Variety (November 1952)

6 : FIU** itJEVIEWS The Had anil the Beautiful All-star drama about Holly- wood, its characters. Well- done, exploitable and b.o. pos- sibilities. Hollywood, Nov. 18. MGM release of John Houseman pro- duction. Stars Lana Turner, Kirk Douglas, Wnlter Pldgeon, Dick Powell, Barry Sullivan, Gloria Grahame, Gilbert Roland; features Leo G. Carroll, Vanessa Brown. Paul Stewart, Ivan Trlesault, Elaine Stewart, Sammy White. Directed- by Vin- cente Minnelli. Screenplay, Charles Schnee; based on story by George Brad- shaw; camera, Robert Surtees; editor, Conrad A. Nervig; music, David Raksin. Previewed Nov. 12, '52. Running time, 116 MINS. Georgia Larrison Lana Turner Jonathan Shields Kirk Douglas Harry Pebbel Walter Pidgeon James Lee Bartlow ...... Dick Powell Fred Amiel Barry Sullivan Rosemary Bartlow Gloria Grahame Victor “Gaucho” Ribera.. Gilbert Roland Henry Whitfield Leo G. Carroll Kay Amici Vanessa Brown Syd Murphy Paul Stewart Von Ellstein .. Ivan Trlesault Lila Elaine Stewart Gus Sammy White Miss March Kathleen Freeman Ida Marietta Canty HcDill Robert Burton Contemporary Hollywood, in- cluding composites of the charac- ters that make the town the glam- our capital it is, is the setting for “The Bad' and the Beautiful,” An all-star cast, well-chosen, and a story with all the recognizable ele- • ments of drama, melodrama and romance, plus a few sardonic touches, provide exploitable hinges on which the film can be bally- hooed towards the kind of key-city grosses indicated. While particu- larly slanted for people within the trade, the picture has merchandis- able angles that can get it over in the general market. The John Houseman production, excellently conceived and carried out, is the story of a first-class heel, a ruthless, driving individ- ual whose insistent push changes a number of lives to the end that all have benefited In some way . from. hisk. multiple double-crosses*.. despite the personal sorrow or loss experienced. The Charles Schnee screenplay, of the George Bradshaw story is exceptionally well-written in dialog and situa- tion, projecting a plot that could be adapted to any industry but particularly suited to the produc- tion end of the film business. Vincente Minnelli's direction is involved with mirroring a variety of main characters, and he makes each register colorfully with a type of detached emotionalism that goes with the “out of this world” people mixed up in the plot.' Kirk Douglas, in a role espe- cially suited to him, and, in a way, reminiscent of his heelish “Cham- pion,” scores as the ruthless in- dividual out to prove he is the best when it comes to making pictures. Swung along with him is Lana Turner, the drunken, inferiority- complexCd daughter of a' former screen great, who necessarily has • to. prove she is great after being used by Douglas for his own gain; D i c k Powell, the self-satisfied southern professor-writer .-Who is pulled into the Hollywood mill by Douglas, suffers tremendous per- sonal loss in., love and esteem and then rises above it; Barry Sullivan, who, as an embryo director, gets Douglas his first chance and is double-crossed for the helping hand; and Walter. Pidgeon, the dollars-and-cents “B” producer who provides the means for Doug- las to start towards his production goal. Individually, each turns in a com- manding performance, with possibly Powell having a slight edge be- cause . of potent underplaying of his character. Miss Turner is fine as the actress who finds the strength to overcome her weak- nesses and become a top glamour star. Sullivan, with less story em- • phasis, makes his every scene count,, and Pidgeon sells his com- posite character excellently. Gloria Grahame registers big as Powell’s flighty wife,- whose easily-turned head- quickly bows to Hollywood and the amatory opportunities ar- ranged for her by Douglas with Gilbert Roland, the dashing Latin star. Roland is a flamboyant joy in the part. In the featured and supporting roles there are several standouts, the best of which is Sammy White’s portrayal of a small-time film agent who nurses along and makes his Jiving from the small bit players. Mso to be remembered are Van- «ssa Brown, as Sullivan’s wife; aul Stewart, Douglas’ yes-man; Maine Stewart, a sexy bit girl whose duties are not all confined o the film set; Ivan Triesault, a oreign-born, meticulously arty di- rector; L^o G. Carroll and others. Minnelli makes almost every ;cene ahve with background action .md bits of business. A standout s the sequence in which Miss Tur- ner drives away from Douglas’. iome after finding it was business. I ;iot love, that invoked his interest) vn her. Party sequences anc( other 1 group bitingly mirror Hollywood behavior, yet, because of the de- tachment featured in the presenta- tion, do not do the industry a dis- service. Behind-the-camera functions are of the quality expected of a large- scale production. Included among the worthy contributions are Rob- ert Surtees’ photography, David Raksin’s music score, the special effects and settings. Brog. Slurs and Stripes Forever (MUSICAL—COLOR) Spirited musical-drama based on career of John Philip Sousa. Hearty b.o. possibilities, Hollywood, Nov. 18. 20th-Fox release of Lamar Trotti pro* duction. Stars Clifton Webb, Debra Paget, Robert Wagner, Ruth Hussey; features Finlay Currie. Roy Roberts, Tom Browne Henry. Directed by Henry Koster, Screen- play, Lamar Trotti, from screen story by Ernest Vajda, based on "Marching Along” by John Philip Sousa; camera (Techni- color), Charles G. Clarke; editor, James B. Clark; musical direction, Alfred New- man; "Springtime In New York” staged by Nick Castle. Previewed Nov. 13, ’52. Running time? 89 MINS. John Philip Sousa Clifton Webb Lily Debra Paget Willie Robert Wagner Jennie Ruth Hussey Col. Randolph Finlay Currie Major Houston Roy Roberts David Blakely Tom Browne Henry Mr. Pickering Lester Matthews Maid Maude Prlckett Organ Grinder Erno Vcrcbes Secretary of Navy Richard Garrick Music Professor Romo Vincent Navy Nurse Florence Shirley Bass Singer ............ Delos JeTVkes Purvis Norman Leavitt President Harrison Roy Gordon Mrs: Harrison ' Hellen van Tuyl President's Aides.., .Walter Woolf King Roger Moore Senator Thomas E. Jackson Nora Maude Wallace PrisciUa Lenee Martin Helen Sharon Jan Altman Sousa, Jr Nicholas Roster Professor Estaban William Veddcr Clove Salesman Olan Soule Madame Liebling Alleen Carlyle Mr. McCaull Paul Maxey As spirited as any march John Philip Sousa ever led, “Stars and Stripes Forever” registers as top- notch dnterfafnment with' an ex- cellent earning potential in almost all situations. It is alive with Sousa’s martial airs, competent performances and an appealing nostalgia that strikes home in its Technicolor dressing. Sousa’s music, which will endure as long as there is a red corpuscle to tingle or a foot to march, is the chief feature of the late Lamar Trotti’s production, which he scripted vftth good dialog to carry the kaleidoscopically - presented career of the bandmaster. Similarly, Henry Roster’s direc- tion has feeling, pace, and a sure hand in sharpening the nostalgia and emotional bits to be found in the episodic Ernest Vajda screen story based on Sousa’s own “March- ing Along.” . Enacting the late march king is Clifton Webb, and he endows the character' .with his own peculiar personality to sell it strongly. It possibly might not be an accurate Sousa, but it is good Webb as deftly woven by the actor, and viewers will be pleased. For the younger ticket-buyers, the picture teams Debra Paget and Robert Wagner, a pairing that should aid its Ohances in the general market, and both supply a verve in keeping with the march tempo of the tunes. Ruth Hussey is splendid as Mrs. Sousa, a woman who understands and loves a husband who leans to the ec'centric as. depicted on the screen. Generously sprinkled through the quick 89 minutes of footage is a parade of Sousa tunes that start the feet marching, such as the memorable title number, “Semper Fidelis,” “Washington Post March,” “The Presidential Polonaise,” “The High School Cadets March,” “The Ben Hur Chariot Race,” along with lesser-known pieces, all having the Sousa wallop. Story, starting with Sousa’s days as leader of the Marine Corps Band back in 1890, spans his career briskly and reveals his secret desire to create ballads, not marches. Story thread is light in that it doesn't hew to a step-by- step dramatic line, but it adequate- ly frames the presentation as the years are spanned to show Sousa’s rise to , international prominence and his very human foibles as primly drawn by . Webb. The in- timate sequences with Miss Hussey are topnotch. Wagner proves again he is a coming personality with his play- ing of a young musician who joins the Marines so he can play with Sousa and introduces the Sbiisa- phone. Miss Paget, who becomes the tights in which she makes her initial appearance, scores strongly as the obscure singer who desires to rise above her burlesque job. She and Wagner carry a charming young romance that comes closest to a straight story line in the film. The depiction of a “living pic- tures” tableaux, an old burley standby, is nostalgic fun. The big production piece of the picture is “Springtime in New York,” staged by Nick Castle, and again featuring the very feminine curves, terp and song talents of Miss Paget. A highlight, musically, is the choral work of the Atlanta Stone Moun- tain Choir in a southern sequence, singing “The Battle Hymn of the Republic.” Ably supporting the entertain- ment intention of the picture are the performances of Finlay Currie, seen only briefly; - Roy Roberts, Tom Browne Henry and a host of other players, plus Charles G. Clarke’s color lensifig, Alfred New- man’s musical direction and the other technical credits, Brog. Road to Ball (SONGS-COLOR) Crosby - Hope - Lamour in a tinted, nonsensical, musical trek. Okay returns. Hollywood, Nov. 18. Paramount release of Harry Tugend production. Stars Bing Crosby, Bob Hope, Dorothy Lamour; features Murvyn Vye, Peter Coe, Ralph Moody, Leon Askln. Directed by Hal Walker. Screenplay, Frank Butler. Hal Kanter, William Mor- row; story, Butler and Harry Tugend; camera (Technioolor), George Barnes; edi- tor, Archie Marshek; songs, Johnny Burka, James Van Heusen. Previewed Nov. 14, '52. Running time, 91 MINS. Harbld Gridley Bob Hope George Cochran ..; Bing Crosby Lalah Dorothy Lamour Ken Arok Murvyn Vye Gun'g Peter Coe Bhoma Da Ralph Moody Ramayana Leon Askln Bing Crosby, Bob Hope and Dorothy Lamour are back again in another of Paramount’s highway sagas, this time in Technicolor, with nonsensical amusement its only destination. That end is reached eventually, but the road isn’t a smooth highway and the entertainment occasionally falters. Overall, however, it serves its in- tended purpose satisfactorily and the. grossing prospects are okay. Five songs are wrapped up in the Harry Tugend production. Numbers tee off with Crosby and Hope doing “Chicago Style” in a Sydney vaud* house.,. a .sequence that puts them on the road chased by an irate father who doubts the lads’ intentions towards his daugh- ter. Needing a job,, they hire out to Murvyn Vye, a South Seas island prince, as divers, sail for Vye’s homeland and meet Princess La- mour, which is excuse enough for her to sing “Moonflowers,” later reprised as the finale tune. “Hoot Mon,” with Crosby and Hope attired in kilts, serves as a production number while the boys are confronted with Vye’s skull- duggery in attempting to seize a treasure that belongs to Miss Lamour. The dirty work going on doesn’t prevent Crosby from pitch- ing romance towards the princess i with “To See You,” nor Hope do- I ing the same thing with “The Merry Go Runaround.” Wiser cracker Hope, however, ends up as an also-ran at the finale, with Crosby walking off with Miss La- mour .and another choice femme prize in the shape of Jane' Russell. There’s no story to speak of in the script by Frank Butler, Hal Kanter and William Morrow, from a story by Butler and Harry Tugend, but the framework is there on which to hang a succes- sion of amusing quips and physical comedy dealing with romantic rivalry and chuckle, competition between the two male stars. It also permits some surprise guest star appearances, such as the finale walkon of Miss Russell; Humphrey Bogart pulling the African Queen through Africa, Martin & Lewis and Bob Crosby, all of whom serve no other purpose than to get a laugh. Hal Walker’s direction is geared to the free-wheeling spirit that dominates the script and does well by it, as do the three stars and the featured cast. With such a trio to vocal them, the tunes by Johnny Burke, and James Van Heusen lis- ten well. George Barnes’ photog- raphy gives the production a good color cloaking. Brog. April in Paris (MUSICAL—COLOR) Doris Day in average musical for average b.o. Hollywood, Nov. 13* Warners release of William Jacobs pro- duction. Stars Doris Day, Ray Bolger; features Claude Dauphin, Eve MUlcr, George Givot, Paul Harvey. Directed by David Butler. Written by Jack Rose atld Melville Shavelson; camera (Technicolor), Wilfred M. Cline; editor, Irene Morra; musical numbers staged and directed by LeRoy Prinz; songs, E. Y. Harburg, Sammy Cahn, Vernon- Duke. Previewed Nov. 7, '52. Running time, 101 MINS. Dynamite Jackson Doris Day S. Winthrop Putnam ... Ray Bolger Philippe Fouquet Claude Dauphin Marcia Eve Miller Francois George Givot Secretary Sherman Paul Harvey Joshua Stevens Herbert Fareon Sinclair Wilson Wilson Millar Joseph Weimar Raymond Largay Cab Driver Jack Lomas An average musical sparked by Doris Day and Ray Bolger is rung up in ■ this Technicolor offering^ Wednesday, November 19, 1952 and Its chances at the boxoffice In the general market are commen- surate. The William Jacobs production has the expected flash in sets and costuming, but could have used a real sock song or dance. Best of the tunes is the E. Y. Harburg- Vernon Duke “April in Paris,” which is reprised twice during the 101 minutes. New songs by Sammy Cahn and Duke listen, pleasantly and are well sold by Miss Day. Three production numbers staged by LeRoy Prinz are spotted in the footage. First is “It Must Be Good,” using Miss Day and a line of femmes; midway is “I’m Gonna Ring the Bell Tonight,” a shipboard affair involving the gal- ley staff, Miss Day, Bolger and Claude Dauphin; third is “That’s What Makes Paris Paree,” spotting Miss Day, Dauphin, a chorus line and a group of French poodles dyed to. match the costumes of their leash-holders. Bolger only terps twice and neither appear- ance makes full use of his hoof- ing talent. Among other Cahn- Duke tunes heard are “Give Me Your Lips,” “I Know a Place” and “I Ask You.” . David Butler’s direction makes the most of the material in the screen story by Jack Rose and Melville Shavelson, cloaking the sagging Spots when the plot is stretched too thin and pointing up a number of very amusing sequences. Story springboard has Miss Day, a chorus girl, drawing by JState Dept, mistake an invite to represent the American theatre -at the International Festival of Arts in Paris. Error catches pub- lic fancy and officialdom is forced to carry it through. Enroute to Paris a quick romance blooms between Miss Day and Bolger, though he’s engaged to Eve Miller, and there’s .ji ship- board marriage that isn’t bonafide. Amusing is the sequence showing the conspiracy of Dauphin and George Givot to keep the newly- weds from consumating' the mar- riage after Givot, masquerading as ship’s captain, performed the phoney ceremony. Other compli- cations ensue as the plot boils along, including a misunderstand- ing between the couple before the finale clinch is reached. Miss Day’s winning personality and pipes aid her character, and Bolger is okay as the mixed-up, man-mouse assistant to an assistant in the State Dept. Dauphin im- presses as a light comedian with Hollywood film possibilities. Others in the cast are competents without too much to do. The plushy physi- cal production values are enhanced by Wilfred M. Cline’s color lensing and the other technical assists. Brog. Above and Beyond Compelling, human drama around principals involved in the Hiroshima atom bombing. Neatly done for good b.o. Hollywood, Nov. 18. MGM release of Melvin Frank, Nor- man Panama production. Stars Robert Taylor, Eleanor Parker; features James Whitmore, Larry Keating, Larry Gates, Marilyn Erskine, Stephen Dunne, Robert Burton, Hayden Rorke. Directed by Frank and Panama. Screenplay, Frank,' Panama, Belrne Lay, Jr., from the Matter’s story; camera, Ray June; editor. Cotton War- burton; mu6ic, Hugo Friedhofer. Pre- viewed Nov. 6, '52. Running time, 121 MINS. Col. Paul Tibbets Robert Taylor Lucey Tibbets Eleanor Parker Maj. Uanna James Whitmore Maj. Gen. Vernon C. Brent. .Larry Keating Capt. Parsons Larry Gates Marge Bratton Marilyn Erskine Maj. Harry Bratton Stephen Dunne Gen. Samuel E. Roberts. . .Robert Burton Dr. Ramsey Hayden Rorke Dr. Van Dyke Larry Dobkln Dr. Fiske Jack Ra.'ne Dutch Van Kirk Jonathan Cott Thomas Ferebee Jeff Richards Bob Lewis Dick Simmons Wyatt Duzenbury John McKee 'Radio Operator Patrick Conway Paul Tibbets, Jr Christie Olsen Driver William Lester Mary Malone Barbara Rulck Gen. Curtis E. LeMay. Jim Backus A compelling, human story, in- timately involving the people who prepped the Hiroshima atom bomb- ing, is movingly presented in “Above and Beyond.” It is a fine show, splendidly enacted by Rob-, ert Taylor and Eleanor Parker, with plenty of general appeal to make it’ worthy of top dates. While long on footage, it also is long on entertainment, and the indications for excellent returns are strong. Film is almost entirely a Melvin Frank-Norman Panama presenta- tion. The team produced and di- rected, -as veil as scripting with Beirne Lay, Jr., from the latter’s story. The switch from the light comedy that has featured most of their previous film efforts is ma/de with great effectiveness. The over- all presentation job is well-done, though at times there is an in- clination to belabor some story points and the 121 minutes of run- ning time is excessive. Plot hinges on one of World War IPs best-kept secrets, the develop- ment of the air team that dropped the atom bomb on*. Hiroshima Tay- loY plays Col. Paul Tibbets, the pilot given the dreary chore of whipping together the planes and personnel needed for the awe- some task. The performance ranks with, if not topping, any of Tay- lor’s .previous bests. Miss Parker is fine as Mrs, Tibbets, the wife who saw her marriage become secondary to the great task facing her husband, and, against the back- ground of modern warfare, a very valid love story is projected. Taylor, two years overseas in the European theatre, is ordered to the States to test the experimen- tal B-29, long-range bomber. The return gives him a brief 30 min- utes with his -wife and a son he had never seen before the months of testing are started. When the bomber is okayed, Taylor is then assigned to develop an anonymous air force, the members of which are kept in the dark about the job ahead. In this setting of tension, the picture meticulously details the various stages of progress made to- wards the day the bomb is to be used, the strain that develops in the private lives of the principals involved because of the need for great secrecy, and the excitement that generates from such a hush- hush chore. Climaxing this run of drama, naturally, is the bomb- dropping and the following let- down that permits Taylor and the others to get back on a normal basis with families and friends. A well-chosen cast of featured and Supporting players back the two stars smartly. Among them are James Whitmore, security of- ficer over the project; Larry Keat- ing as Major General Vernon C. Brent; Larry Gates, Marilyn Erskine, Stephen Dunne, Robert Burton, Hayden Rorke, Larry Dob- kin and others. Ray June gives the picture top- notch lensing that plays an im- portant part in the dramatic and action punch of some of the se- quences. Hugo Friedhofer’s music score is excellently used. 3rog<, Face To Face Episodic feature telling two separate stories, both in classic field. For companion features in art or general spots. • Hollywood, Nov. 14. RKO relea«« of Huntington Hartford (Theasquare) production. Stare James Mason, Robert Preston; features Marjorie Steele, Gene Lockhart, . Michael Pate, Minor Watson, Albert Sharpe, Sean McClory, Dan Seymour, Alec Harford, Olive Carey, James Agee. "The Secret Sharer" directed by John Brahm; screen adaptation, Aeneas MacKenzle; from the Joseph Conrad story; camera, Karl Struss; editor, Otto Meyer; music, Hugo Fried- hofer. "The Bride Comes r© Vellow Sky" directed by Bretaigne Windust; screen- play, James Agee from the Stephen Crane story; camera, Geoige Dlskantj editor, Otto Meyer; music, Hugo Fried- hofer. Previewed Nov. 1, '52. Running time, 19 MINS. Tho Secret Sharer Captain ; James Mason Capt. Archbold Gene Lockhart Swimmer Michael Pate 1st Mate Albert Sharpe 2nd Mate Sean McClory Ships Cook Alec Harford The Bride Comes to Yellow Sky Sheriff Robert Preston Bride Marjorie Steele Bad Man Minor Watson Dritmmer * .... Dan Seymour Saloon Keeper Olive Carey Prisoner James Agee Two short-story classics, Joseph Conrad’s “The Secret Sharer” and Stephen Crane’s “The Bride Comes to Yellow Sky,” have been pack- aged under the title of “Face To Face” as the first production offer- ing of Huntington Hartford’s new company, Theasquare Productions, Inc. It’s a worthy debut and with RKO’s distribution the film has possibilities as a companion feature for the general market as well as art house chances. Aeneas MacKenzie’s adaptation of the Conrad tale stars James Mason and was directed by John Brahm with appreciative attention to its literary merit as well as the Conrad mood. It’s the story of a young sea captain, taking his first command and aiding a sailor from another ship who is in trouble. Mixed with the measured Conrad pace is suspense and extremely able acting by Mason, Michael Pate, the sailor in trouble; Gene Lock- hart, a pious captain; Alec Harford, ship’s cook, and Albert Sharpe and Sean McClory, ship's officers. Karl Struss’ lensing and the other tech- nical credits are excellent. James Agee’s treatment of the Crane story has resulted in switches, new characters and a general buildup which, - however, does not destroy any of the tale's essential flavor. Bretaigne Win- dust’s direction of it is very good, and the playing by Robert Preston, Minor" Watson and the ethers are in keeping. Preston is the marshal who has cleaned up the small west- ern town and goes off to get him- self a bride while Watson, an unregenerated old gunfighter, goes on a drunken spree and waits for the marshal’s return so he can have one last gun battle. The story . . • (Continued-on page 16)