Variety (December 1952)

« mm kkvhws Pfifuefr We<Ine»day $ Itecembetf 24, 1952 My Cowsiit Kaehe1 Compelling performances and class presentation highlight film version of the bestselling novel; marketable ballyhoo angle? for b.o. prospects. Hollywood, Dec. 22. 20th-Fox release of Nunally Johnson production. Stars Olivia de HavWand; features Richard Burton, Audrey Dalton, Bonald Squire, George DolOnz, John Sut- ton, Tudor Owen, J. M. Kerrigan. Di- rected by Henry Koster. Screenplay, Johnson; from novel by Daphne du Maurlcr; camera, Joseph La Shelle; edi- tor, Louis Loeffler; music. Franz Wax- man. Previewed Dec. 16, *52. Running- time. 98 MINS. Rachel Olivia dc Havllland Philip Ashley Richard Burton Louise Audrey Dalton Nick Kendall Ronald Squire .Ralnaldi George Dolenz Ambrose Ashley John Sutton Seecombe Tudor Owen Reverend Pascoe J. M. Kerrigan Mrs. Pascoe Margaret Brewster Mary Pascoe Alma Lawton • Pascoe Daughters Ola Lorraine Kathleen Mason Signora Argentini Brunetti Caretaker Mario Silettl Tamblyn Lumsden Hare Lewln Trevor Ward Philip—Age 10 Nicholas Koster Philip—Age 15 Robin Cam; Foreman Victor Woe film's mood. So does the standout photography of Joseph La Shelle, which aptly captures the feel of melodrama and highlights the early 19th Century. England locale. Brog, Monlin Rouge (COLOR) Distinguished production in striking color, starring Jose Ferrer. Demands strong selling. A dark, moody melodrama, with emphasis on tragedy, has been fashioned from Daphne du Mau- rier’s bestseller, “My Cousin Rachel.” Highlighted by compel- ling performances and a clean touch in its presentation, it is car- riage-trade drama with enough hints of sex ^nd violence to pro- vide exploitation angles for the re ite boxofficfctonces will depend! 8*3*^. upon . the manner of mercJba.ndis- J Man— 1 st Bar mg and how readily the general ■ ££ni uclier ' T M - ''£? Iei ‘ be United Artists release of Romulus pro- duction. Stars Jose Ferrer, Zsa Zsa Gabor, Suzanne Flon, Colette, Marchand; features Katharine Kath, Claude Nollier, Muriel Smith. Directed by John Huston. Screen- play, Huston and Anthony VelUer, adapted from novel by Pierre La Mure; asso- ciate producer, Jack Clayton; enmera (Technicolor), Ossie Morris; editor, Ralph Kemplin; music, George Auric. Previewed at Victoria Theatre, N. Y., Dec. 18, *52. Ruflning. time, 118 MINS. Toulouse-Lautrec Jose FerrCr Marie Charlet Colette Marchand Myriammc Suzanne Flon* Jane Avril Zsa Zsa Gabor La Gouluc Katherine Kath Countess de Toulouse-Lautrec Claude NoUier Alcha Muriel Smith Patou Georges Lannes Valentin Dessosse Walter Crisham Madame Loubet Mary Clare Maurice Joyant Harold Gasket Zidler Lee Montague Sarah Jill Bennet Denise Maureen Swanson Perc Cotclle *. Jim Gerald Chocolat Rupert John Alcha’s Partner Tutti Lemkow Proprietor (1st Bar) Eric Pohlman Seurat Christopher Lee Anquetin Jean Lanclier Gauzi , Robert Le Fort Drunken Reveller Jean Claudio Lerette Siizi Euzaine Delivery Boy • Guy Motschen Maitre D'Hotel Maxim's.... Mons. Lcdcbur Maitre D'Hotel Mons. Tabourno Fernand Fabre George Pastell Importance ol Being Earnest “The* Importance of Being Earnest,” British import which preemea at the Baronet The- atre, N. Y., Monday (22), was reviewed from London by Variety in the issue of June 18, 1952. Myro opined that “all the charm and glossy humor of Oscar Wilde’s classic comedy emerges faithfully in this Anthony Asquith Techni- color production.” Reviewer predicted that the film “should do particularly well in art houses, with long runs a strong possibility.” In appraising the entry, the critic wrote that Asquith “has taken few liberties with the original. His skillful direction extracts all the polish of Wilde’s bril- liant dialog ...” Perform- ances of. Michael Redgrave, Joan Greenwood and other cast toppers were warmly praised. public will accept the responsi- bility for solving the main theme’s mystery implications. As in the novel, it is left up to the viewer to decide whether Rachel is a murderess or a woman condemned by circumstantial evidence and un- warranted suspicions. Despite book- stall' acceptance of the novel, this is not an entirely satisfactory method of story-telling and will leave many with a feeling of frus- trating uflfulfillment. The Nimnalty Johnson script, which he produced, states even weaker cases for and against Rachel than does the novel, so it will be harder for the viewer tp arrive at a decision. Also, the hinted sex of the novel is watered down, making the film actually less definitive than the inconclusive novel. Some pro and con talk may accrue in judging the woman, and ticket sales will depend upon the lure of excellent performances and the physical gloss of the picture. Olivia de Havilland’s sure talent is entrusted with the title role, and she endows it with command- ing histrionics. Opposite her is Richard Burton, an English actor debuting in Hollywood pictures. He creates a strong impression and undoubtedly will be in demand for further top assignments, judging by the strength he gives the roie of a love-torn, suspicious man. Briefly, the story tells of a young man with a deep affection for the foster father who had raised him.. When the foster father marries a distant cousin he has met while touring Italy to escape the rigors of winter in Cornwall, the young man is beset with jealousy. This later turns to suspicion and hate when he receives letters that indi- cate his beloved relative is bein* poisoned by the bride. The foster father dies and the foster son vows vengeance on Rachel. Instead, he' falls hopelessly in love with her when she visits him on the Corn- wall estates to which he has fallen heir and gives her everything he possesses. A fear that he, too, is being slowly poisoned by the beau- tiful widow gradually develops and, in his dismal dilemma, he permits Rachel to go to an accidental death, thus dooming himself to spend the rest of his life in doubt as to her Victor Francis de Wolff Dodo Michael Balfour IlVihy Gculry Bold, adult drama of love and lust, with Jennifer Jones, Charlton Heston, Karl Malden; blatant s.a. for exploitation. chance, though, to dress fashion-} ably, and in these scenes the Val- entina-designed .gowns are most attractive and smart. Tom Tully, who plays Ruby’s father, a keeper of a hunting and fishing lodge on the edge of the swamp; Bernard Phillips, a gentle doctor who yens for Ruby in gen- tlemanly fashion; James Anderson, the fanatic brother; Misses Hutch- inson and Avery, plus the others briefly involved, are all good. Heinz Rocmheld’s music score is excellent and never overplayed, even in the more dramatic mo- ments when the usual film cleffing blasts the eardrums, hence has an awarding influence on mood. A plaintive 1 harmonica and guitar chords are stressed. Russell Har- lan’s expert photography is mostly a low-key job that ably backs the plot. Editing and other technical contributions are well valued. Brog .. The i lown The Star Bette Davis in strong per- formance as fading Hollywood film star; some ballyhoo chances and okay general re- lease possibilities. \ r Hollywood, Deo. 19 20th-Fox release of Bert E. Fri«>(U,,i, production. Stars Bette Davis, Sterling Hayden; features Natalie Wood, Warner Anderson, Minor Watson. June Travit Directed by Stuart Heisler. Screenplay Katherine Albert and Dale Eunson; cam! era, Ernest Laszlo; editor, Otto I.mlwiif* music score. Victor Young. Prcvicwi'fi Dec. 16, '52. Running time, 90 Ml Ns Margaret Elliott Bette Davis Jim Johannson Sterling 1 l.-i\<ien Gretehen Natalie Wood Harry Stone Warner Anderson Joe Morrison Minor Watson Phyllis Stone .. June Travis Mrs. Morrison Katherine Warren Mrs. Adams Kav uiehl Peggy Morgan Barbara Woodei Faith . F:,v Baker Barbara Lawrence .... Barbara I.:i\vrnu« Keith Barkley David Aloert Richard Stanley Paid p r( , e |j A strong performance by Dottc Davis, in a tailor-made role, gives a lift to “The Star” that il might not have had otherwise. The his- trionics and the Hollywood locale provide it with exploitation possi- bilities for some key-city dates and establish okay chanc'es in the gen- eral runs, where overall returns should be average. An independent production by Bert E. Friedlob for release through 20th-Fox, the picture has been acceptably fashioned to cen- ter attention on a fading film star, down to her last buck but stili striving to revive a career that only she believes in. Miss Davis socks over the characterization. The original screenplay by Kath- erine Albert and Dale Eunson has its hackneyed moments, particu- larly the finale, but generates enough interest to hold the atten- tion. especially because of Miss Davis’ performance and the smooth, dramatic realization of Stuart Heisler’s direction. Red Skelton, Jane Greer in sentimental, family-trade fea- ture; a new version of '‘The Champ,” made in 1931. On artistic grounds, “Moulin Rouge” is standout all the way, and inherent b.o. values are sturdy for key-city situations. Careful mer- chandising, with bally emphasis on the color.and lusty flavor of the period it reproduces, and the gaudy and zesty characters it focuses upon, are important b.o. factors. Jose Ferrer this time has an- other strictly offbeat assignment. He endows with conviction the part of Toulouse-Lautrec, the cul- tured, gifted artist of Paris in the 1880’s whose glaring deformity—a childhood accident impeded growth of his legs—repulses the women whom he constantly seeks. John Huston’s direction is su- perb in the handling of individual scenes. The can-can ribaldry, the frank but not distasteful depiction of streetwalkers and others of low station, the smokey atmosphere of Parisian bistro life—they come through in exciting pictorial terms. Like the masterful sketches by Lautrec himself, each scene has a framed appearance which richly ■sets off the action. And the Tech- nicolor tinting, a strong asset, fully captures the flamboyant aura of Montmartre. But overall, the production, while of great scenic merit, re- quires some dramatic explosive- ness. The story unfolds in a con- stantly minor-key tone. Although he’s one who might ordinarily be pitied, the abused, lonely, mis- shapen LautPec ' fails to achieve the warmth that would endear him to an audience. Colette Marchand, Zsa Zsa Gabor and Suzanne Flon are the femme principals, contributing added zest to the sinful Mont- martre of Lautrec’s time. Miss Marchand, as the story relates, is Marie Charlet, the artist’s big .’ove, but she accepts him tempo- rarily only because he supports her. Miss Marchand’s denunci- ation of Lautrec prompts him to take up actively the sketching that brings him fame. Story, basically, presents Lautrec as the son of aristocrats. Despite his noble birth, Lautrec can find the vibrant subjects for his sketches only in the Montmartre, Hollywood, Dec. 22. 20th-Fox release of Joseph Bernhard, King Vidor production. Stars 'Jennifer Jones, Charlton Heston, Karl Malden; features Tom Tully, Bernard Phillips, James Anderson, Josephine Hutchinson Phyllis Avery, Herbert Heycs. Directed by Vidor. Screenplay, Silvia Richards; story, Arthur Fitz-Richard; camera. Rus- sell Harlan; editor, Terry Morse; music, Heinz ftocnthckl. Previewed <Det, 27, '52. Running time, 82 MINS. Ruby Gentry Jennifer Jones Boake Tackman Charlton Heston Jim Gentry Karl Malden Jud Corey Tom Tully Dr. Saul Manfred Bernard Phillips Jewel Corey James Anderson Letitia Gentry Josephine Hutchinson Tracy McAuliffe .......... Phillis Avery Judge Tackman .... Herbert Heyes Ma Corey Myra Marsh Cullen McAuliffe Charles Cane Neil Fallgren Sam Flint Clyde Pratt Frank WUcox ' Hollywood, Dec. 23. MGM release of William H. Wright pro- duction. Stars Red Skelton, Jane Greer; features Loring Smith, PhiUp Ober; in- troduces Tim Considine. Directed by Rob- ert Z. Leonard. Screenplay, Martin Rackin. from adaptation by Leonard Praskins; story, Frances Marion; camera, Paul Vogel; editor. Gene Ruggicx*o: music, David Rose. Previewed Dec. 17, '52. Run- ning time, 91 MINS. Dodo Delwyn Red Skelton Dink Delwyn •..., Tim Considine Paula Henderson .......... Jane Greer Goldie Loring Smith Ralph Z. Henderson Philip Ober Little Julie Lou Luhin Dr. Strauss Fay Roope Joe Hoagley Walter Reed Television Director Edward Marr Floor Director Jonathan Cott Gallagher Don Beddoe Young Man Steve Forrest guilt 01 * innocence. This same doubt! particularly at Moulin Rouge, is left with the viewers. Within these inconclusive bounds Henry Koster’s fine direction makes the script scenes furnished by Johnson as definitive as possible and, since the up-in-the-air ending is not indicated until the conclud- ing sequences, there is an excellent feeling of suspense and intrigue to carry the viewer along. Abet- ting this feeling are a number of worthwhile featured and support- ing performances. Audrey Dalton registers very well as Louise, the neighboring girl in.love with Bur- ton. Ronald Squire, as Burton's guardian and father of Miss Dal- ton; George Dolenz, the mysterious Italian lawyer who figures impor- tantly in Rachel’s life; John'Sut- ton. seen briefly as the foster father; Tudor Owen, J. M. Kerri- gan, Margaret Brewster, Alma Law r where he drinks incessantly while drawing* can-can girls, etc. Lau- trec’s ultimate success comes with the knowledge that his works are to be exhibited in the Louvre, which he learns just prior to his death. Filmed in France and Eng- land, the pic is an adaptation of the best-selling novel by Pierre La Mure. The occasionally slow pace and quiet tone of “Moulin Rouge” sug- gest some judicious cutting is in order; the running time of 118 minutes is too long. The lighting and camera work are excellent, though there are a few instances where the dialog sounds muffled, Gene. Pathe’s Expansion Hollywood, Dec. 23. ton’ and °Mario Siletti ’are"among! *? lans for a 50<?/o expansion are ... _ _ . . ^ — 1 - 1 - — V _ 1 - 1 * 1 others caoably furthering the 1 under way at Pathe lab, which re- dramatic aims of the film. I cently completed a large 16m addi- Technical contributions are of j ^ on to its Hollywood plant, high order, n6t the least of which | Idea is to meet the anticipated is the haunting score by Franz i increase in TV business during Waxman that fits jperfectly into the > 1953, This is a bold, adult drama lay- ing heavy stress on sox to provide it with strong exploitation possi- bilities. Backing the ballyhoo angles of love and lust is the film’s controversial entertainment merits, giving it another angle that should stir talk and prove helpful to the selling. An independent production for 20th-Fox release by Joseph Bern- hard and King Vidor, the film of- fers some marquee importance in the names of Jennifer Jones, Charlton Heston and Karl Malden, story of fleshy passions in the tidewater country of North Caro- lina, and physical assets that point up the s.a. angles. Vidor, responsible for Miss Jones’ excursion into earthy ama- tory fields in “Duel In the Sun,” also directed “Ruby Gentry,” as he belts over the blatantly sensual Arthur Fitz-Richard story as boldly scripted by Silvia Richards. It's a sordid type of drama, with neither Miss Jones nor Heston gaining any sympathy in their characters. Malden’s part, skillfully under- played *o contrast with the flam- boyance of the other two princi- pals, does carry sympathy. Each of the three performances, in an- swering the intent of the story and direction, is very good, altnough Miss Jones’ s.a. flaunting is, at times, overly sold. The production tells a flashback story, which early establishes the characters’ sins are retributive. This type of presentation also permits, possibly, a bit more bold- ness in depicting motivations. Story smarts with the animal - at- traction between Miss Jones, from the wrong side of the tracks, and Heston, purse-poor southern gent who willingly trifles in the swamp but for marriage chooses Phyllis Avery, wealthy, properly-bred girl, so he can rebuild his family for- tunes. With a legal mating with Heston impossible, Miss Jones turns to the friendship of Malden and his bed ridden'wife, Josephine Hutchinson. After the latter dies, she accepts Malden’s proposal and they arc married. Society, only tolerating Malden because he is a self-made man who controls most of the com- munity’s wealth, refuses to accept his bride; The narrowness and scorn of a decadent southern so- cial systdrn is turned full blast on the girl after she and Malden quar rel openly over Heston and Malden is accidentally lulled in a boating accident. She seeks vengeance and becomes a full-bloom, mortgage- foreclosing heavy, even wrecking Heston when he refuses her favors The sordid events come to their climactic finish in a swamp when her brother, a religious psycho- fanatic, kills Heston but is himself killed by the girl before he is able to complete the dual soul-saving task he had committed himself. Miss Jones goes through much of the footage in skin-tight levis, of which she and careful earner; angles and lighting make the mos! She does have an occasional Comedy and patliDs are blended in this updated version of “The Champ,” first released in 1931. With Red Skelton and newcomer Tim Considine doing the revised characters filst played by Wallace Beery and Jackie Cooper, the film is an acceptable family-trade offer- ing that should do fairly well in the companion feature market. The presentation is given a sin- cerity in performances, writing and direction that keeps the senti- ment from dipping too far into the maudlin, and while the story has an old-fashioned feel, it is a funda- mentally okay drama that takes nicely to the updating. This version has Skelton as a former Ziegfeld star now a broken- down amusement park clown with a thirst for liquor. Young Consi- dine is his son, a wise little lad who looks after his father as best he can and takes what life offers them without complaint. Both turn in heartwarming - performances that do much to carry the story. Young Considine is incidentally, a member of the well known Consi- dine theatrical family,'making his first bid to be the third generation in show business. Robert Z. Leonard’s direction guides the Martin Rackin script along to show Skelton losing his latest job and missing out on an- other when he turns up drunk at an audition. A club booking and an advance by an old friend and agent temporarily saves them but Skelton loses the money in a crap game. Now desperate, he accepts a stag booking, is arrested in a raid and then listens to the pleas of his ex-wife Jane Greer, to take the boy; and he forces the lad to leave. The separation is short, however, and young Considine re- turns to his hapless dad just as the latter is offered a television show. Life is catching up with the clown at this point, though, and death strikes hltti down at the close of the first telecast after a comedy performance that would have es- tablished him again as a star. Skelton’s finale teevee work is closely patterned on his real-life video offerings, and he does his stair bit and the topsy-turvy room sketch for good laughs. Earlier in the footage, while the old agent friend is reminiscing, there’s a flashback to a ballet routine also good for chortles. Miss Greer is exceptionally good as the ex-wife, [^giving the role a warmth that makes it bolieveable. The Consi- dine moppet also makes a good impression. Others who help to bolster the presentation include Loring Smith as the agent, Philip Ober and Lou Lubin. William H. Wright’s production supervision insures proper values all around in filming the Frances Marion story, adapted by Leonard Praskins. Technical contributions are competent. Brog. U-I’s New Color Shorts New scries of onc-reelers in color, “U-I Color Parade,” will be introduced in the 1952-53 shorts 7 incup, which will comprise 5P ubjeets and 104 issues of the U-l NewsrecU There is a “tradey” feel to the story, as befits the backstage Hollywood plot. Opening finds Miss Davis sulking outside an auc- tion house that is selling her last possessions to pay her creditors. A meeting there with her agent* friend, Warner Anderson, and a pitch for him to get her another cture fails, and the story then takes her to the home of| her ex- husband, where her young daugli- er is living. The visit sends her into the depths of despondency, which is heightened by a session with some grasping relatives. She gets drunk, is arrested and bailed out by Sterling Hayden, a boating man whom she had used as a male ead in his single film experience. Hayden, taking her into his quarters over his shipyard, tries to get her to forget a film career and become a normal, natural woman. She tries, but fails at holding a de- partment store job, and wangles a screen test from a kindly pro- ducer. He wants her for a char- acter spot, but she plays the test as she imagines • a still young, vital woman might, and flunks. This and following circumstances finally convince her she is through as a star, the fadeout finding her turn- ing to the love offered by Hayden. With most of the footage con- centrating on Miss Davis’ char- acter, there isn’t too much for the other players to do. Hayden gives a relaxed reading to his outdoors? character, and there is one se- quence, showing an afternoon sail with Miss Davis and her daughter aboard a real, deep-water ketch, that plays honestly. Natalie Wood plays the daughter nicely, and An- derson is good as the agent. Among the other characters, Minor Wat- son, the producer; June Travis, Anderson’s wife; Katherine War- ren. Kay Riehl and Fay Baker are good. . Film has been given an excel- lent score by Victor Young and photography by Ernest Laszlo. Brog. The I Don’t t ore Girl (MUSICAL—COLOR) Musical hodge-podge based on incidents in the career of Eva Tanguay. Hollywood, Dec. 23. 20th-Fox release of George Jcsscl pro- duction. Stars Mltzl Gaynor, David Oscar Levant; features Bob Graham* Craig Hill, Warren Stevens, Hazel BrooM. Directed by Lloyd Bacon. Written n Walter Bullock; camera (Technicolor;, Arthur E. Arling; editor, Louis Roomer, new songs, Jessel, Joe Cooper, Daniel; dance staging. Jack Cole. mour Felix; musical direction, won Newman. Previewed Dec. 18, '52, Running time, 17 MINS. . „„ vnnr Eva Tanguay Rlitzie Ow”® Ed McCoy David W»»® Bennett ° x&r Larry Bob Graham Keene Craig ** Lawrence Warren Steve Stella Forrest r ll f-?L 3 r£ Maid Dolly Marietta taniy Theatre Owner— .- _ „ rrpnrn Alhambra Theatre »■••••••• rraft Flo Ziegfeld Wilton W»k Specialty DancCVs Dwayne Rai • Bill Foster, Gwyneth Verdon Fans of film musicals will fij 1 ‘‘The I Don’t Care Girl” a bodge (Continued on page 14)