Variety (October 1952)

22 PICTtniES PSaM&rf Wednesday, October-1, 1952 Film Reviews Continued from page t The Blazing Forest ging in the big woods and a cli- mactic forest fire that resolves most of the problems. Edward Ludwig gave it suitable direction to point up movement and keep the 80 min- utes from lagging. John Payne plays a tough log- ging boss, brought in to cut the timber on land owned by Agnes Moorehead so she can stake her niece, Susan Morrow, to a city life. Payne’s a driver who works his crew hard so he can get the job over and receive his percentage | quickly. Miss Morrow, already in- terested in the logging boss, comes to believe he needs the money for another woman when she sees him meet Lynne Roberts. Events even- tually prove, however, that Payne is repaying money stolen by his ne’er-do-well brother, Richard Ar- len, and trying to patch up the mar- riage of Arlen and Miss Roberts. Plot brings together loose ends when a truck accident starts a fire and Payne manages to rescue Wil- liam Demarest, logger, with the aid of a Forestry Service helicopter. Arlen dies from injuries in the ac- cident, thus saving him from the sheriff for a second theft, and Payne can now devote his time and money to convincing Miss Morrow she doesn’t want to live in the city after all. Trouping is generally good. Payne and Miss Morrow team nicely. He puts over the rugged facets of his character .and she treats the eye with natural lookr. Demarest and Miss Moorehead hoke up their performances for chuckles, and Arlen is an ingrati- ating ne’er-do-well. Roscoe Ates, camp cook; Miss Roberts, Walter Reed and the others are up to demands of script and direction. Lionel Lindon’s cameras do a good color job of putting the actvon and outdoor locales on film. Other technical assists are* in keeping, all helping to shape this one as ac- ceptable material for the average situation and general action fan: Bi oy. Strange Fascination Sordid drama; okay for exploi- tation but spotty in general release. low-key, downbeat atmosphere un- relieved by the slightest presence of humor as a change of pace, ms is a study in human disintegration, and he relentlessly' follows through. Production appurtenances reflect a modest budget. Vaclav Divina contribbed a good musical score while also of merit is the nocturne composed by Jacob Gim- pel plus bis own piano soloing. Paul Ivano’s camerawork is okay as is Merrill G. White’s editing. Gtlb. Captive Women Clifflianger meller, good for juveniles and as supporting feature. RKO release of Aubrey Wisberg-Jack PoUcxfen production. Features Robert Clarke, Margaret Field, Gloria Saunders, Ron RandeU. Screenplay, Aubrey Wls- berg. Jack Pollexfen; camera, Paul Ivano; editor, Fred R. Feitshans: music, Charles Koff. Tradeshown In N. Y., Sept. 26, 52. Running time, *7 MINS. Uob Robert Clarke Ruth Margaret Field Catherine .... I Gloria Sauftders Riddon Ron Randell Gordon Stuart Randall .Captive Paula Dorety Bram Robert Bice Captive Chill Williams Carver William SchaUert Sabron * Rric Colmar Jason Douglas Evans Miller, as the jealous fiancee of Hutton, hasn’t much to do. Sup- porting players are adequate. R. G. Springsteen’s, direction gets nowhere with the Arthur T. Horman screen story. Budget val- ues provided by Sidney Picker's production supervision are okay, and the technical departments are standard. . Brog . tinder the Red Sea (DOCUMENTARY) Overlong film depicting sights and sounds under the Red Sea. Hollywood,. Sept. 26. RKO release of Thalia Productions (Sol Lesser) presentation, produced by Dr. Hans Hass. Features Hass, Lottie Berl. Photographed by Hass and Miss Berl; narrative and production supervi- sion, Bill Park; narrator, Les Tremayne; editor, Robert Leo; music, Bert Grund. Previewed Sept. 22, '52. Running time, 47 MINS Expedition leader Dr. Hans Hass Expedition secretary Lottie Berl Expedition members Gerald Weidler, Leo Rohrer, Edward Wawrowetz Alfonso Hochhauser Sudanese recruits....... Mahmoud Amir Achmed Nur Mohamed, Ali O’Shelk, Abdul Wahab Columbia release of Hugo Haas (Rob- ert Erlik) production. Stars Cleo Moore, Hugo Haas, Mona Barrie. Written and directed by Haas; camera, Paul Iv;;no; editor. MerriU G. White; music, Vaclav Divina. Tradeshown, N. Y.* Sept, 26, ’52. Running time, SO MINS. Margo Cleo Moore Paul Marvan Hugo Haas Diana Mona Bame Carlo \ Rick Vallin June Karen Sharpe Shiner Marc Krah Yvette Genevieve Aumont Walter Patrick Holmes Mary Maura Mu rphy Douglas Brian O’Urra Investigator Anthony J ochim Dr. Tompson Dr. Ross Tompson Nurse Marla Blbilcoff Mr. LoweU Gayne Whitman Mr. Frim Roy Engel Jack Robert Knapp ‘’Captive Women” is an elongated ; cliffhanger, a natural for juveniles on some dual bills. Story of three surviving branches of the human race, A.D. 2000 or after the last atomic blast has 1 laid New York City to waste, develops into a Buck Rogers sort of P adven- ture. All imaginative touches are kept hidden as the plot ploddingly relates the efforts of a New Jersey tribe to bear offspring who will not possess their -hideous facial fea- tures. It seems that the atomic blasts have scarred them for life. This yen to create a normal race results in raids on a subterranean tribe where the femmes are comely and desirable for , mating. From such a beginning, there is the familiar machinations of a third tribe to two-time them. The flood- ing of a tunnel under the Hudson river is the tipoff as to the absurd heights this reaches. Most of the acting is in the serial film tradition although Ron Randell occasionally shows himself as a first-rate actor. He is the hero Both Margaret Field and Gloria Saunders partially make up in looks for what they lack in terp ability. Robert Clarke, Stuart Ran- dall, Paula Dorety and Robert Bice head the large supporting cast, Stuart Gilmore’s direction is standard for this type of pie. Sharp editing by Fred R. Feitshans keeps it from getting too far put of hand. Paul Ivano has contributed a good camera job. Wear. Tropical Heal Wave (SONGS) Sol Lesser’s Thalia Productions has come up with an overlong documentary edited from footage lensed on a scientific expedition under the Red S.ea. When dealing with underwater action the picture has some interesting natural thrills, but #a contrived narrative and rep- etitious scenes slow the overall appeal and make the footage’s 67 minutes long and frequently bor- ing. Dr. Hans Hass, director of Under- water Research Institute at Vaduz, Lichtenstein, headed the expedition to the Red Sea, where he tested theories dealing with fish'language, etc. Color would have dressed up and .done justice to some of the striking underwater footage. For thrill moments, picture has several sequences with sharks, extremely close photography of giant manta rays and the ride of a skin-diver on the head of a monster whale shark. Expedition recorded sounds which it presents as the language of deep-sea denizens and even staged a dance to show fish reac- tion to the strains of ‘‘The Blue Danube.” This sequence, as well as the rescue of the expedition’s femme member, after having been hit by a manta, and much of the narrative have a ‘‘fishy” feel and were seemingly used only In an attempt to build up scenic and dramatic values. Sight of the skin-divers, equip- ped with small cameras and oxygen anks, swimming in the Red Sea depths have interest. This is par- ticularly true of Lottie Berl, sole emme, who is a mighty fetching mermaid. However, these shots and those of the myriads of fish, coral reefs, etc., begin to bore after constant repetition. Narrative and the production su- pervision for Thalia were ’handled by Bill Park. He could have done better in both departments. Les Tremayne’s narration is too obvious in trying to read excitement into the lines. Robert Leo edited and Bert Grund did the score. Brog. down, and he experiences frustra- tion in attempting to obtain a taxi Settling on a bus, he pushes and is pushed, eventually ending up in a fight that causes him to lose the precious dress. Failing in his at* tempt to buy the garment of a neighbor’s child, he tries to get the church officials to delay the com- munion. However, his child finally makes it as the dress is delivered, traced by the dressmakers label. Fabrizi is fine in a difficult com- edy role as he shouts, exhorts and finally mellows as the egotistical father with the heart of gold. Miss Morlay, in an outstanding perform- ance, is his ever-loving, ever- patient wife who brings her hus- band to his senses with an unex- pected slap. Remainder of the cast also turns in top jobs. ' Ailessandro Blasetti’s direction gets most out of the comedy ele- ments, and Mario Craveri’s camera work rates a nod. Holl. Merry Wives ol Winilsor (GERMAN-MUSICAL) Central Cinema Corp. release of Deutsche Film production. Stars Sonja Ziemann, Camilla Spira, Paul Esser. Claus Holm. Directed by Georg Wild- hagen. Screenplay. Wolff von Gordon, Georg Wildhagen, based on William Shakespeare’s play and op«ira by Otto Nicolai; camera, Eugen Klagemann. Kurt Herlth. Att 55th St. Playhouse, N. Y.. starting Sept. 20, '52. Running time *2 Frau Fluth Sonja Ziemann FraU Reich Camilla Spira Sir John Falstaff -Paul Esser Herr Fluth Claus Holm Herr Reich Alexander Engel Fenton * * • • • Eck&rt Dux Anna'Reich ... Ina Halley Herr Spaerlich Joachim Teege Dr. Cajus Gerhard Frlckhoffer thropic gold prospector who hates her on sight Conflict develops between the two as he trys to drive her away. She persists in staying and finally begins to love the coun- try. She wins over the brooding, occultist cynic to her side, but too late because he Is dying. She de- cides to stay and help the natives. Direction is“ rough and editing gives the film a choppy appearance. Story seems pretentious in its mystic illusions, but too many themes cause It to wander and results in many slow spots. Claire Maffei can not integrate her char- acter in the splotchy aspects of the film/Alain Cluny, as the anguished social outcast, looks the part but lacks the dynamic drive to give the pRrt body. Lensihg gives the film some production assets. Mosk. Lo Seeieco Bianeo (The White Sheik) (ITALIAN) Venice, Sept. 16. PDC release of Luigi Rovere production. Stars Brunella Bovo, Alberto Sordi, Leo* poldo Trieste. Directed by Federico Fel- lini. Screenplay, Fellini, Tullio Plnelll from story by Michelangelo Antonioni, Fellini, Plnelll. Camera, Arturo Gallea, music, Nino Rota; editor, Rolando Bene- dettl. At Venice Film Festival, Venice. Running time, 105 MINS. Wanda Brunella Bovo Ivan . Leopoldo Trieste The White Sheik Alberto Soldi '’Strange Fascination” is another '*one-man” production from Hugo Haas. For he wrote, directed, produced Rnd-stars in this .Colum- bia release as in his previous ‘‘The Girl on the Bridge” and “Pickup.” Latest Haasian entry has a sordid, sexy theme in keeping with his earlier efforts. As. such it rates as a fine subject for exploitation houses but appears to have a spot- ty future in general release. This time Haas trains th camera on a European concert pianist whose career and charac- ter disintegrate after he meets .and weds_a buxom, blonde dancer Cleo Moore oh a U. S. tour. Mar- riage of pianist Haas is serene enough to begin with but by coin cidence shortly thereafter he’s plagued by bad luck. Haas’ ill fortunes comprise ina- bility to secure further bookings, reduction to penniless status and loss of interest in him by wealthy Mona Barrie, who sponsored his American tour. These blows are bad enough but the crusher comes when Miss Moore leaves the mid- dle-aged pianist for a younger man and at the same time an insurance company denies a claim injury to his hand. A stagey finale finds him giving a one-hand. concert in a Bowery meeting room. Despite some g o o d- - perform- ances; the cast doesn’t quite makj the script believable. Haas’ por- trayal of the concert artist is in the sympathetic vein. Miss Moore easily fulfills the physical demands of her role but fails short of meet- ing the thesping requirements. Miss Barrie, as the sponsor, car- ries on with a platonic spirit one would. expect a wealthy socialite to have. Rick Vallin, Karen Sharpe and Marc Krah, among others, provide fair support in lesser roles. Routine programmer with mild comedy and songs for lower- case bookings. Hollywood, Sept. 26. Republic release of Sidney Picker pro- duction. Stars Estelita; features Robert Hutton, Grant Withers, Kristine Miller, Edwin Max. Directed by R. G. Spring- steen. Written by Arthur T. Horman; Camera, John MacBurnle; editor, Harold Minter; songs, Sammy Wilson, Arthur T. Horman, Nester Amaral. Reviewed, Sept. 25, ’52. Running time, 74 MINS. Estellta Rodriguez Estelita Stratford Carver Robert Hutton Norman James Grant Withers Svlvia Enwright Kristine Miller Moore Edwin Max Frost Lou Lubin Ignacio Ortega Martin Garraiaga Dean Enwright Earl Lee Stoner .Lfcnnic Bremen' Stickey Langley Jack Kruschcn This Is mild-mannered program- mer entertainment. Estelita stars and the material is the type of frantic romantics usually supplied her in these low-budgeters by Re- public. As usual, plot has her newly ar- rived from Cuba and singing in her uncle’s New York nitery. Grant Withers is a,mobster who moves in on the uncle as a forced partner who threatens to take care of the singer if he is not given a piece of the club. Robert Hutton, as a young professor working up case histories on criminals, becomes the target of Estelita’s romantic in- clinations, poses as a hood himself with her help, and there are a lot of chases and impossible situations thrown into the plot before the fadeout clinch, Estelita sings three tunes dur- ing the course of her nitery stint They are “My Lonely Heart and I,” by Sammy Wilson and Arthur •T. Horman; “I Want to be Kissed,” by Wilson and Nestor Amaral, and “What Should Happen to You,” by ; Wilson. None is impressive. Mate- ’ rial is against the star, as it is Haas guided the entire film in a against the other players. Kristine Father’s Dilemma (ITALIAN) Arthur Davis Associates releaso of Franco-London production (Salvo D'An- gelo). Stars AIdd Fabrizi,' Gaby Morlay. Directed by AUessandro Blasetti. Story and screenplay, Cesare Zavattini; camera, Mario Craveri; music, B. Gigognini. Pre- viewed in New York, Sept. 19, '52. Run- ning time. 8t MINS. Mr. Carlonl Aldo Fabrizi Mrs. Carloni Gaby Morlay Carlonl's Daughter ... Adrlanna Mazzottl The pretty neighbor ..Ludmilla DudaroVa Man in the derby Enrico Vlarlslo Man in the taxi Jean, Tissier The Archbishop Luclen Baroux Carlonl's maid Laura* Gazzolo Limping man Max Elloy Italian Patriot Ernesto Almirante (In German ;English Titles) Among the most successful Ger man pictures, in the U. S., pre- Hitler, were the musicals, and “Merry Wives of Windsor” should resume this type of boxoffice pop- ularity. This opera film is well sung by the dubbed voices of well known German operatic singers, with a fine cast of German and Austrian actors. Pic shapes up as a strong entry for some arty houses and German-languge theatres. This is the Shfakespearean' story of Falstaff (Paul Esser), his love of wine and comely femmes. The familiar tale about two wives who punish him for his flirtations is related with more than usual ac- tion for an opera. Director Georg Wildhagen has i aintained an even pace between the spoken plot and actual ballad- ing; hence the picture is not weighted with too much music. At the same time he has not over- looked the best-known arias and music. Wildhagen also has not for- gotten the sex angle, with the beauty of Sonja Ziemann never neglected by the camera. One of the outstanding voices, Rita Streich, sings the Ziemann role. Miss Ziemann, besides be- ing comely by Hollywood stand- ards, also is capable as Frau Fluth, one of the Windsor wives. Camilla Spira, as the other wife figuring n the conspiracy with Frau Fluth, also does well. Martha Modi is her singing voice. Vet German actor, Esser man- ages to steal many scenes. Hans Kramer has his singing role. Ina Halley, as the younger girl in love with Eckart Dux, is attractive in lesser part while Dux upholds the. male side of the romance. Hel- mut Krebs vocalizes for him. Claus Holm, Alexander Engel and Joachim Teege also do well In their supporting roles. Camerawork of Eugen Klage- mann and Kurt Herlth is especially good on closeups. Wildhagen's di- rection is another strong credit. The Berlin State Opera orch neatly plays the music. Wear. (In Italian; English. Titles). Italian entry, winner of an award at the 1950 Venice Film Festival, is a frequently amusing comedy that misses clicking completely be- cause of a forced attempt to pour laugh situations on a tenuous story. The film’s prime purpose, how- ever, is a study of manners and characters, and as. such has enough plus-elements to make it a good contender on the art house circuit. Film’s names include scripter Cesare Zavattini, of “Bicycle Thief” fame, plus an Italo-Franco . cast headed by Aldo Fabrizi, remem- bered for his portrayal of the priest in “Open City,” and Gaby Morlay, the French star. ^ • Basic theme is the loss of the first communion dress of a little | girl, who waits at home in tears as her father races about the city attempting to retrieve the garment. Father, As portrayed by Fabrizi, is a self-centered, prosperous confec- tionery store owner who bullies his’ wife and employees, makes eyes at pretty women and expects the world to cater to his wishes and whims. The adventure of obtaining the dress from the dressmaker turns into a nightmare, as he is harrassed by traffic policemen, his car breaks Film’s main values lie in its spoof of the phony world surround* Ing the soap-opera stories which, printed in serial form, have thou- sands of faithful readers every week in Italy. Combined with pic’s other laugh values, it should in- sure a healthy boxoffice future at local runs, but will also lessen the chances in the U! S. where the genre is less wellknown. Film is overlong and uneven, but filled, with, intelligent humor of the tongue-in-check brand. It tells of the Rome adventures of a smalltown girl on her honey- moon who becomes involved with a group of people “shooting” one of the photo-strip adventures star* ing her hero, the White Sheik. Visit affords audience a good look behind the scenes of their favorite adventure-makers, involves the girl in an uproarious love-affair with the Sheik, and eventually brings her back to her dull but sound hus- band. The Sheik, it develops, is a henpecked ex-butcher’s assistant. Brunella Bovo (“Miracle in Milan”) stars as the girl, Alberto Sordi delightfully overplays his role of the Sheik and Leopoldo Trieste is fine as the husband. Production values are modest but adequate. Nino Rota’s music does much to key action. Direction by Frederico Fellini of his own script, his first megging job on his own, is uneven, but shows promise. Hawk. Les Conquerants Solitaires ... (The Solitary Conquerors) (FRENCH) Venice, Sept. 9. Seine Productions release and produc- tion. Stars Claire Maffei, Alain Cluny. Written and directed by Claude Vermorel. Camera, Jean Bourgoln. At Venice Film Festival, Venice. Running time, 91 MINS. Therese Claire Maffei Pascal Alain Cluny Bernard Andre Simon Paul P. Chatin Raphael Raphael Ambcngat Facundo, El Tlgre tie Los Llanos (Facundo, Tiger of the Plains) (ARGENTINE) Buenos Aires, Sept. 9 . Guaranteed release of Dave Caboull’e production. Stars Francisco M. AUende. with. Zoo Ducos, Felix Rivero, Miguel Beban, Jorge Molina Salas, Pascual Naca- rati, Hugo Mujlca, Mario Cozza. Directed by Miguel P. Tato. Carlos Borcosque. Sttory, Antonio Pages Larraya; editor. Leopoldo Torre Nilsson; camera. Bob Roberts; songs, Alberto Amor. At Ocean Theatre, Buenos Aires. Running time MINS. 15 This was filmed,entirely in the African bush. Profusion of murky symbolism and philosophy has missed "the color and flavor of the story. Erratically directed and acted, this exerts some-force in \ scenes of primitive rituals and na- tive dances. Film’s combo docu- mentary and dramatic aspect could slant this for some specialized U.S. slotting, but overall downbeat as- pects and plodding dramatic level militate against this for most, situa- tions. Story concerns a well brought-up girl who goes to the African bush to sell the property of her recently deceased father. She finds that the great house is a veritable shanty and the great woodlands unsale- able unless a road is built to civ- ilization. Her neighbor is a misan- Any film critic who launches out as a director is sticking his neck out for retaliation from those who formerly took the knocks from him. Miguel P. Tato (15 years ago “Nestor’’ of the tabloid El Mundo and not friendly to Hollywood) perhaps has avoided this pitfall by sharing direction honors with Car- los Borcosque, who was called in when it looked as though the pic- ture never would be finished. Film will do better in the U.S. than most Argentine pix, especially for juve- nile audiences. Director, who allied himself with the Nazi cult during the last war, has slanted this historical opus, depicting Facundo Guiroga, a henchman of dictator Rosas* as a well-meaning patriot despite his violence. This slant ties in with the present regime’s view of history. Aside from this ideological twist, the picture succeeds as entertain- ment because there is plenty of ac- tion and some suspense. This makes it a good bet for the juve- nile market. The script has Facundo Quiroga on a legendary stagecoach ride Trom the capital to the distant province of Santiago del Estero, charged with a secret mission from- Rosas to unify the northern prov- inces of Salta and Tucuman, to avoid another war. The envoy must evade attempts by enemies to pre- vent his getting through. On the return drive, the enemies catch up with him and murder him in ah (Continued on page 23)