcut of Leonard Goldstein K Kluotlon. Stars Disk Powell. Peggy w; features Charles Drake. Jeyee Hol- den. Albert Sharpe, Sara Taft. WU1 Ved- der. Watson Downs. Lou Polan. Directed by I,«u Breslow. Screenplay. Breslow and Davfcd Chandler; story. Breslow; camera, tyaury Gertsman; editor. Frank Groan; mwsle, Hans J. Salter. Previewed la N. Y. Aua. IS, *51. Runninf time. 7S Mins. Rex Shepherd Dick Powell Ellen Hathaway Peggy Dow Perry Collins Charles Drake Coldie Joyce Holden Grandpa Hathaway Albert Sharpe Mra. Bowers Sara Taft Nicholas Bui Vedder Slott Watson Downs Lt. GUpin Lou Polan Basic plot gimmick worked through “You Never Can Tell” shapes up as only an Intermittent ’augh getter. Dkk Powell and Peggy Dow work well in the leads, but tne script frequently lacks the pare and spsrkle vital to a pic of Paramount release of Geerre Pal pre ducUon. Features Richard Derr. Barkan Kush. Directed by Rudy Mate. Soma- B * iy. Sydney Boehm, based on novel hr win Ralmer and Philip Wylie; ranwra ^Technicolor*. John F. Seitx. W. Howard Greene; special effects. Gordon Jennlasa. Harry BarndoUar; process photograph*. Fardel Edouart; music. Leith Steveac editor. Arthur Schmidt. Tradeshowa N. Y . Au* 20. ’51. Running Ume. II MINI Dave Randall Richard Derr Joyce Barbara l«4 Toot Peter Hanses Stanton John Hojl Dr. Hejtdron Larry KrattiU JuNe Cummings Judith Aiaei Dean Frey Stephen Chau Harold Ferris Frank Cadr Dr. Bronson Hayden Horto (Klinger Sandro Glfke Student Mary MurphT Stewardess Laura Eutt “When Worlds Collide” is a high- ly interesting film version of tiff Edwin Balmer^Philip Wylie novel Through his “Destination Moon- released last year, producer George Pal proved that tne theatregoing public is avid for science-fictioi pix. “Worlds” is a sock followup, which wul reap sturdy grosses Top honors for this inter-plane tary fantasy rest with the camera- men and special effects technicians rather than with performances a* the non-name cast. Process photog* raphy and optical Illusions are done with an imaginativeness that vican* ously sweeps the spectator intt space. Story is predicated upon the find* ings of scientist Hayden Rorkt that a planet. Zyra, will pass * close to the earth a year hence, thk oceans will be pulled from their beds. Moreover, 19 days after tfcj catastrophe, the star, Bellus, wij collide with whatever remains * the world. Obviously, with such a frighted ing thing to envision within lj! months’ time, there’s plenty nj melodrama and suspense in ths alone. Unfortunately, scripter Syd- ney Boehm, who fashioned tM screenplay, choee to work in a ^ man re between Barbara Husk daughter of astronomer Larry Keating, and Richard Derr, a p , * B# pilot. His love rhra! Is Peter Haj* son, a doctor. This digression <><■ tracts instead of adds to the filn 11 overall audience impact. Informed of Rorke’s calculatiosH Keating verifies them, and mo**] to construct a space ship with (*’’] (Continued on page 20)