Variety (August 1952)

null AM 1 EWS Just for Tbit (COLOIt—WTCfSICAX) Caribbean (cojiOit) Wng Crosby teamed with Jane Wyman in solid grassing mu- sical. Paramount rcleai* of Pat Duggan pro- duction. Stars Bing Crosby, Jane Wy- man, Ethel Barrymore: features Robert Arthur, Natalie Wood, Cora Witherspoon. Directed by Elliot Nugent. Screenplay, Robert Carson, baaed on "Famous, * by Stephen Vincent Benet; camera (Techni- color), George Barnes; editor, Ellsworth Hoagland; songs. Hairy Warren. Leo Ro- bin; music director, Emil Newman. Pre- viewed N. Y., July 107 ’52. Running time, 9S MIM* Jordan Blait* ........... Bint Crosby Carolina Hill Jane Wyman Allida de Bronkhart Ethel Barrymore Jerry Blake Robert Arthur Barbara. Blake.............Natalie Wood Mr*. Angevin* Cora Witherspoon Georgia Polansky - Ben Lessy Hodges R«gl*. To°mey David McKenzie . Z,eon Tyler Hank Ross ... JVfllisBouchey George Herbert Vigran “Just for You,” a Bing Crosby- Jane Wyman musical which Para- mount has set for national release in September, should prove a stout factor in bringing back that “lost audience.” For this Technicolor film has a rousing, melodic score and a logical story well acted by a fine cast. With such basic ingred- ients, the picture will not only sat- isfy the “under 35” trade but will recapture some of the older public who have temporarily lost the film- going habit As added b.o. insurance, exhibi- tors have Crosby and Miss Wyman for marquee dressing 1 as well as Ethel Barrymore. Of still further value are the 10 new tunes defied for the film by Leo Robin and Harry Warren. Most, if not all, have already been recorded and re- leased by the major disk com- panies, thus creating a pre-sold audience for the upcoming picture. Several of the tunes are of hit proportions—especially “Zing a Little Zong,” Screenplayed by Robert Carson from a Stephen Vincent Benet orig- inal, the script spins a tale of how a Broadway producer almost loses the affections of his teen-age boy and girl because he’d been too in- tent upon his own career to take note of his motherless children’s activities. Woven in as-a secondary plot is a story of adolescent love that’s solved very handily before the final reel is unspooled. Crosby and Miss Wyman, who were teamed 'to advantage in Par’s “Here Comes the Groom” last year, turn in hangup performances as the producer and- his musicomedy star, respectively. . A highly-suc- cessful composer-impresario, Cros- by has romantic leanings toward his shapely leading lady. But com- plicating the situation is a crush that Crosby’s son (Robert Arthur) develops for the actress. Another problem is that of daughter Natalie Wood. For hers is a burning ambition to enroll at a fashionable girls’ school run by Ethel Barrymore. This matter is adjusted by Crosby iii ‘ several amusing scenes with Miss Barry- more, while Arthur himself straightens out his crush by enlist- ing in the Air Force to forget the past. Family is ultimately reunited when Crosby starts a USO tour. Musical sequences run the gamut from “Zing a Zong,” duetted by Crosby and Miss Wyman on the modest stage of an Air Force base in Alaska, to “I’ll Si-Si Ya in Ba- hia,” an opulent production num- ber. Particularly effective is “The Live Oak Tree,” a novelty tune warbled by Crosby in an outdoor campfire setting in company with a flock of young teen-age girls. With fine material to work with, Crosby Socks across one of his best portrayals. Miss Wyman, who re- cently established herself as a comedienne and singer, cops fur- ther laurels in those fields. Miss Barrymore, although cast in a lesser role, is a standout as the school dean with a delicate sense of humor. Young Arthur and Na- talie Wood impress as the Crosby offspring. Cora Witherspoon brightens a bit. as a tipsy governess while Ben Lessy, in a brief scene with Crosby, helps sell a hammed up, oldtime vaude number, “On the Ten-Ten.” Among others providing competent support are Regis Toomey, Art Smith and Leon Tyler. In making his bow as a Para- mount producer, Pat Duggan has embellished the film with a lush physical mantling that reflects val- ues which only a top budget could supply. Elliott Nugent’s zesty di- rection paced the picture smartly with scarcely a lag in its 95 min- utes. George Barnes’ Technicolor camerawork is firstrate—especially the Lake Arrowhead outdoor scenes. Editing of Ellsworth Hoag- land makes the most of the foot- age. Other technical credits are on par with the production’s general quality. Gilb. 18th century pirate adven- ture; rood for action market, Hollywood, Auk, 1. Paramount releaswr of William H. Plne- WllUnm C r Thoma* production. Stars John Payna, Arlen* Dahl, Sir Cedric Hardwlcke; feature* FrancI* L. Sullivan, Muse. Directed by .Edward Ludwig. Screenplay, Frank L. Mom and Edward Ludwig, from novel- by Ellery H. Clark; camera (Technicolor), Lionel Lindon; edl* tor, Howard Smith; music, Lucien Camlet. Previewed July 30, '52. Running time, V MINA* Dick Lindsay ..John Payne Christine MacAlllster Arlene Dahl Capt. F. Barclay..Sir Cedric Hardwlcke Andrew MacAlllster.. FrancI* L. Sullivan Shively .,...177, Willard Parker Burford Dannls Hoey Quashy .... Clarence Muse Robert MacAllister William Pullen Evans Walter Reed Townsend Ramsey Hill Stuart ......John Hart Elizabeth • ^*ra Esau Woody Strode Cudjo Exeret Anderson Quarino Kermit Pruitt Caesar Ban Fernlel Sally .HOMllnd Hayes Pine-Thomas offer an okay ad- venture feature in “Caribbean.” It is a commercially-valued entry of the kind that fares well in the general action market as a 'top- o£-the-bill release.. Added value is gained -from the Technicolor tint- ing given the costumer, and the story has the kind of angles adapt- able to hearty exploitation selling. It’s an 18th Century pirate yam dealing principally with a revenge motivation, floridly told in char- acterization and ^dialog to go with the pretentious presentation. There is nothing particularly logical about the plot line in the Frank L. Moss-Edward Ludwig screen- play, but Ludwig’s direction steers it over a swashbuckling course to a rousing action climax that more than makes up for earlier talky se- quences and flamboyant perform- ances of some of the principals. Revenge motive behind the.plot deals with Cedric Hardwicke's de- sire to. get even with Francis L. Sullivan because the latter had sold him into slavery and kid- napped his wife .and daughter some 20 years before. Hardwicke is now a dreaded pirate and Sullivan is a wealthy planter and slave-dealer in the West Indies. The wife -s long dead but the daughter has grown up to be Arlene Dahl-, a haughty island princess who be- lieves Sullivan is her father. To get at Sullivan, who hides safely on his well-fortified island, Hardwlcke uses John Payne, a young man bearing a likeness to the planter's nephew. Payne, via some illogical script maneuvering, gets on. the island, manages- to swing the oppressed slaves on his side and, keying . an uprising to the date of Sullivan’s annual sale of slaves and goods, fixes things so Hardwicke can move in. The re- sulting melee-is solid action stuff Performances are far from im- pressive, but entirely adequate to the* pulp-fiction demands of the script and Ludwig’s direction. Payne and Miss Dahl jnake a handsome, but wooden couple. Hardwicke and Sullivan are most* ly Unrestrained in their characters. Parker, playing Sullivan’s over- seer; Dennis Hoey, pirate lieuten- ant; Clarence Muse, a slave, and the others give acceptable support. Brog. . Park Row Disappointing, though exploi- tation values should' help it reap good b.o. United Artists release of Samuel Ful- 1®? production*. Star* Gene Evan*. Mary Welch; feature* Bela Kovac*, Herbert Heyes. Directed and written by Fuller; camera. Jack Russell; editor, Philip Cahn. Tradeshown, N. Y., Au*. 4, '52. Running time, IS MINS- Phinea* Mitchell Gene Evans Charity Hackett .Mary Welch Ottmar Merfenthaler Bela Kovac* Josiah Davenport Herbert Heyes Jenny O'Rourke Tina Rome S tev *«. ] l. rodi * George O'Hanlon Dan O’Rourke J. M. Kerrigan Charles A. Leach ........Forrest Taylor Mr. Angelo Don Orlando Thomas Guest ...Neyle Morrow Jeff Hudson Dick Elliott Mr. Spiro Stuart Randall Rusty Dee Pollock Mr. Wiley .Ha l K. Dawson Samuel Fuller, who turned out “The Steel Helmet,” for Lippert and “Fixed Bayonets” for 20th- Fox, has stepped into the inde- pendent-field \rith a sound piece of exploitation merchandise in “Park Row.” Cast has no one of marquee stature, and the film is highly dis- appointing in light of its subject —the birth of the modem Ameri- can press from a humble begin- ning on New York’s Park Row. But long before United Artists set the picture’s national release for Aug. 12, Fuller mapped out a promotional campaign which was aimed at enlisting the support of every American newspaper be- hind the film. Mastheads of some 1,700 U. S. dailies are reproduced in the pic's opening frames, and it’s reasonably certain that the writer - producer » director's pre- preem bally drive, for press coop- eration win pay off In good b.o. returns. Otherwise, Fuller has missed the boat in “Park Row.” For Instead of concentrating upon one phase of American journalism which would best illustrate the advances of the press at large, he has tossed in a welter of story material that ranges all the way from a circulation bat- tle between two publishers to Mer- genthaler’s development of the linotype. Latter in itself would make a full-length feature. Long nursing an ambition to start his own paper, reporter Gene Evans joins with' job printer For- rest Taylor in launching The Globe. His former employer, Mary Welch, who publishes The Star, resents the competition and at- tempts to force him out of busi- ness with a variety of disreputable tactics. But ultimately she has a change of heart. Ashamed of her methods and now aware that Evan -is fighting for the freedom of the press, she calls off the feud. Offshots of the basic plot have Evans and Miss Welch in an oc- casional romantic byplay, Steve Brodie’s famed leap from the Brooklyn Bridge is recreated, and Mergenthalers’ linotype is per- fected to the extent.fhat it enables The Globe’s copy to be se£ after musclemen from The Star pied the paper’s type supply. In face of the rambling script, the cast has a difficult job to make the proceedings credible. Evans comes close to being a dynamic editor, but Miss Welch falls short of making her role of a woman publisher a' believable one. Bela Kovacs Impresses as the p.atient and loyal Mergenthaler while Her- bert Heyes is good as an aging re- porter who writes his own obitu- ary. Other players -are adequate. Fuller’s direction, curiously, seems to stress the technical side of the film rather than bring out his story through expert guidance of the cast. Picture* has' made ful- some use of the technique which has the camera follow the players in a long, continuous scene with- out a cut. This method. obviously results in budgetary savings. The few sets used reflect modest production values. Although the 1880’s were at' the peak of the gaslight era, Jack Russell’s camera- work carries out the shadowy ef- fects a bit too accurately. For his drab, gray tones are pronounced even in daylight scenes. Editing and other technical credits are standard. Gilb. Rainbow ’Round 'My' Shoulder (SONGS—COLOR) Pleasing. - program musical in color for general companion bill dating. Hollywood, Aug. 5. Columbia release of Jonie Tap* produc- tion. Star* Frankie Lalne, Billy Daniels, Charlotte Austin, Arthur Franz; features Ida Moore, Lloyd Corrigan, Barbara Whiting- Ross Ford, Arthur Space, Frank Wilcox. Directed by Rlohard Quine. Writ- ten by Blake Edward* and Quine; camera (Technicolor), Elll* W. Carter; editor, Richard Fantl; new songs, Hal David Sc Don Rodney, Neal Stuart A. Terry .Gilky* son, Robert Wright A George Forrest; choreography, Lee Scott; musical direc- tion, George Duning. Previewed July 30, ’52. Running time, 74 MIN*. Frankie Lalne Frankie Lalne Billy Daniel* Billy Daniels Cathy Blake Charlotte Austin Pliil^Young ..Arthur Franz Martha Blake Ida Moore Tobias Lloyd Corrigan Suzy Milligan Barbara Whiting Elliot Livermore Ros* Ford Joe Brady Arthur Space Sidney Gordon Frank Wilcox' Lana Lamarr Diane Garrett Red Chester Marshall Mrs. Toomey Helen Wallace Lucia Evans Eleanore Dayls Eugene Baxter Roger Stevens Ken Garcia Mrs. Abernathy , Mira McKinney Mr*. Gilmore Edythe Elliott Mrs. Riley Jean Andren This is an entertaining filmusical on an unpretentious scale, fortified with the song names of Frankie Laine and Billy Daniels. It should please in regular release. A Holly- wood studio locale (Columbia) backs the film biz yarn, and pres- Path Ol Hope “Path of Hope,” Italian pro- duction released by Lux Film,' which opened at the World, N. Y., Monday (4), was review- ed from Genoa by Variety in the issue of Jan. 10, 1951, under its original title, “II Cammino della Speranza.” The pic won several film awards this year including the Italian Film Critics' prize. “One of the top Italian pix of the season, expensively produced, well-directed and acted,” wrote Hawk, “this should get fair returns in some U. S. situations.” He cited that the film ladks exploitation possibilities but may catch on via word-of-mouth. He com- mented on the fact that Pietro Germi's direction is skillful, drawing top performances from his cast. entation is glossed up with Techni- color for added acceptance in : the general market. The Cinderella-like theme of a gal Who is discovered, as a singer while making her rounds as a i studio messenger *■ buzzes along easily over its 76-minute course, telling a story that will be liked by the general run of audiences and presenting eight, songs and a dance production number' favorably. Blake Edwards and Richard Quine did the scripting for the Jonie Tape production, and Quine also directed. All deliver acceptably and make the .most of the material' and budget. Charlotte Austin, a pleasing film newcomer, is the messenger who makes good almost overnight, but not without the proper number of plot- complications. Raised under the show biz-hating thumb of her grand mother in Pasadena, the girl sneaks a studio job, pretending to be working in a library. Her sec- ond day on the lot she is mistaken for a girl trying out for a singing job in a new Laine picture, but when all concerned want to sign her, the grandmother discovers the trickery and refuses to give guard- ian consent. , Hollywood’s not to be put down, however, when hot on the trail of a discovery, so-Laine, Daniels and others who want the girl in their picture scheme to take over the entertainment at grandma’s annual charity even and convince her show people are right guys. -They do r and the picture ends on a happy note and the title song. Miss Austin’s personality and voice fit the requirements of her character ably, arid she Impresses with “Ain’t Mishehavin’,” ‘‘Wonder- ful, Wasn’t It?.” Hal Davidrpon Rodney tune; “Last Rose Of Sum- mer” and the- title tune. Laine socks over “Girl in The Wood,” by Neal Stuart and Terry ‘Gilkyson; “Wrap Your Troubles in Dreams,” and joins Miss Austin on “Wonder- ful” and the title tune finale. Daniels belts over. “She’s - Funny That Way” and “Bye, Bye, Black- bird.” The Lee Scott Dancers give a pretty presentation .to the 1 “Bubble, Bubble, Bubble” produc- tion number. , « Arthur Franz, as the studio music man, is excellent in the romantic spot. Ida Moore, the grandmother, and Lloyd Corrigan, her cook, are delightful. Barbara Whiting, Ross Ford, Arthur Space and Frank Wilcox are among others contribut- ing to the general entertainment. Ellis W. Carter’s color lensirig. is excellent, as is the choreography by Lee Scott and other contributions. Brog. Last Train Front Bombay Mediocre dualer toplining Jon Hall. Hollywood, July 30. Columbia release of Sam Katzman pro- duction. Star* Jon Ifall;- feature* 1 .Chris- tine Larson, Li*a Ferraday, Douglas R. Kennedy. Directed by Fred F. Sear*; *tory and screenplay,’ Robert Yale Ll- bott; camera, Henry Freulich; editor, Richard Fantl. Previewed July 28, '52. Running time, 73 MINS. Martin Viking .Jon Hall Mary Anne Palmer Christine Larson Charlane Ll*a Ferraday Kevin O'Hara- Douglas .R.- Kennedy Captain Tamil .Miphael Fox Nawob's daughter Donna MarteU Colonel Palmer.'. Matthew Boulton Bartender ......James Fairfax B. Vornin Gregory Gay Ceylonese ....Kenneth Terrell, Frederic _ x Berest Porter* Barry Brook* Columbia’s “Last Train From Bombay” is strictly for the duals. Pic carries some action interludes which manage to create Interest, but they’re overshadowed by a dragged-out story line filled with unbelievable incidents. Story and screenplay by Rob- ert Yale Libott centers on young American diplomat, Jon Hall, who arrives in India to find country In the throes of internal strife. He meets former Army buddy, Dou- ‘ glas R. Kennedy, and learns lat- ‘ ter belongs to a gang of assassins intent on starting a Civil War by blowing up a train carrying an Indian prince and his daughter. Shortly thereafter, Kennedy is murdered, but not before divulg- mg secrets of the plan to Hall. : Latter then spends remaining foot- ; age trying to prove himself inno- cent of the killing and at the same time round up the gang boss and ( catch the. tram before it reaches the mined area. He does all, win- ning a gal in the process. Hall goes through the- proper ' emotions in lead role, impressing 1 more, however, in the fight scenes than in the ones requiring dialog. i Douglas R. Kennedy is good in a comparatively brief role. Christine Larson and Lisa Ferraday, the lat- ter a B” girl who befriends Hall, : are both okay. Sam Katzman has given the film a good mounting, injecting actual : footage of India to enhance the overall effect, but his story super- vision is off. Fred F. Sears’ direc- tion is competent, and the techni- : cal credits stock. Neal. August 6, ; Tljaaderlag Caravan* Allan Lane west**, •.for the pr ogramm er martej Hollywood, Judy 28 Republic release of Rudv * duction. Stars Allan "Rocky" Lnni m »P ro * Jack (equine);. features Eddy ane w? Mona Knox, Roy Bnrcroft, iiahJi dolph, Richard .Crane, Bill Henri rected by Harry Keller. Writt*« r5 i Dl * Coate* Webster; d*ftiera, John ,**• editor, Harold Midter. Prev&'rt^J 28, -’52. Running time, 54 mIn sT d Ju ^ Lane..Allan "Rockv Hi* .StaUlon.i. , ant ”'?**** Eddy Waller’ Deborah Cranston . ..Isabel RaffiS Dan Reed .Richard Bert Cranuton, Bill 1 Tom ... ...Edward H cffi Head Marshal Pierre Henry Scott .... Stanley AndX Jo * “Red" Morm The usual mixture of fisticuffs chases and gunplay make up the 54 minutes running time in thU latest of the Allan “Rocky” Lane westerns for Republic. Results are up to the derriands of the westerns programmer market and will sat. isfy 'the kiddie fans. As' U. S. marshal, Lane is sent to investigate a series of gold ort robberies and help Eddy Waller local sheriff, round up the culprits’ The M. Coates Webster screen story makes the top heavy a femmt newspaper publisher, Isabel Ran- dolph, who attacks Waller in her paper for doing nothing to bring the robbers to justice. She’s cam- paigning to get the sheriff post for Bill Henry r her brother, and there are a number of other plot tangents tq complicate Lane’s heroics. How- ever, jpnee he gets his sights on the main issue. Lane gallops through with roaring guns, making short work of the heavies and sav- ing Waller’* job. Lane sit* his saddle well and ably handle* the rugged phases of being a western hero. Waller’s grizzled comedy touches fit in nice- ly, and Miss Randolph is an ex- cellent heavy. Richard Crane, as Waller’s young deputy, and Mona Knox offer a fight romantic angle. ‘Henry, Roy Barcroft and the others provide standard, western charac- ters. Direction by fiforry Keller of the Rudy Ralstdn production keeps it moving at the required pace. Lens- ing and other technical assists are okay. Brog. July B.O. Toppers Continued from pa go 4 - much the same pattern qn play- dates as when it played at the N. Y. Music Hall, where it likewise failed to display anticipated sus- tained strength. “Francis Goes to -West Point” (U), making, the best showing of any pic in the “Francis” series in some spots, copped seventh posi- tiori. Film appeared to benefit from the fact that Donald O’Connor, one of film’s stars, has grown in popu- larity from his work in “Singin’ in Rain” (M*G), released a couple of months ahead. “Clash by Night” (RKO), which was second in June, wound up eighth last month. “Winning Team” (WB) managed to take ninth money, showing its biggest. strength early in the month. “King £ong” (RKO) (re- issue), Which copped third place one week during July, finished 10th for the month. It had also come through with .several sock engage- ments late in June. ’“Diplomatic Courier” (20th) wound up 11th, with “Lydia Bai- ley” (20th) rounding out the Gold- en Dozen for July. Latter was 10th in June. “Ivory' Hunter” (U) and “Walk .East on Beacon” (Col) were the runner-up pix for the month in that order. Besides “Jacks,” there was a batch of other new films that show definite signs of being heard from to a large extent this month. “High Nqon” (UA) appears one of the strongest in this category. It took second place the first week out, but it’s not rated with the top 12 boxoffice toppers because it was only out one week in July. Same applies to “We’re Not Married (20th) j which was coming to the fore to land sixth and final week of tho month. “World in His Arms” (U) also shapes up as potentially strong on the basis of a string of play dates in the Northwest area. It starl- ing initial dates In the east this week. “Story of Will Rogers (WB), starting comparatively slow, managed to wind up 11th its first week on release. tl “Carrie” (Par) and “Dreamboat (20th), both of which opened great In N. Y., shape up as sturdy new- comers for August