Variety (February 1952)

FILM REVIEWS VrJneidiy, February 6, 1952 Viva Zapatat II. )Lli "■» ' v t Film treatment of Mexican... revolutionary is adaptable to strong key situation selling* Elsewhere spotty. Hollywood, Feb. 5. 20th*Fbx release of Darryl F. Zanuck production. Stars Marlon Brando, Jean Peters; features Anthony Quinn, Joseph Wigeman, Arnold Moss, Alan Beed, Margo, -Harold. Gordon, Lou Gilbert* Mil- dred Dunnock.. Directed by-Elia Kazan. Written by John Steinbeck; camera, Joe MecDoilald; editor, Barbara McLean; mu- sic, Alex North. Tradeshown Feb. 1* '52. Running time, . 112 MINS. . Zapata Marlon Brando Joscfa...................Jean Peters Eufemio..........,,.*.,. »,. Anthony Quinn Fernando.'*. .Joseph, Wiseman Don Naclo..... ........ i... . Arnold Moss Pancho Villa..*....... ..Alan Reed Sold&dcrfi • • • * • • i • r •• • 4. • ♦ V• «.♦ * • « 4 • * Maciero.. .Harold Gordon- Pablo . . . . :.. Lou Gilbert Senora Espejo..... .. .Mildred Dunnock Huerta.............. Frank Sllvera Aunt........... . *..... Nina. Varela Senor Espejo............ .. .Florenz JVmes Zapatista.. ..;.............. .Berrtie Cozier Col. Guajardo............. Frank De Kova Innocente ... Pedro Begas Old General.........,.... ichard Garrick Diaz .......;,..... ..... . Fay Boope Officer .Ross Bagdasarlan Husband.... *.. ......... Leonard George Lazaro.................... .Will Kuluva Captain •. * *....,. . ✓... ... Abner Biberman. C.O i ...... . . . ...Phil Van Zandt day counterparty Zapata, follower; the idealistic Ma vera, the pow< Huerta; Florenz chant father of Fay Roope, as dd tSorrfon, Tank Sil- led Gen. lei, the mer- ls| Peters and llaz, are among The story of Emiliano Zapata, a lesser-known Mexican revolution-, aryj has been taken by Darryl F. Zanuck for this personal produc- tion offering. It is generously supplied With exploitation angles that can give it the selling push usually accorded a Zanuck effort; so strong grosses can result in in- dividual top key bookings. Out- look in general release, however, is less assured, and the going is likely to be spotty, In the field of pseudo-biography it is a picture that records a hard, cruel, curiously unemotional ac- count of Mexican banditry and re- volt against oppressive govern- ment. Picture misses in that the ideas and ideals with which it deals come over too symbolically, and it lacks the humaness and heart that could have cinched popular appeal, Elia Kazan’s direction strives for a personal intimacy, but neither he nor the John. Steinbeck scripting achieves in enough measure to generate the kind Of sympathy an audience should have for the characters. Convenient Use is made of his- torical fact as the script plays hop- skip-and-jump in spanning the nine years that Zapata Was a con- troversial figure in Mexican politi- cal life just prior to and during the earlier part of World War I. This attempt to build ah objec- tive, overall picture of a historical period results in story and char- acter holes. On one side in his- tory Zapata has been written down as an aggressive man who made opportunity of governmental op- pression to satisfy a leadership yearn. Time has mellowed this Interpretation to write him off as an almost legendary figtire with growing, heroic stature to the poorer classes of Mexico. Film -ignores the part he played in the slaughter, of foreigners, chiefly Americans, during Mexico’s more turbulent political period; or of the bloody conquests he visited oh his own people. Marlon Brando brings to the Zapata character the same type of cold objectivity noted in script and direction. A trenchant'moodi- ness in delivery, and a makeup that tends to the Oriental rather than the Latin, makes for a char- acter strangeness that will do little to warm an audience towards it. Other than ‘ a few romantic sequences with Jean Peters, the girl who becomes his bride and forsees his violent end, and Zapata’s occasional, response to the worship of his followers, there is not much, that actually strikes at the emotions or heart. Zanuck and Ifcazari have used a very broad scope in approaching the story, peopling it with a large, although shadowy, cast around whom the few principals move. Zapata made his first step towards historical notice in 1911 and fade into power in his territory, after bitter; fighting, With the advent of Francisco Madero’s replacement of Porfirio Diaz as president of a troubled.. Mexico. The script shows the weaknesses of the top leaders and the perfidy of. the strong men surrounding, them as a greed for power and a desire for bloodshed keep the plot mov- ing towards the inevitable climax in which Zapata,. by now only a pawn of events, is murderously cut to ribbons * a machinegun- punctuated finale arranged by the men who feared him. Other than Brahdo; only a few of the cast take substantial form in the picture. Miss Peters, al- those whose characters come across strongest In the supporting cast. Skipped over in the footage are Margo, a camp follower; Alan Reed, as Pancho Villa; Arnold Moss, Mildred Dunnock (as Miss Peters’ mother) and others. Scenes of ambush are cruelly and violently staged. Some have a feel of suspense, such as Zapata’s relc re by his followers after ar- rest of rurales, his walking into the finale trap set by political leaders, and. the attack on a feder- ally-held fort with women as bait. Alex North’s* music score is an ex- cellent counterpoint to the objec- tive mood created by production and direction but could have used more of the moving charm that is the chief feature of native Mexi- can music. There’s a stark quality to the photography by Joe MacDonald that suggests the raw, hot atmos- phere of Mexico, lensing haying an artistic feel entirely in keeping with presentation aims, There is a choppy quality to the footage, reflected in the continuity, holes that are apparent despite the film’s 112 minutes of running time, Brog. Bugles in the Afternoon (COLOR) Ray' Milland in cavalry-vs.-tn- dians drama* Average action- feature With okay chances. ro- ar* Hollywood, Jari. 31. Warners release of William Cagney pi duction. Stars Ray Milland, Helena C ter, Hugh Marlowe, Forrest Tucker; fea- tures Barton MacLane, George Reeves, James Millican, Gertrude Michael. Stuart Randall. William ‘•Bill** Phillips. Directed by Roy Rowland. Screenplay, Geoffrey Homes, Harry Brown; .from novel by Ernest. Haycox; camera (Technicolor), Wil- frid M. Cline; editor, Thomas Reilly; mu- sic. Dimitri Tiomkln. Tradeshown Jan, 29, *52. Running time, 14 MINS. Sgt. Kern Shatter Ray Milland Josephine Russell,.' .Helena Carter Capt. Edward Garnett.... .Hugh Marlowe Pvt. Donovan Forrest Tucker Capt. Myles Moylart..... .Barton MacLane Lt. Smith. ........ ..George Reeves 1st Sgt. Hines.James Millican May .Gertrude Michael Bannack Bill'.; .' Stuart Randall Pvt. Tinney Wra. “Bill** Phillips M«j. Gen. G. A. Custer.... .Sheb Wooley Pvt. McDermott .......John Pickard A Tale of Five Women “A Tale of Five Women/* United Artists release trade* shown in New York Triday (1), was reviewed from London May 23,1951, under its original title of “A Tale of Five, Cities.” The Alexander Paal production, presented by Boris Morros and Maurice J. Wilson* concerns an amnesia-suffering soldier who searches his past in five European capitals. Myro opined that the story is ‘‘an interestipg idea, hut the plot tends to be. repetitive* and is tod episodic. It is not strong enough to stand on its own, but makes a handy dualer.” Bonar Colleanoj. the critic wrote, is “self-assured” as the soldier while the women are “sincerely played” by Anne Vernon, Eva Bartok, Gina Lollobrigida, Lana Morris and Karen Himnold. Or i g i rt a 1 running time of 99 minutes has been trimmed to 86 for the US. The Big Trees (COLOR) Outdoor actioner with Kirk Douglas; grooved for okay acceptance in general runs; Hollywood, Jan; 31. Warners . release of Louis F. Edelman production. Stars Kirk Douglas; features Eve Miller, Patrice Wymore, Edgar Bu- chanan, John Archer. Directed by Felix Feist. Screenplay, John Twist, Janies R. Webb; from story by Kenneth Earl; cam- era (Technicolor), Bert Glennon; editor, Clarence Bolster; music, Heinz Roemheld. Tradeshown Jan. 15, *52. Running time, 89 MINS.' 1 ' ■ ' ' Jim Fallon................ irk Douglas Alicia Chadwick *...,. Eve , Miller Daisy Fisher ,....**.,... Patrice^Wymore Yukon Burns,.. •. •......Edgar Buchanah “Frenchy** LeCroix....... . John Archer “Tiny**,... •..............Alan Hale/ Jr. Judge Crenshaw........ ■ •.. Roy Roberts Elder Blxby., Charles Meredith Cleve Gregg..,. Harry Cording Mrs. Blackburn . . .. Ellen Corby ever Romantic eomody wlth Eliza- beth Taylor, Xarry Paths and fair prospects as companion feature in dua|er% Hollywood, Feb, 5* Metro release of ' William H, Wright production. Start Larry Parks, Elizabeth Taylor; features Josephine Hutchinson,, Tom Tully. Directed by Stanley Donen. Written by Ruth Brooks Flippenr camera, Harold Rosson; editor, George Boemler; music, Lennie Hayton. Tradeshown Jan. 23, *52. Running time, 80 MINS. . Jud Parker...... • • • •' Larry Parks Anastacia Macaboy..... * Elizabeth Taylor Mrs. Macaboy. . .‘Jr. Josephine Hutchinson Mr. Macaboy... .......Tom TuUy Mrs. Levoy . Ann Doran Pattie Marie Levoy....... Elinor Donohue Mrs. Kahrney.........Kathleen Freeman Albertina Kahrney.Doreen McCanh Hamlet .... . ... ...... . ....... Alex Gerry Smittie... ........;. Dick Wessel Average outdoor action Is of- fered in “Bugles in the Afternoon, along with some fair characteriza- tion and Technicolor, to give it okay chances in regular release. A novel touch is the casting of Ray Milland to head the action setup in this William Cagney production for Warners distribution. Roy Rowland’s direction whips the story along nicely over the 84 minutes of footage, plugging some plot obscurities with plenty of rugged movement and mass clashes. The Geoffrey . Homes- Harry Brown script Is from the Ernest Haycox novel and con- cerns . a cavalry officer Who comes west to re-enlist after being cashiered in the east for assault on a fellow officer, and how he makes a new life for himself. Color enhances the scenic loca- tions against which story is told. Time is in the 1870’s, when the U/S. Cavalry was having its troubles with warring redskins, and plot setting is Fort Lincoln in in the Dakotas. When Milland ar- rives on the scene, he finds his old enemy already there and still out to get the man who had assaulted him. Script keeps the audience in the dark too long over the reasons for the enmity, but it is a constant threat to Milland’s safety as Hugh Marlowe continually finds danger- ous assignments for him. Conflict is further abetted by & Romantic triangle, having the two men inter- ested in. Helena Carter, resident of nearby Bismarck. For mass action, principals lead the cavalry against assorted In- dian war parties, including the famous last stand of General Custer. T e n s e hand - to - hand Clashes also are plentiful, climax- ing in a personal duel to the. death between ■ Milland and Marlowe in the midst of a fullscale Indian at- tack. Milland shifts easily from Straight drama to outdoor action, and Marlowe is a worthy opponent. Forrest Tucker scores a decided personal success with his role of a brogue-dropping cavalryman. Miss Carter seems too feminine and lady-like against the masculine tone of the film. Barton MacLane, George Reeves, James Millican, Stuart Randall and others are good. Gertrude. Michael is the though costarring, hasn’t too much other cast femme, in for only one opportunity to. inject warmth and short, sequence* feeling into the footage. Anthony Wilfrid M. Cline backs the ac- Quinn, as Zapata’s lusty, wench- i tion arid sight values with his chasing brother; Joseph Wiseman, J cameras, and the Dimitri Tiomkin a fanatical revolutionary of the score has the proper martial mood type which still has its present-j Brog. For the demands of the general action market where tinted out- door features usually play best, “The Big Trees” measures up. Re- sponse should hit an okay level. Film offers little for top key sit- uations. Outdoor stagirig of most of the stdry permits good physical val- ues for the production coin ex- pended. It also permits the in- clusion of process footage from a previous Warners’ lumbering pic, “Valley of the Giants,” a film that dealt with the west’s big redwoods, as does this entry. A lot of the old cliffhanger tech- nique comes to the fore in. film- ing the Kenneth Earl story, script- ed by Johri Twist and James R. Webb. Manner in which pic has been filmed will get no huzzahs from the critics, but the regular run of audiences seeking escapist action against an outdoor back- ground will find it acceptable. Plot pattern is a familiar one and Kirk Douglas heads the cast as a lumberman out to get -rich. He comes west to Northern California to grab off redwood timber land on which a religious sect has al- ready settled, but whose property titles are clouded. Other lumber- men, just as ruthless, also are after the property, setting up a three- way. conflict that boils. along at. a suitable pace under Felix Feist’s direction. Not Unexpectedly, Dou- glas is finally changed from his ruthless ways by the love of Eve Miller, a member of the religious sect, and the influence of the ma- jestic big trees, which he is able to save as a setting for outdoor worship after changing sides in the fight. Perfoririers occasionally encoun- ter some difficulty with passages of corny dialog, but, on the whole, bring the story off adequately. Douglas and Miss Miller are an in- teresting contrast in their char- acters, arid Patrice Wymore, sing- er-dancer, injects a triangle touch to the romancing. .Edgar Bucha- nan, John Archer, Alan Hale, Jr*, Roy Roberts aind Harry Cording are okay outdoor types. Bert Glennon Used, his Techni- color cameras expertly in getting the Louis F. Edelman .'production on film. Values are strictly woods? in keeping with the plot, Score his a M. K. Jerome-Jack Scholl tune, “The Soubrette On the Police Ga- zette*” sung by Miss. Wymore. Brog. Bond’s New Indie Hollywood, Feb.-5. New. indie company, Emerald Productions, has been organized by Anson Bond, until recently asso dated with Joseph' Bernard. Pro ductions. i First picture under his own ban ner will be “Pin Wheel Man,” based on his own original story. Yarn deals with a one-mari rocket helicopter. Romantic comedy values in “Love Is Better Than Ever” slant it for. companion feature, bookings in the regular dual hill market. A reasonable amount of lightly- paced fun is concocted to sustain it for over the 80-minute course, .and the general situation outside of key houses will find it pleasant and acceptable. Larry Parks arid Elizabeth Tay- lor team: aria each adds to the amusement offered in the Ruth Brooks Flippen original script, Film is no particular test as to whether Parks’ past-political affiliations will have a downbeat h o. affect, since overall indications' are ; not for strong ticket sales in any case. Stanley Doneri’s direction guides the players through a plot that deals with a dance teacher who. meets and falls in love with a slick Broadway vaude agent and how she has to use. all the tricks in the book to rope him into mar- riage. Dialog is glib, With plenty of flip phrasing, and pacing is ex- cellent. Donen’s guidance is gen- erally good, only miscuing in lat- ter sequences When he drops Parks’ straight playing and has him mug- ging. Miss Taylor, a wide-eyed young miss, is steered through the sights of Broadway h? Parks when she goes to New York for a dancing teachers’ convention. She mis- takes his interest in having a pret- ty girl on the string for love, re- turns home and announces an en- gagement to still gossiping tongues which are misinterpreting her night-life adventures* Parks pro tests but reluctantly agrees to pull the girl , off the spot as long as it is understood the engagement is phony, However, he reckons with- out nature and the wise counsel of Tom Tully, Miss Taylor’s father, so is hooked by the time the finale comes around. Miss Taylor outs a fine figure in her costuming* which runs to many scenes showing her dressed in the short yardage of practice costumes affected by-dancers. Parks moves through his character easily. Jo- sephine Hutchinson, career-minded mother, and Tully are excellent as the parents. Helping to sharpen the ludicrous aspects of sirialltown dancing schools, eager mothers and precocious children are the. other cast members, including Ann Do ran, Elinor Donohue, Kathleen Freeman and Doreen McCann. The assorted Broadway characters pro- vide fun for the tradewise. William H. Wright’s supervision has taken care not to overdress story values, and Harold Rosson gives the picture good lensing. Lennie Hayton directed his back- ground score ably r and cutting is tight. Brog. Rancho Notorious (SONGS—COLOR) Marlene Dietrich in pleasant, flavorsome western; good b.o. possibilities. beeps thtfpaceUvtfy and Interest- abetted by the constant apUsh of, color, are cye-arrestinf; Jfia Dietrich is as sultry and aUuribg as ever, and the whole adds up to pleasant enter- tainment for good b.o. possibilities Yarn has. a homespun fable-ish quality, told as a running narrative to a ballad, “Legend of Chuck-a- Luck,” which is sung, in its various verses, at different times during the picture. This approach takes the film out of the realm of straight realism into something near fan- tasy or folklore, which has both its good and bad sides. Ballad-form gives the pic some tongue-in-cheek quality which mars the narration; on the other hand, it lends the film ‘olksy flavor.. Plot,- starting off in a little \Vy-. oming town in the 1870’s, firids a young femme brutally assaulted and killed on the eve of her wed- ding and her embittered cowboy lover (Arthur Kennedy) riding off to find and kill the unknown mur- derer* He picks up a bit of a clue from the murderer’s; accomplice, Whom he finds dying; in a ditch after a falling-out with his partner. The trail first leads to Frenchy Fairmount (Mel Ferrer), a flashy outlaw, and then to Chuck-a-Luek, the ranch run by Altar Keane (Miss Dietrich), one-time fabulous saloon entertainer, \ Kennedy, taken to the ranch by Ferrer, whom he’s aided to break out of a jail, learns several things about ChUck-a-Luck* The ranch is a hideaway for robbers and des- peradoes* with Miss Dietrich get- ting her share of their loot for this service. One of the outlaws now in hiding, Kennedy feels. sure, is his fiancee’s murderer. Arid Ferrer and Miss Dietrich are in love. Kennedy plays up to Miss. Die- trich in endeavoring to track down his quarry, causing the lady to fall for him, and the two male rivals (Ferrer and Kennedy), have a fall- ing-out, A big bank robbery in which all the men engage brings the denouement when Kennedy discovers who the real murderer is, and is finally revenged; Miss Dietrich is fatally shot trying to protect her two friends .when the outlaw gang falls .to quarreling, and Ferrer arid Kennedy sadly move off to fresh misadventures. Miss Dietrich is a dazzling recre- ation of the oldtime saloon mis- tress, and handles her song, “Get Away, Young Man,” with her usual throaty skill* Kennedy wins com- plete Sympathy *ss the wronged youth, while Ferrer lends both dig- nity and. dash-to his outlaw role. Supporting cast is also good, and William Lee contributes a manly off-screen rendering of the “Leg- end. of Chuck-a-Luck” ballad. There’s action a-plenty in hard- riding, shooting and brawling scenes, and tense romantic moods in the Dietrich-Ferrer-Kennedy triangle. Camera work is particu- larly impressive, especially on wild outdoor backgrounds. Brorii Stronghold ■ 9 Mexican-made drama loplining Veronica Lake, Zachary Scott and Arturo de Cordova. Okay dual* ^ el ®ase of Fidelity Pictures (How- sc ir Production. Stars Marlene Dietrich, Mel Ferrer, Arthur Kehiiedv- features William Frawley, Jack Elanu George ^Reeves, Frank Ferguson. Gloria S£P r ¥* Francis McDonald, Dan Seymour D n^rTo^ l ritz * Lan *- Screenplay. ga" ,el . Taradash, from story by Sylvia Richards; songs, Ken : Darby; camera St? h £ ic °i lor) i.Mohr; editor* Otto Lud- m pf{5*Newman. Previewed in E eb ‘ 1( 52 * Running time, 89 MlNs. Ve/n • • • ? Marlene Dietrich Pren*.iw a ®vf •*'''' *.• ‘' ••• Arthur Kennedy 'SKSSkF Fairmont .... Mel Ferrer : ‘* * • * Lloyd; Gough * * *■' *■' •.* • •• •• • •.. Gloria Henry MaSne n * r '::: •::: GM?v' a Luck Dea,er -....... John R^en 'PrefeW . George Reeves Harbin* r ' ••••••-♦•• - Frank Ferguson Francis McDonald ? au *Dan Seymour Starr “ * ‘ ? * ’ * *'•*•'■■• * * * • Rodric. Redwing SifF Stuart Randall hIvIa ' ’ * ’ ’ ? *•••••• ‘ i?o.ter Anderson v •» •• • • * • .Chaj-les Gonzales *....*.. *. Feline Turich Gonzales j ose Dominguez ....... Stan Jolley John Doucette Hollywood* Jan..31. Lippert Pictures release of Producl- onne Mexico production. Directed by Steve Sekely; screenplay. Wells Root; camera* Stanley Cortez; musical director, Antonio Diaz Conde; editor, Charles L. Kimball, At Vogue, Hollywood, Jan, 31, *52. Running time, 72 MINS. Mary Stevens.. . . .........Veronica Lake Don Miquel Navarro....... Zachary Scott Don Pedro Alvarez..Arturo de Cordova. With Rita Lacedo, Alfonso Bedoya, Ya* diro Jlminez, Fanny Schiller, Gilberto Gonzalez, Carlos Muzquiz, Frederick A. Mack, Roc Galbin, Gustavo Rojo, Irene Ajay. Felipe de Alba. ■ Deuuty Warren.; Whitey This .Marlene Dietrich western has^some of the flavor of the old outdoor classics (like the actress’ own onetime; “Destry Rides Again”), without fully canturing their qual- 11 ty arid mapje. The characters p'ay [the corny plot straight; direction “Stronghold,” in unfolding an episode in the Mexican revolution against Emperor Maximilian, rolls along on a decidedly slender plot which is handicapped with an over- load of .dialog and lack of sus- pense,. Starring trio of Veronica Lake, Zachary Scott and Arturo, de Cordova, plus the colorful set- tings of the country, will carry it through the program houses as a dueler. , Miss Lake and her mother turn from the U. S* to the Mexi- can. town of Taxco, where they own rich silver mines. Enroute, they re kidnapped by bandits led by aris- tocrat, de Cordova, who uses tne ransom of silver to arm the peons. The girl secures government sol- diers to guard the mihes,. gradual* ly falls in love with de Cordova and becomes convinced that^ m cause of the downtrodden nativ is just. Mine overseer Scott in_m ruthless drive to destroy de Lo dova and his followers dynanii the dam to flood the rmp e s bring the rebels ojit of hiding- , leader is captured and semen to be hanged, but saved a-. tne scaffold by the sudden upnsing, the natives. . ' Picture lacks sustained pa ce ^ *j s neither the screenplay by Cpkel y Root nor direction by Steve Se.ka y ( Continued on page zu )