Variety (September 1952)

6 wuM HimnBws i-f HIM J'^S^EEff Wednesday, Scpleml>eiP 10, 1952 Monkey Business • Cary Grant, Giwi:«r Korers, Marilyn Monroe in slow farce about youth elixirs. 20th-Fox release of Sol C. Siegel pro- duction Stars Gary Grant, Ginger Rogers. • Charles Coburn, Marilyn Monroe; fea- tures Hugh Marlowe, Henri Lctondal, Robert Cornthwalte, Larry Keating, Doug, las Spencer, Esther Dale, George Wins- low. Directed by Howard Hawks. Screen- play, Ben Hecht, Charles Lederer and I. A. L. Diamond, from story by Harry Segall; camera, Milton Krasner; editor, 'William B, Murphy. At Roxy, N. Y., Sept. 3, *52. Running time, >7 MINS. Bam'aby Fulton Edwino Ginger RoBcrs Mr. Oxley Charles Coburn Lois Laurel Marilyn Monroe Harvey Entwhlstle Hugh Wtolowe Siegfried Kitzel Henri Letondal Dr Zoldeck Robert Cornthwalte Mr. Culverly Larry Keating Dr. Brunner Douglas Spencer Mrs. Rhinelander ... Esther Dale Little Indian George Winslow Jimmy Emmett L^n Guard Jerry Sheldon Barber Joseph Mell Auto Salesman George E^edge Painter Heme C*nklln Nurse Kathleen Freeman Clerk Mary Field Hotel Clerk ..Olan Soule Yale Man Gil Stratton, Jr. Reporter Harry Carey, Jr. Photographer McKee Dowager Falre Binney BeU Boy ,BlUy McLean I _ ' Some important names, produc- tion as well as cast-wise, are inr volved here, for disappointing re- sults. Attempt to draw out a thin, familiar slapstick idea isn’t ear- ned off. Marquee names will have to be plugged hard to bolster b.o. prospects. Story has Cary Grant as a ma- tured research chemist, y/orking on a formula to regenerate human tissue and using monkeys in his lab as guinea pigs for his elixir-of- youth experiments. Ginger Rog- ers is his amiable wife, still madly enough in love with him to for- give his absentmJndedness, his con- centration on his duties instead of on her, etc. One of the lab monkeys breaks loose, mixes up an assortment of chemical ingredients lying about, dumps the concoction into the water-cooler—with, the inevitable results. First Grant, then Miss Rogers, drink from the cooler, and immediately get teenage notions, emotions and symptoms. They buy young clothes, racy cars; go roller- skating, jitterbugging, and other- wise act the gay cutups. Occasional scenes are briefly funny but are not sustained, and the joke wears thinner as it’s spun out' into further developments. Grant plays the role sometimes as if his heart isn’t completely in it. Miss Rogers, looking beautiful, makes as gay a romp of it as sjie can. Marilyn Monroe’s sex appeal is played up for all it’s worth (and that’s not inconsiderable), as she apijears as a nitwit secretary. But scripting deficiencies let them all down. Charles Cobum is robust as prez of the chemical concern, anxious to make a fortune on a youth elixir formula, and other support is ade- quate, Bron. Assi gnsnent—Paris Topical- thriller of newspaper- ing behind the Iron Curtain, with okay names and possibil- ities. Hollywood, Sept. 4. Columbia release of Samuel Marx-Jerry Bresler production. Stars Datia Andrews, Marta Toren, George Sanders. Audrey Totter; features Sandro Giglio, Donald Randolph. Herbert Berghof, Ben Astar, Willis Bouchey, Earl Lee. Directed by Robert Parrish. Screenplay, William Bowers; adaptation, Walter Goetz, Jack Palmer White; story by Pauline and Paul Galileo, serialized in the SatEvePost a.s •‘Trial By Terror"; camera, Burnett Guf- fey, Ray Cory; editor, Charles Nelr:on; music, George Duning. Previewed Aug. 21, 52. Running time, 84 MINS. Jimmy Race Dana Andrews Jeanne Moray Marta Toren Nick Strang George Sanders Sandy Tate Audrey Totter Grischa Sandro Giglio Anton Borvitch Donald Randolph Andreas Ordy Herbert Berghof Vajos Ben Astar Biddle Willis Bouchey Dad Pelham Earl Lee Victor Maurice Doner Franz Leon Askin Kedor Paul Huffman Henry Jay Adler Jan Peter Votrian Gogo Georgj anna Wullf Male Phone Operator Don Gibson Barker . Joe Forte Wanda Marlowe Mari Blanchard Bert ,.. Don Kohler Secretary Hanne Axmun Laslo Boros ...." Paul Javor A topical thriller of newspaper work under the handicaps of the Iron Curtain , is presented in this film bearing the title of “Assign- ment—^Paris.’’ The star names are good, the plot melodramatically in- teresting, and the possibilities in the general market okay. Dana Andrews, Marta Toren, George Sanders and Audrey Tot- ter are the principals, aS news- paper people attached to the Paris office of a stateside paper, involved in the tale of intrigue. Spy-chase angles are mixed with romantic in- volvements, plus some speaking out against the Communist rule in such countries as Hungary and the method of extracting confessions from those the Reds prefer to label as spiesr It is an adaptation from the Pauline and Paul Galileo story, serialized in the SatEvePost as “Trial By Terror.” Use 'Of Paris and Budap^^ lo- cales in the Samuell^a^«j[erry Bresler production sharpen imd tale of intrigue, and Robert Parrish’s direction makes as much as pos- sible of the melodramatic mystery and suspense out of the William Bowers script. Details of radio- telephone delivery of news from correspondents to the Paris bu- reau, with the Red censors holding itchy fingers on the controls, its reception, interpretation and dis- semination, along with typical un- dercover spy work, sinister charac- ters, etc,, all help hold the interest durii^g the 64' minutes of footage. Andrews, a good, aggressive re- porter, is sent by the NY Herald Tribune to the Paris office, where Sanders is the editor. He imme- diately falls for Miss Toren, a staff member just back from Budapest with a story of plotting between the Hungarian puppet dictator and Tito, but which she can’t back up with proof. Sanders has his eye on Miss Toren also, and assigns Andrews to Budapest when the correspondent there is taken ill. The reporter makes his contacts, even discovering that an American businessman, made to confess falsely he was a Spy, is dead, con- firms Miss Toren’s suspicions of a deal and manages to smuggle out a picture proving it just as he is cap- tured and'made to confess he is a spy. Only the desire of an old man, now working as keeper of the files in the paper’s office, to see his children s^ely in America, pro- vides the way for Andrews’ release and return to Miss Toren. -The stars run through tersely stated performances. Andrews is up to his usual good standard as the newshawk who hates Com- mies, and Miss Toren is a talented charmer. Sanders is a believable editor, wise on -news value but han- dicapped in dealing with his per- sonal feeling. Miss Totter occu- pies an awkward spot, being a fashion editor who, years before, believed she- and Sanders had. something in the way of romance and now contributing to the story with a series of wise remarks re- lating to human relations. Sandro Giglio, as one who sacri- fices himself for his kids; Donald Randolph, Herbert Berghof, prin- cipal Red agents; Jay Adler, an understanding barkeep, and the others help to keep the intrigue moving along acceptable lines. Walter Goetz and Jack Palmer White adapted the Gallico story for the screen, and lensers Burnett Guffey and Ray Corey do excellent work with their cameras. Brog, ^ Hellgate Grim melodrama located in the little-known Federal pris- on. Good explpitation subject. Hollywood, Aug. 15. LIppert Pictures release of John C. Champion (Commander FUms) production. Stars Sterling Hayden, Joan Leslie. Ward Bond; features James Arness, Peter Coe, John Pickard, Robert Wilkie, Kyle James. Richard Emory. Written and directed by Charles Marqms Warren; story, Warren f<<ind Champion: camera. Ernest W. MUler; editor, Elmo Williams; music. Paul Dun- l;m. Previewed Aug. 13, Running time, 87 Gll Hanley Sterling Hayden ElUcn Hanley Joan Leslie Lt. Tod Vorhees Ward Bond George Redfield Jim Arness Doctor Pelham Marshall Bradford Jumper HaU Peter ,Coe George Nyc Richard Paxton Gundy Boyd John Pickard Hunchy Pat Coleman Sgt.-Major Kearn Bob WUke Dan Mott . .Richard Emory Neill Price Sheb Wooley Vern Brechene Kyle James Banta Rory Mallinson Ault Ed Hinton Wyand Timothy Carey Lt, Col. Woods William Hamel Col. Telsen Stanley Price Puna Rod Redwing Hellgate, the old Federal prison in New Mexico used long ago for the toughest offenders, keys this grim melodrama into a good ex- ploitation subject for the Lippert market. The title and the assorted story pegs provide the necessary selling angles to push it through ballyhoo dates. Picture, a first for the Indie Commander Films unit, is a lesson in production economics, achieving creditable values within a tight budget without costly location treks or expensive stage settings. John C. Champion’s supervision and the direction by Charles Marquis War- ren both display ingenuity in get- ting the values. The misery of Hellgate prison and the tortures conceived both by sadistic man and the hot, barren desert where the hellhole is locat- ed, are slugged home in a plot that deals with a man railroaded to prison on circumstantial evidence back in the mid-l800s. Warren’s script and forthright direction hew to a tough, unrelieved meller line in getting the grim yarn on film, and he builds a certain amount of suspense in developing escape tries byv4he prisoners, conflict among the convicts and the general brutality of prison life. Sterling Hayden does an ex- cellent job of portraying ' the wrongfully committed man, con- victed of being a member of a guerrilla gang ^because he un- wittingly aided the leader. He’s sent to ^Hellgate, commanded by Ward Bond, who hates all guer- I'illas because his family had been wiped out in a guemlla raid. With orders to keep Hayden alive, he devises numerous sadistic cruelties in an effort to make the convict try an escape so he can be legiti- mately killed. Hayden does make one break, but manages to thwart being killed when recaptured and, later, saves the camp from a typhus epidemic by obtaining water for the sick. This brings a change in Bond and the latter fixes it so Hayden is freed. 'The Warren script and direction keep the trouping within bounds, particularly Bond's. Third costar of the film is Joan Leslie, but her role of Hayden’s wife figures only slightly in the predominantly male motivations. James Arness im- presses as a cruel prisoner, and there are good performances from Peter Coe, John Pickard, Richard Emory, Robert Wilkie, Kyle James and others. Ernest W. Miller's lensing is able and Elmo Williams’ editing tight Paul Dunlap gives the melodra- matlcs a good music" score. Brog. Bela Lugosi Jllects A Brooklyn Gorilla (SONGS) Mediocre horror-comedy; ex- ploitable potential in Martin & Lewis look-a-likes Duke Mitchell & Sammy Petrillo. Realart release of Jack Broder (Maurice Duke) produoHon. Stars Lugosi, Duke MltcheU. Sammy, FotrlUo; features Char- lita. Muriel Landers. Directed by WUliam Beaudine. Screenplay, Tim Ryan; addi- tional dialog. "Ukie" Slieriu. EMmond G. Seward; camera, Charles Van Enger; editor, Phil Cahn. At the Rialto Theatre, N. Y., Sept. 4* ’52. Running time, 74 MIN$. Dr. Zabor Bela Lugosi Duke Mitchell Duke Mitchell Sammy Petrillo ......... Sammy Petrillo Nona CharUta Salome ; Muriel Landers Chief Rakos A1 Kikume Chula Mickey Simpson Bongo Milton Newberger Pepe Bordo Martin Garralaga Ramona, the chimp Himself This low-budgeted, long-titled com-ed 3 r=hoiTor pic is destined for a (juick demise despite the ex- ploitable tumult being cooked up via the look-a-like, act-a-like capers of newcomers Duke Mitchell & Sammy Petrillo to Dean Martin & Jerry Lewis. Former team bears an uncanny resemblance to M&L in style and ^technique, but they impress as a 'third-rate road com- pany of the comedy stars. Still, the exhibs may draw on the re- semblance via such exploitable an- gles as “Martin, Lewis May Sue Pair Who Act and Look Like Them” (a headline which topped a New York newspaper piece), if Hal Wallis, who owns M&L, doesn’t stop them. Petrillo, who’s the Lewis carbon, is an amazing duplicate. He’s got Lewis’ manner down pat including the maniacal laugh and the oc- casional Yiddish inflection. Also alike are haircut, facial.contortions and gestures. It’s all good for a five-minute nitery turn but wears in the 74-minute pic. “Mitchell’s Martin is less close but he fills the straightman chore in the similar offhanded style and Belts a pair of songs in the same deep-voiced manner. It’s doubtful, however, if the team will be able to make any noise in pix, niteries or TV by cashing in on M&L’s thunder. Pic is hinged together on a slim yarn that never builds in yocks or in horror. Screenplay, penned by Tim Ryan with an additional dia- log assist from “Ukie” Sheriri and Edmond G. Seward, puts the zanies in a tropical jungle where they meet friendly natives and an unfriendly “mad scientist,” Bela Lugosi. Lugosi, who is working on a sort of “reverse Darwin” for- mula, puts his theory into practice when the native girl, whom he covets, falls for Mitchell. He in- jects a shot of a serum into Mitchell, who immediately turns into a gorilla. Petrillo, who dis- covers the plight of his pard, via a charade in which the gorilla (Mitchell) flashes the signals, tries to get him back to his normal ap- pearance. There’s the obvious con- fusion when a real gorilla comes on the scene and Petrillo handles the situation with maximum mug- ging which nets some yocks. Lu-* gosi then tracks down Mitchell, who’s still in the gorilla guise, and shoots just as Petrillo steps in front to stop the bullet. Next sc6ne switches to a nitery dressing room, with Mitchell shaking Petrillo awake. It was all a dream —or a nightmare. Thesping is routine. Lugosi is menacing, and CharUta lends some eye appeal as the saronged femme interest. Mitchell baritones “Deed I Do” and “Too Soon” adequately. William Beaudine’s direction Is okay as are camera and editing credits. Gros, The Graiiil Concert (SONGS-COLORI (RUSSIAN) Russian opera and ballet plo with leading Soviet artists; ex- cellent art-house^o. draw. Artklno release of Mosfilm production. Directed by Vera Stroyeva. Camera (Magicolor), Mikhail Gindin. Vladimir Nlkolayev. V Cast; Valeriya Barsova. Kseniya per- zhinskaya. Olga Lepeshlnskaya, 'GaUna Ulanova, Ivan Kozlovsky, Maxim Mikhai- lov, Alexander Pirogov, Mark Reizen, Vera Davydova. Marla Maksakova, Marina Semyonova, A^f Messerer, Mikhail Gabo- vlch, Yevgeniya' Smolenskaya, Maya Plisetskaya, others. At Stanley, N. Y., Aug. 30, '52. Running time, 105 MINS. Russian color film, devoted ex- clusively to concert, opera and ballet, is one of thq most unusual filmed. Lavish costuming and pro^ duction, use of top Soviet artists in each field, and unhackneyed opera and ballet selections, make this a superior pic for longhairs and an excellent art-house b.o. draw. There’s Soviet propaganda in it, of course, but it’s played down, only two sharp* evidences of it be- ing briefly in a Kolkhoz (co-op farm) scene and at the close. OUierwise, it’s a straight .music film, strung along on a slender story of a couple of talented kids aiming to make the Moscow Con- servatory and being privileged to watch some of the opera and ballet presentations at the noted Bolshoi Theatre, Ace performances, and the chance to see what’s going on in the concert world behind the Mos- cow curtain, make this film so commendable. First 45 minutes are taken up with excerpts from Boixidin's opera, “Prince Igor.” In this, as In other sequences, cam- era moves from theatre stage out into the open, to give opportunity for scores of artists to perform and a sense of lush depth and quantity to be achieved. The opera has vivid singing and acting performances by Alexander Pirogov (Prince Igor), Yevgeniya Smolenskaya (his \rtfe) and Maxim Mikhailov (the khan Konchak). Ex- cerpt also contains a dazzling Polovetsian dance sequence, ■with Olga Lepeshlnskaya outstanding as a dancing slave. In the farm sequence, there are some fine group folk dancing and singing, and lovely soprano arias by Maria Maksadova, Vera Davy- dova and Natasha Zvantseva. Back at the Conservatory, tenor Ivan Kozlovsky does a choice rendering of Lenski’s air from Tchaikovsky’s opera, “Eugen Onegin.” Ditto a magnificent basso rendition by Mark Reizen of an aria from Glinka’s opera “Ivan Susanin.” Two ballet bits are film high- spots. One, a segment of “Swan Lake,” has two top ballerinas, Maya Plisetskaya and Marina Sem- yonova, each giving her version of Odette, the Swan Queen. Other ballet, “Romeo and Juliet,” is one of the most dramatic choreographic works "ever screened. Galina Ulanova, ace Soviet ballerina who won the critics’ acclaim last sum- mer’ in her brief visit outside the Iron Curtain to Florence and Milan, gives a dazzling dramatic as well as dancing performance as Juliet. Duelling scenes from the ballet are vivid actiBn at their best. Bron. The French Way (FRENCH) L, Barry Bernard * release of Jacques De Baroncelli production. Stars Josephine Baker, Michcllne Prelle, Georges MarchaL Directed by De BaronceUl. English titles. Herman Weinberg; English editor, Heine Dorian; murfc, Wal-Berg. Vincent Scotto. At World, N. Y., starting Sept. 3, '52. Running time, 73 MINS. Zazu Josephine Baker Claire Mlchellne Prelle Bernard Georges Marchal M. Honore Almoz Pierre .. Jean Tissier Leon (The Tramp) Luclcn Baroux Mme. Ancelot GabrJelle Dorziat M;, H^ban Saturnln Fabre MUe. Esperajou Marguerite Perry (In' Frendh; English Ttitles) “The ^'rench Way” is a light- weight farce which promises to stir up little or no excitement at the American boxoffice, its chief claim to distinction being that Josephine Baker sings and dances in it. She also has a prominent talking part. Film appears to have been made a number oi ago, with Miche- line Prelle Georges Marchal costarring. The weak story concerns a boy and girl who are forbid Ir* to mar- ry because the gal’s r > ...er is in a perpetual feud with ♦he boy’s father, living just across l:.e street. Miss Baker gets into the act be- cause she lives in the apartment house where the father is landlord and contrives to see that Miss Prelle and Marchal, the romantie pair, keep their dates on schedule. The unbilled scripters concen- trate on the feud of the parents plus Miss Baker's ballading and cafe appearances. All three of MisS Baker's songs are nicely done although the final one, “No Nina,” is easily the best. After she does the number about “To Live Alone Under One Roof,” Miss Baker starts to go into her dance, but the latter was apparently lost on the cutting-room floor. Miss Baker does amazingly well in her slight role. Top acting hon- ors go to Gabrielle Dorziat, vet Gallic actress, and Saturnin Fabre, as the squabbling neighbors. But they fail to ovecome the trite stoi-y. Miss Prelle, as the daughter, hints at the future prominence she has attained since this was produced, Marchal is okay, Lucien Baroux effectively plays the tramp who moves on to a new neighborhood every time he has too many offers to go to work. But the reason for his inclusion in the cast still re- mains a mystery. Producer Jacques de Baroncelli’s direction is fairly smooth. Music is credited to Wal-Berg while one song, “Mon- Cioeur Est un Oiseum des Tiles,” is by Vincent Scotto. Wear. liVagon Train (SONG) Routine programmer in Gene Autry western series. Hollywood, Sept. 4. Columbia releace of Armand Schaefer (Gene Autry) production. Stars Gen« Autry and Champion; features Pat But- tram, GaU Davis, Dick Jones, Gordon Jones, Harry Harvey, Henry Rowland* George J. Lewis, John Cason, Cass Coun- ty Boys. Directed by George Archain- baud. Written by Gerald Geraghtyt camera, William Bradford; .editor, James Sweeney. Previewed Sept. 2, '52. Running time, 41 MINS. Gene Autry Cene Autry Pat Buttram .....Pat Buttrani Connie Weldon Gall Da^’is Dave Weldon Dick Jones U. S. Marshal Taplon ......Gordon Jones "Doc" Weldon Harry Harvey Mike McClure Henry Rowland Carlos de La Torre ....George J. L>ewls Sim John Cason Fred Cass Fred S. Martin Bert Cass Bert Dodson Jeri'y Cass Jerry Scoggins Gandy .....Gregg Barton Mangrum Pierce Lyden Dr. Kunody Carlo TrlcoU Even a star with Gene Autpr’s draw can’t continue forever with- out benefit of proper story mate- rial, and “Wagon Team” Is another weak entry in the oater’s series, slated for only fair response. Script enables him to deliver trio of songs and participate in a cou- ple of good fights, but otherwise doesn’t provide much for him to go on in way of entertainment. Star, as a special investigator for a stage line, is out to recover $95,- 000 in Army payroll funds stolen by a gang of which Dick Jones is a member. Jones is the only one who^^ knows where money box is hidden,'' .so Autiy sticks close to him after he escapes from jail and returns to the medicine show operated by his father. During resultant footage, Autry joins up with show as a singer, and when gang kidnaps Jones for payroll star steps in, saves Jones and recovers loot. Autry does as well as possible with his character, but plot is too confused and rambling to evoke much interest.' His song delivery is up to standar(3, and so' is his fighting, latter action reflecting George Archainbaud’s direction. Pat Buttram qualifies in a comedy relief role,^Jone*s is persuasive enough as the young bandit, Gail Davis supplies distaff interest and Henry Rowlanii Is gang leader, with neither having much to do. Technical credits, under Armand Schaefer’s producer supervision, are okay, with William Bradford getting in some Interesting back- grounds with his cameras. Whit. Tlie Fva Peron Story ^ ^ (DOCUMENTARY) Astor Pictures release of Juan A. Bra* production. English narration, Ray Mor- gan; camera, Sucesos Argentinos; editor, Sol Grecco; technical faculties, Emil Velazco jStudios. At Squire Theatre. N. Y., of Sept. 6, *52. Runnl^ time, 30 mlN8« With an ej^e to the topical, Be Savini’s Astor Pictures has picke up distribution rights to a thre' reel Argentine documentary c the life of Argentina’s late fir lady, Eva Peron. Treatment is n( objective nor interpretative. F< it's primarily a factual recitatic of Mme, Peron’s political and S( clal accomplishments after her hu band, Gen. Juan Peron, assume the Argentine presidency some s: years ago. English narration of Ray Morga describes Mme. Peron as a “simp! woman of the people... who d voted her life to the masses,” Cai cer recently ended the life of tl 33-year-old national heroine, wl rose from a small town to an u: (Continued on page 15)