Variety (December 1952)

IS MCTXritKS PS&iEff Wednesday, December 10, 1952" Film Reviews Continued from page 6 Top Secret izes his departure from Moscow to Berlin. Cole, rapidly being typecast for dumb comedy parts, has a made- to-order role. He extracts every bit of humor out of his lines to best advantage. Oscar Homolka ' fits naturally into the role of the Rus- sian envoy who talks the English- man into going to Moscow and who is eventually happy to join him on British territory. Nadia Gray is an attractive interpreter who ap- parently is also relieved to take refuge on British soiL While these three have the plum roles, lesser parts have been filled with thought. Frederick. Valk, Geoffrey Sumner and Wilfrid Hydewhite make stand- out -contributions. Stanley Pavey has done a smooth lensing job. Giulio Zampi has ed- ited in slick style. Myfo. Folly to Be Wise Bridie play a British screen dud despite Alastair Sim. London, Dec. 20. British Lion release of London Film- Launder-Gilliat production. Stars Alastair Sim. Directer by Frank Launder. Screen- play, Frank Launder and John Dighton, from play by James Bridie; camera. Jack Hildyard; editor, Thelma ConneU; music. Temple Abady. At Odcon, Marble Arch, London, Dec. 1, '52. Running time, 91 MINS. Captain Paris Alastair Sim George Prout Roland Culver Angela Prout Elizabeth .iLiai. Lady Dodds Martita Hunt Dr. McAdam MUes MaUeson Professor Mutch Colin Gordon Joseph Byr-es, MP Edward Chapman Jessie Killegrcw Janet Brown Walter Peter Martyn Intellectual Robin Bailey Colonel Clement McCaliin Corporal Michael Ripper Landlord Leslie Weston Staff Sergeant Michael Kelly Bus Conductor George Hurs. Drill Sergeant Cyril Chamberlain Little attempt has been made to transform this James Bridie play into a moving film. There is al- most no action, with one incident occupying the major part of the running time. Launder and Gilliat. who are noted for their hep treat- ment, have dissipated firstclass tal- ent with a production which will make little impact at the boxoffice either locally in Britain or in the US. Alastair Sim is one of Britan s top comedians with a name of real marquee value, but even he has no opportunity to lift the yarn out of its deep rut. The treatment hovers uneasily between comedy and farce with broad doses of senti- ment thrown in. Sim Is cast as an army padre who has to organize entertainment for the troops. He is let down by a concert party arid, on the inspira- tion of his secretary, organizes a “brains panel.” This includes a local artist <and his wife, a profes- sor, who is staying with them; a doctor, a labor M.P. and, of course, the village’s titled lady. The setup is providing a modicum of amuse- ment until the padre’s eager secre- tary plants 'a question seeking ad- vice on marriage. This leads to a free-for-all between the husband and wife which wrecks the show. The buildup to the panel or “brains trust” is slow and labori- ous, with the panel’s session is stretched to the point of tedium. Aside from the static scene, it lacks genuine humor, honest wit or any sparkle. The cast battles valiantly but the odds are against them. Roland Culver, Elizabeth Allan, Martifa Hunt, Miles Halle- son, Colin Gordon and Edward Chapman, the members of the panel, are bogged down by the script. Janet Brown and Peter Martyn are ineffectual juve leads, Frank Uaunder’s direction is pe- destrian mainly because of the lim- itations of the story which he did in conjunction with John Dighton. Jack Hildyard has lensed comDe- tently. Myro. this As with “Difficult Years,” fofc which he is possibly best known in the U. S. Part of this failure pos- sibly stems from his inability to blend a cast of amateur kids with known Italian pros. Result is a somewhat disjointed, if at times en- grossing yearn. Film should do fairly well at Italian - language houses because of the Zampa name and presence of intriguing Gina Lollobrigida in, the main femme role. With the drawing of a white line through a little Italian community near Trieste, a new frontier is es- tablished as a result of Interna- tional Peace Coommission rulings. East of the line belongs to Yugo- slavia and the Soviet regime, while those on the west side fall unaer Italian control. Such an arbitrary decision causes tragic and some- times absurd results. A farrier’s dwelling is separated from his fields; a priest is left his church while his oratory is taken away; and the white line dvides a slope down which the village children coast their toy wagons. Story con- cerns the yen of these youngsters to obliterate this arbitrary line, building to a sacrifice of one boy. Story of Piero Tellini and Ste- fano Terra tries to point up how the audacity of these youngsters finally wi^es out the barrier. One lad. steals one of. the boundary markers, and military authorities on both sides vow vengeance un- less the missing stake is restored When the juvenile culprit, Enzo Stajola, attempts to return this marker, he is mortally wounded by fire from the guards. Both sides mourn the kid’s death, and opposing factors tempo- rarily are friends again, and re- united as village townspeople. It enables Miss Lollobrigida to de- cide between Raf Vallone, a new- found sweetheart, refugee from the Yugo regime, and Erno Crisa, who has deserted her to go with th£ Commies. This slight roman- tic triangle is the picture’s weakest point, Zampa employing his ama- teur juveniles for bulk of the foot- age. He has tossed in the Commie angle only in an offhand way while trying to stress the inhumanity of war in general. Result is that neither is especially effective. Miss Lollobrigida is okay - when given a chance as the demure vil- lage girl. Vallone is excellent in his too-infrequent dramatic pas sages, being one of the best he- man Italo actors to be unearth in some time. Grisa, as the other man, also is handsome but not a particularly good actor in this film Young Stajola does okay, being the only pro among the 30 kids in the pic. Cesco Baseggio, as his father, and Jino Cavalieri, the priest, head the professional support. Carlo Montuori’s lensing is high- grade even with the most difficult outdoor shots. There is a brief English narrative spoken nicely by Ray Morgan at the outset and near the close of the pic. Clare Cata- lano’s English titles and English narrative are excellent. Wear. The White Line Lux release of Lux-Rome production Stars Gina. LoUobrigida, Rat Vallone- Enzo Stajola; Directed by Luigi Zampa Screenplay, Piero TeUlni, Stefano Terra from story by Tellini; camera. Carlo Mon tuori; music. Carlo Rustlchclli; English titles and narration. Clare Catalano; Eng- lish narrative, Ray Morgan. At Cine Verdi. N. Y., starting Dec. 4, '52. Running time, «4 M«NS. Donata Sebastian Gina Lollobrigida Domenico *Raf Vallorte Pasqualino Sabestian.. .. Enzo Stajola Stefano ... Erno Crisa Giovanni Sebastian.... Cesco Baseggio The Grandfather Ernesto Almlrantc The Grandmother Silvia Curetti Pnitecoste Gianni Cavalieri The Priest Glno Cavalieri Gaspare Fabio Neri Lampadina Mario Sestan Ac-quasunta Antonio Catania Coeciavite Giordano Ccslni • In Italian; English Titles) „ A preachment against.war, “The White Line** never quite measures up. Director Luigi Zampa has not done nearly as successfully with ' II Es t Mliiuil Dr. Schweitzer (It Is Midnight Dr. Schweitzer) (FRENCH) Paris, Nov! 25. Cocinor release of Nadia Film produc tion. Stars Pierre Fresnay, Raymond Rouleau. Directed by Andre Haguet. Screenplay, Haguet, Andre Legrand from a play by Gilbert Ceesbron; camera Luclen Joulin; editor, Charles Breto neiche. At Colisce, Paris, Nov. 20, '52 Running time, 110 MINS. Dr. Schweitzer Pierre Fresnay Commandant r Raymond Rouleau Marie Jeanne Moreau Leblanc Andre Valmy Pcre Charles Jean Debucourt Pierre Fresnay adds another portrait to the gallery of greats he has done in pictures. Here he is the famed humanist Dr. Albert Schweitzer. Film covers a segment of the man’s life, dealing mainly with his decision to go to Gabon to set up a hospital for the natives and his difficulties in overcoming superstition and the laxity of white colonials. Film is based on a play and follows that format in building a series of incidents. It allows too much talk to get in the way of the dramatic emphasis, with the con- sequent slow pacing. On the Fresnay name this will go here For the U. S., the pic has the ex- ploitable tag of the Schweitzer name for art houses. Film picks up Dr. Schweitzer as a pastor in Alsace where he has just finished his medical training and has decided to go to Gabon to dedicate himself to the suffering of the ill-cared for natives. Accom panying him is a young nurse, who has been disappointed in love. The growth of the native hospital and the final internment of Dr. Schweit- zer as an enemy alien when the first world war breaks out then is shown. , , Andre Haguet has directed in a slow, careful manner allowing Fresnay to carry the film with his top histrionics. Otherwise other roles are fragmentary tmd are primarily used to develop the Schweitzer character. Fresnay makes the character believable. Such episodes as an operation with primitive implements with menac- ing natives standing nearby, his calming of a mad native and his winning the confidence of the native residents are well done. His final farewell, when he knows that all his work will have to be rebuilt after the-war, is a moving moment. Lensing is tops and editing man- ages to blend location work and studio filming well. Raymond Rouleau does not have much to do as the commandant who must ar- rest Schweitzer. Jeanne Moreau lends a piquant, tired face to the crusading nurse. Mosk. Alftume (GERMAN) Vienna, Nov. 11. Styria release of Styria-Carlton produc- tion. Stars Hildegard Knef, Erich von Stroheim. Directed by Arthur Maria Rabenalt; screenplay by Fritz Rotter, based on novel by H. H. Ewers; music by- Werner Heymann; camera, Freidl Behn-Grund. At Forum, Vienna. Running time, 90 MINS- Alraune Hildegard Neff Ten Brinken Erich von Stroheim Frank Braun Karlheinz Boehm Count Geroldingen . Harry Meycn Dr. Mohn Harry Halm Governess Denise Vernac Princess Wolkonska Julia Kbschka In the early, 1900s, when the H: H. Ewers novel, “Alraune,” cut a swath in the German-language world like Elinor Glyn’s “Three Weeks” in the States, the very thought of artificial insemination of humans was mentionable only in whispers. Times and sensations change. In 1952 the audience isn’t doing any gasping over the dis- closure that the. supposedly fatally fascinating Alraune (Hildegard Knef, known in U. S. as Hildegarde Neff), was deliberately bred by the evil scientist Ten Brinken (Erich von Stroheim), "Utilizing a murderer and a prostitute. What remains is to show that Miss Knef, under the malevolent foster father’s upbringing, had in- herited all the evil traits of her parents who never met. Every per- son she touches, the story tells us, is condemned to tragic death, for she cannot love, only tantalize the hapless young men who pursue her. In the hands of a more serious cast and writers this might con- ceivably have been made into something shuddery, if not impres- sive. As it is, Miss Knef’s limited acting range, the juvenility of the lads she hounds to their deaths, and the comic malevolence .of von Stroheim produce only a labored setting for a range of costume changes and phony thunderstorms for the lethal Alraune. Much time is lost in meandering aimlessly through a set of ^unneces- sary complications about how | Alraune’s supernatural powers dis- cover a “itfedicinal spring” which von Stroheim uses in some unex- plained way to swindle the public until caught by the health authori- ties. To close it out, Alraune dis- covers at last that she is capable of true love with one man—played by a far too boyish Karlheinz Boehm; only to be shot dead by the enraged foster" father in a climax clearly indicating an inces- tuous theme not previously hinted at. Final fadeout has von Stroheim marching up steps to a fog- shrouded gallows to pay for his crime. Photography is okay, though dark; editing is loose by U. S. standards, since 20 minutes could well be spared; other credits are satisfactory. But not much here for the U. S. Isra. at the climax can lift it from its mediocrity. . ,, Story, starting in Tokyo s night-' life center shows Pat Grant (Drake), a U. S. soldier stationed in Japan, bumping into Kimiko Yamada (Mitsuko Kirmura) and accidentally knocking her purse to the ground. He returns the purse. The friendship struck up develops into love to the displeasure of her parents and a young Japanese suitor as well as an older country- man who is trying to buy her hand in marriage. * Shipped to Korea Drake is wounded and returned to Tokyo where Kimiko is about to marry the young Japanese. She learns that Grant is in the hospital and goes to him where she discovers that his letters have never reached her. Then an earthquake decides their future without solving the real problems. Best performances are given by Miss Kimura, Life cover girl, who is graceful, and attractive, and character actor Ichiro Sugai, as the newly-rich Suzuki who tries to buy the girl. Drake, now serving with the Army in Tokyo, tries to portray a naive young American but turns in an unrestrained per- formance. Director-writer Sloane, who has had many troubles during the 10 months he has been thrashing out “Forever,” is responsible for the trite dialogue. English dialogue portion of pic is stilted and bro- midic. Newsreel shots dubbed in for the Korean sequence are tops. The earthquake sequence is realistic, being probably the most costly single scene ever film in Japan. Lars. Tre Storio Proiliale (Three Forbidden Stories) (ITALIAN) Genoa, Nov. 11. Warner Bros, release of an Electra Film (Renato Bassoli production. Stars Eieo- nore Rossi Drago. Lia Amanda. Antonella Lualdi. Directed by Augusto Genina. Screenplay, Vitaliano Brancati, Ercole Patti, Ivo Parilli, Augusto Genine, from story by Genine and Brancati; camera. G. R. Aldo; sets. Franco Fontana; music, Antonio Yeretti. At Cinema Olimpia, Genoa. Running time, 115 MINS. Renata Lia Amando Annamaria Antonella Lualdi Gianna Eleonore Rossi Drago Mario Gabriele Ferzetti Tommaso Turella Enrico Luzl Prof. Aragana Gino Cervi Walter Frank Latiinore Itsu Itsu Made Mo (Forever My Love) (JAPANESE) Tokyo, Nov, 4. Daiei production and release. Stars Chris Drake and Mitsuko Kimura. Di- rected by Paul Sloane. Screenplay, Sloane; camera, Akira Mimura; music, Hidemaro Konoe. Running time, 135 MINS* Kentaro Yamada Eijiro Yanagi Shlzue Yamada Sanae Takasugi Kimiko Yamada Mitsuko Kimura Saburo Kimura Jihei Akita Haruo Suzuki . Ichiro Sugai Mu to Takeo Kamikubo Kato Henry Nakamura Pat Grant Chris Drake Daiei Studios, producers of the prize winning “Rashamon,” make another stab at the international market with “Forever My Love.” Despite an assist from writer- director Paul H. Sloane and male lead Chris Drake plus a bit part by Nisei Henry Nakamura, the joint Japanese-American production is just a noble try. Hampered by a very trite plot, overlong running time, poor thes- ping ffom Drake and a lack of the originality which marked “Rasha- mon,” this study of a Japanese- American romance turns out to be the sudsiest sort of soapopera. Not even a special-effects earthquake Essentially a three-episoder with framework, this film looks like a good commercial bet locally, with proportionally promising export chances. With some trimming, it appears to be a fair risk for some U. S. bookings. It is exploitable. Stairwell collapse in Rome which injured hundreds of girls lined up for jobs and recently fur- nished the climax for another pic, “It Happened in Rome,” also pro- vides a framework for three hos- pitalized jqb seekers, via flashback, reveal their pasts. The life of one has been ruined by complexes arising from her childhood rape by^a friend; the second has mar- ned for money, but unhappily to a selfish semi-idot heir; the third, daughter of a college prof, be- comes involved with a aope-ped- dling lover. Payoff is neatly done in the windup as the third gal turns out to be the cause, not the victim, of the stairs collapsing. Well-staged stair crumble is ef- fectively reprised at end. • Film has many conventional ele- ments and drags in spots, but is generally well acted. It has been given above-average production gloss. Lensing by G. R. Aldo is unusually good. Eleanora Rossi Drago makes the best of a meaty role as the dope addict, with Lia Amanda and An- tonella Lualdi in the other top spots. Sex appeal angles have been given high-toned treatment, but are present nevertheless. Pic allows a two-way interpretation of the dope angle (mainly hinted at) in. deference to possible censor- ship. Hawk. pected happy resolution. A cabaret star succeeds in seducing a high government official by posing as a judge’s wife. The judge thus be- comes involved, receives several promotions before finding out the reason while his real wife,, the official’s secretary and* his ex- mistress, and several others also add to the comic confusion. Despite all this, the pic has several dull stitches, failing to capitalize on its potentials. Pietro Germi’s direction allows the actors a full range, with some resultant overplaying. Otherwise it follows the play-adaptation closely. Sil- vana Pampanini, though physically equipped for the role, doesn’t have the necessary verve for the femme who causes all the trouble. Carlo Dapporto is fine as the official, Ave Ninchi shines in a chaftge-of-pace role as the judge’s wife, with Luigi Pavese properly .harassed as the husband. Marilyn Buferd has a few mpments as the ex-mistress, furios- ly intent on removing the “ex.” Single piano music accompanies action in silent pic style, a definite asset. Lensing is okay. Hawk. Land Des Lachelns (Land of Smiles) (GERMAN) Berlin, Nov. 11. . HerZog Film release of Berolina-Film production. Stars Martha Eggerth, Jan Kiepura. Directed by Hans Deppe. Screen- play, Axel Engebreeht, Hubert Marischka, based on operetta by Franz Lehar; cam- era. 5turt Schulz; music. Franz Lehar; musical direction. Alois Mellchar; set- tings, Willi A. .Herrmann and Heinrich Weidemann. At Apollo, Dusseldorf. Run- ning time, 114 MINS. Lisay Licht Martha Eggerth Prince Sou Jan Kiepura Professor Ferdinand Licht. Paul Hirblger Gusli Potter Walter Muller Mi, Prince Sou’s sister Karin Dassel Excellency Tschang Karl Melxner Kato Ludwig Schmitz La President **$sa (ITALIAN) Genoa, Nov. 4. Minerva Film release of -Amato- Exceles production. Stars Silvana Pampa- nini, Carlo Dapporto; features Ave Nin- chi, Marilyn Buferd, Aroldo Tieri, Luigi Pavese, Guglielmo Barnabo, Aldo Bufi Land!. Directed by Pietro Germi. Screen- play, Aldo DeBenedetti, from play by Hennequin and Weber; camera, Leonida Barboni. At the Olimpia, Genoa. Running time, 102 Mins. Film version of the Hennequin- Weber costume comedy principally sticks closely to. the style and format of its legit predecessor, re- cently staged in some Italian cities. Unknown to a majority of local audiences, which gives it a mean- ingless title, mild grosses are prob- able. Abroad, the pio’s saucy con- tent played in racy French style, should win it a following, espe- cially if dubbed. Trimming is suggested for some slow spots. Vehicle plays with various mis- taken identity and double-entendre motifs before coming to an ex- Although Franz Lehar’s “Land of Smiles” has been done several times previously for the screen, this new one rates as top entertain- ment. Biggest advantage is still the romantic appeal of Lehar’s mu- sic. Another plus here is the two marquee names of Martha Eggerth and Jan Kiepura. Pic has excel- lent chances here and also may have good U. S. possibilities. Geva- color has been used to advantage. It is done here much better than former tries with it. This version of “Smiles” features all best-known songs of the oper- etta, and all are easy on the ear. Miss Eggerth, of course, is the Viennese operetta soprano who in Austria’s capital meets Prince Sou (Jan Kiepura) from Siam. Before he goes back to his country, both get married. The story follows the familiar pattern, with plenty of ro- mance. But the main thing is the singing. Most of the vocalizing is by Miss Eggerth and Kiepura. Their acting is satisfying but un- fortunately frequent close-ups treat the star’s faces not too kindly. Screenplay by Axel Eggebrecht and Hubert Marischka is not very imaginative. Neither is Hans Deppe’s direction since somewhat uneven. Both scripter and direc- tor concentrated on the romantic aspects of the plot. The old-hat story could stand some sophisti- cated touches, the gags tending to be lifeless. Both the authentic Bangkok backgrounds and dancing of the Siamese State Ballet, how- ever, are eye filling. Walter Mueller is charming as one of Miss Eggerth’s Viennese ad- mirers who laten takes an interest in a Siamese .princess. Latter is played by attractive Karin Dassel. Paul Horbiger turns in his usual dependable performance as a mu- sic teacher while Ludwig Schmitz is a clown-like Siamese servant who tries hard to be funny but he is handicapped by his material. Alois Melichar’s mpsical direc- tion and Jens Keith’s choreogra- phy are okay. Hans, Fabian’s Buy-out Continued from p\?e 3 will join him at their Coast head- quarters today (Wed.). Albert Warner headquarters in N. Y. The Warners and members of their families own 934,298 shares of the outstanding common stock in the parent corporation. Under the divorcement, .these are to be exchanged on the basis of Vfc share in both the theatre and film com- panies for each single share in the parent outfit. Parent outfit now has 4,950,600 shares outstanding. Over a year ago, a Fabian group ancl the three Warners had jneared a deal under which Fabian would buy out all physical assets of the WB domestic chain at a cost ap^ proximating $80,000,000. First Na- tional of Boston, repped by Serge Semenenko, was involved in the financing also but last-minute hitches killed the projected trans- action.