Variety (December 1952)

U riCTCBES ^2^ .... ..!» Wednesday, December 24, 1952 Film Reviews Continued from page 8 The I Don 9 t Care Girl podge of incidents presumably from the career of Eva Tanguay. It .is pretentiously presented but misses. Mitzi Gaynor, David Wayne and Oscar Levant, as the stars, occa- sionally spark an individual scene or number, but the effort is wasted as the George Jessel production wends an aimless, virtually script- less course badly in need of some kind of story line to pull it to- gether. The Walter Bullock screen- play provides episodes concerned with the efforts of Jessel to make a film musical around the Tanguay career, so there is no clear plot line for either the players or Lloyd Bacon’s direction to take hold of and build continued audience in- terest. The songs offered are used both for vocal efforts and to back either production or solo dance numbers. "As Long As You Care’’ (I Don’t Care), by Jessel and Joe Cooper, is introduced as a group vocal behind the title cards and then reprised by Bob Graham. He also sings "Here Comes Love Again,” by Jes- sel and Eliot Daniel, as well as pip- ing several standards sprinkled through the score. Very modern^ and completely out of keeping with the Tanguay period, are the three production numbers staged by Jack Cole. They are "The Beale Street Blues,” "I Don’t Care” and "The Johnson Rag.” The solo terp stints are "This Is My Favorite City,” "Pretty Baby” and "Don’t Care,” staged by Seymour Felix. There are several uncre'dited dance spots, plus two piano solos by Levant to fill out the musical por- tions. All of the numbers, techni- cally okay and mostly lushly. pre- sented, would have appeared to better advantage had there been plausibility to their introduction. Before the title cards are flashed, film opens abruptly with Miss Gaynor, as Miss Tanguay, doing a stage song and dance that is halted by the remark that some- thing is wrong with the singer. Then the title, and Jessel comes on in conference with his writers trying to find something vital and lusty to put into the Tanguay script. The abortive search contin ues through the 77-minute running time as assorted persons connected with the personality give their ver- sions of what she was like. Wayne, as Ed McCay, a former partner; Levant, ex-vaude piano-pounder, and then Graham, singer who once loved her, gives their respective versions, .with the film segueing into the past in such a reckless manner that it is hard to sustain much interest in what is transpir- ing. It is never explained what was wrong with the singer. Throughout, Jessel plays himself as the pro- ducer and does a walkon at the close, explaining the appearance "to see how the picture ends.” Miss Gaynor is a good hoofer and sells her songs nicely, but doesn’t fit the Tanguay character too well. Wayne, Levant and Gra- ham never get going, although Graham has a good baritone that shows up well. Others in the cast are lost. On the technical end-, the pic ture rates excellent Technicolor lensing by Arthur E. Arling, okay musical direction by Lionel New- man and a choppy editing job by Louis Loeffler, although the latter probably is not his fault since there is evidence much has been elimi nated in the way of scenes that might have contributed to a more smoothly flowing picture. Brog. The Man Behind tli© Gun (SONGS—COLOR) • Good Randolph Scott action feature, satisfactorily shaped for the general market. tion supervision from Robert Sisk and moves along at a good pace in spilling out a session of violent gunplay, fisticuffs and chases against an early Los Angeles set- ting. The John Twist script is an excellent job of blending the in- gredients standard to this type of feature, providing good dialog, sit- uations that are not too improbable and, over the whole, a good- natured, easy-going feel that helps leaven the sterner story stuff. Felix Feisfs direction rides along with the script and players, and comes off.okay in getting on film a story that is concerned with an undercover Army officer who breaks up a plot to make Southern California a separate state and brings the culprits to justice. Scott takes easily to this top'assignment and gives it acceptable heroics. Four costars and several of the fea- tured players contribute capably to the picture’s entertainment aims. Patrice Wymore is an attractive schoolmarm, in L.A. to give the settlers book learning and provide some romantic conflict between Scott and Philip Carey, an Army captain suspected .of consorting with the rebellion plotters. Dick Wesson teams with featured player Alan Hale, Jr., for comedy antics, and Lina Romay is delightful as the comely Latin femme menace and songstress who tries to divert Scott from his duty. Scott's ferreting isn’t an easy job as numerous suspects'and red herrings are tossed in the way of the'investigation. He uncovers the rebels’‘gun, cache in the cellar of Miss RomayV saloon and manages to burn it while dodging and out- witting attempts on his life. He still can’t finger the leader of the Outfit, however, until, by subter- fuge, he gets the outlaws to con- gregate at their hideout and State Senator Roy Roberts is exposed as the leader" who dreams of an em- pire. The guns-blazing finale finds the rebels put down and Scott in Miss Wymore’s arms. The properly colorful work of the principals gets good assistance from Roberts, Morris Ankruiji, Katharine Warren, Hale, Douglas Fowley, Tony Caruso, Clancy Cooper and Robert Cabal, among others. Cabal, in particular, stands out as the early-day Joaquin Muri- etta. Technical contributes are excel- lent, providing a nice backing for the Robert Buckner story. Miss Romay has two Latin tunes to sing and sells them well. They are "La Paloma” and "Adios Mi Amor.” Brog. The. Redhead From Wyoming (COLOR) organizing a cattle association fqr the settlers. A roundup follows but Miss O’Hara is tossed into the clink on charges of murder and rustling. Bishop then tries to promote a mass battle between the ranchers and settlers so his rus- tlers can move in and all kill every- one, but the sheriff gets wise in time to join the range enemies into a common force against evil, and the outlaws are beaten. . It’s a stunning picture Miss O’Hara makes in color and in the costumes that take every advantage of her natural charms. Alex Nicol, as costar, plays the sheriff who winds up with the gal, but his character is weak in definition, contrasting oddly with the more forthright, robust characters in the plot. Bishop is excellent as the chief heavy, and Alexander Scourby registers strongly as the leader of the ranchers. Others are okay. Winton Hoch’s expert color lens- ing heads up the good technical credits. Brog. Tinted outdoor actioner with Maureen O’Hara, Alex Nicol, others acting out early-west plot for general satisfaction. Hollywood, Dec. 18. Warners release of Robert SiskJpro- duction. Stars Randolph Scott; Patrice Wymore, Dick Wesson, Philip Carey, Lina Romay; features Roy Roberts, Mor- ris Ankrum, Katharine Wai'ren. Alan Hale, Jr. Directed by Felix Feist. Screen-' play, John Twist; from story by Robert Buckner; camera (Technicolor), Bert Glennon; editor, Owen Marks; music, David Buttolph. Previewed Dec. 9, '52. Running time, 82 MINS. Major Callicut Randolph Scott Lora Roberts Patrice Wymore “Monk" Dick Wesson Capt. Roy Giles Philip Carey Chona Dcgnon Lina Romay Mark Sheldon Roy Roberts Bram Crecgan Morris Ankrum Phoebe Sheldon Katharine Warren Olof Alan Hale, Jr Buckley Douglas Fowley Vic Sutro Tony Caruso “Kansas" Collins Clancy Cooper Joaquin Murietta Robert Cabal l “The Man .^yhind the Gun-,” actional Randolph Scott entry, takes well to its early-day plot and the Technicolor lensing. It should draw a satisfactory response in the outdoor market. Film gets action-minded produc- ^ Hollywood, Dec. 19. Universal release of Leonard Goldstein production. Stars Maureen O'Hara, Alex Nicol; features Robert Strauss, William Bishop, Alexander Scourby. Directed by Lee Sholem.- Screenplay, Polly James, Herb Meadow; story, Polly James; camera (Technicolor), Winton Hoch; editor. Mil- ton Carruth. Previewed Dec. 15, '52. Run- ning time, 81 MINS. Kate Maxwell Maureen O'Hara Stan Blaine Alex Nicol “Knuckles” Hogan Robert Strauss Jim Averell William Bishop Reece Duncan Alexander Scourby Hal Jessup Palmer Lee Sandy Jack Kelly Myra Jeanne Cooper Chet Jones Stacy Harris Matt Jessup Dennis Weaver A range war, rustling and a dancehall queen are the ingredients shuffled together in this western action feature, and the results add up to satisfactory chances in the market where this type offering usually is liked. Name of Maureen O’Hara and Technicolor will help. Plenty of violent gunplay, fast movement and a sensationally- gowned Miss O’Hara provide the excitement in the Leonard Gold- stein production, as set up in the script by Polly James and Herb Meadow. Lee Sholem’s direction is geared to make the most Of the material and* with only an excep- tion or two, gets the proper kind of performances from the cast. The plot is the one about a crook who promotes a range war between ranchers and settlers to cover his own rustling activities and to further his political ambitions. William Bishop is the suave crook who has ideas of becoming the governor of Wyoming. To aid his scheme he sets up Miss O’Hara, an ex-girl friend, as a saloon-keeper and buyer of maverick cattle rounded up on the open range by the settlers. She’s to be the fall guy if the rustling plot gets too hot. When she finds out how she is being involved, the dancehall queen tries to end the war by The Maverick Routine Wild Bill Elliott west- ern-for the program market. Hollywood, Dec. 28. Allied Artists release of Vincent M. Fennelly production. Stars WUd Bill Elliott; features Myron Healey, Phyllis Coates. Directed by Thomas Carr. Story and screenplay, Sid Theil; camera, Ernest Miller; editor, Sam Fields; music, Raoul Kraushaar. Previewed Dec. 18, '52. Run- ning time, 71 MINS. Lieut. Devlin Wild Bill Elliott Sergeant Frick Myron Healey Della W«tson Phyllis Coates Frank Bullitt Richard Reeves Trooper Westman Terry Frost Trooper Barnham Rand Brooks Major Hook Russell Hicks Corporal Johnson Robert Bray Grandma Watson Florence Lake George Pane Gregg Barton Bud Karnes Denver Pyle William Massey Robert Wilke Fred Nixon Eugene Roth John Rowe Joel Allen Wild Bill Elliott goes through some tight-lipped heroics to make "The Maverick” a regulation west- ern suitable for routine dating in the program market. The Allied Artists release is concerned with Elliott’s action as a cavalry lieuten- ant in breaking up ,a range war between cattlemen and homestead- ers, and delivering a group of hired gunmen to justice. The pace is more inclined to plod than race, so interest wavers some of the time. Elliott, along with a small detail made up of Myron Healey and Robert Bray, sets out on a three- day journey to Fort Jeffrey to de- liver three prisoners who have been responsible for the land bat- tling and some wanton killings. En- route, the party is joined, with El- liott’s reluctant consent, by Phyllis Coates and her . grandma, Florence Lake, a couple of ladies driving their covered wagon to the same fort. It is not enough Elliott has to contend with womenfolk on the arduous trip; he also must face trouble from henchmen of the pris- oners, who are following to at- tempt a rescue, and the resentment of authority by Healey. Footage of the trip gets rather tedious before the henchmen catch up. Healey goes over to their side and a battle royal ensues. Ending finds Elliott, with the aid of the ladies, besting the bad men and, as a fadeout re- ward, he clinches with Miss Coates. The players are cast to type and deliver the demands of Sid Theil’s screenplay and Thomas Carr’s di- rection adequately. Production val- ues supplied by Vincent M. Fen- nelly are up to release intentions, and Ernest Miller’s lensing achieves some good outdoor effects with the scenery. Brog. Technicolor values to rate for the twin-bill market. As spun by scripter Kenneth Garnet, the yam concerns the ef- forts of six surviving cavalrymen to fight their way to safety after an Indian raid wipes out a plains town. Sgt. Broderick Crawford leads his five fellow soldiers on a 100-mile desert trek in which they’re joined by several occupants of a stage- coach, a murder suspect and a friendly Indian lad. Skirmishes with renegade Co- manches deplete the group’s water supply and they hole up in an abandoned mission to replenish it. With the redmen equally as thirsty a battle to-the death develops. Just when the cause appears a lost one a cavalry detachment from a dis- tant fort ridss up in the nick. Performances are routine under Andre DeToth’s inconsistent direc- tion. Crav'ford’s portrayal accents the laconic, Barbara Hale is suit- ably grim as one of the stagecoach passengers, Johnny Stewart is com- petent as the loyal Indian lad who Summons aid, and Lloyd Bridges is forthright as a cavalryman who loses his life to prevent the group’s betrayal. With most of the foootage fo- cussed on the stand at the mission, director DeToth handled the action sequences well but his buildup' of the suspense fails to come off as dramatically as it should have. Some of the onus for this should fall on the writer, whose dialog too often resembles the 1952 ver- nacular rather than the 1876 fron- tier period. Technicolor camerawork of Charles Lawton, Jr., and Ray Cory nicely catches the desert panorama. Picture’s mood gets a lift through Morris Stoloff’s direction of the George Duning musical score. Pro- ducer Buddy Adler mounted the entry with physical values in keep- ing with demands of the story. Gilb. Last ol th© Codtanches (Color) Good entry for the twin-bill market. Columbia release of Buddy Adler pro- duction. Stars Broderick Crawford, Bar- bara Hale, Johnny Stewart, Lloyd Bridges; features Mickey Shaughnessy, George Mathews. Hugh Sanders. Ric Roman, Chubby Johnson, Martin Milner, Milton Parsons, Jack Woody, John War Eagle. Directed by Andre DeToth. Screen- play, Kenneth Garnet; camera (Techni- color), Charles Lawton, Jr., Ray Cory; editor, A1 Clark; musical director, Morris Stoloff. Tradeshown. N. Y., Dec. 19, '52. Running time, 85 MINS. Sgt. Matt Trainor Broderick Crawford Lanning Barbara Hale ■ nife • Johnny Stewart Jim Starbuck Lloyd Bridges Rusty Potter Mickey Shaughnessy Romany O'Raltijran George Mathews Denver Kinnaird Hugh Sanders Martinez Ric Roman Henry Ruppert Chubby Johnson Bhly Cjecl Martin Milner Prophet Satlerlce Milton Parsons Corporal Floyd Jack Woody Black Cloud John War Eagle Major Lanning Carleton Young Lieutenant Floyd William Andrews In "Last of the Comanches” Co- lumbia dusts off the familiar fron- tier-days struggle between the In- dians and U. S. cavalrymen for fair entertainment results. While the action occasionally lags, the film contains enough movement and No Holds Barred (COMEDY) Good programmer for lower half of duals. Hollywood, Dec. 18. Monogram release of Jerry Thomas production. Stars Leo Gorcey; features Huntz Hall. Directed by William Beau- [•dine. Written by Tint* Ryan, Jack Crutcher and Bert Lawrence; camera, Ernest Miller; editor, William Austin; musical supervisor, Edward J. Kay. Re- viewed at Egyptian Theatre, Hollywood, Dec. 17, '52. Running time, 65 MINS. Slip Leo Gorcey Sach Huntz Hall Rhonda Marjorie Reynolds Louie Bernard Gorcey Taylor v . Leonard Penn The Mauler Henry Kulky Chuck David Condon Butch Bennie Martlett Mildred Sandra Gould Mr. Hunter Tim Ryan Betty Lisa Wilson Barney ...’ Murray Alper Gertie Barbara Gray Sam Leo “Ukie" Sherin Max Ray Walker Stickup Man Nick Stewart Referees .... Mike Ruby, John Indrisano Latest in Monogram’s "Bowery Boys” entries stacks up as a good programmer designed to fit smooth- ly into the lower half of duals, slot for which this production is geared. "No Holds Barred” stars Leo Gor- cey, with Huntz Hall as his foil, and should find favor with exhibs in its particular niche. Plot hangs on Hall’s strange physical insensitivity which makes him immune to feeling. Gorcey capitalizes on this, turning it into a business advantage by convert- ing Hall into a rassler, and Hall wins by using his head—to knock out his opponents, immunity trav- els to various parts of Hall's body, so at one time or another he uses his feet, fingers, etc., with result- ant situations milked for a lot of laughs. Of course, a smooth gam- bler moves in to take over the new champ, and when he fails, his g.f., attempts to smooch the secret of the strange power from Gorcey. Roughhouse situations ensue, with Gorcey and Hall being snatched by the gamblers, and here it sags a bit in what amounts to an overlong cliche. Pace picks up again wheii they are released and go into the big match. Hall is victor when it’s learned his power is in his derriere. Gamblers and gal are picked up by the cops. Scrambled ‘verbiage which has served Gorcey so well through the years comes off well, but he should do something about the additional avoirdupois he’s been adding late- ly. Hall is excellent with his mugg- ing and language mutilation. Other parts fit into a stereo pattern, with Leonard Penn the suave con man and Marjorie Reynolds the seduc- tive siren. A fairly diverting offering has been put together by producer Jer- ry Thomas. William Beaudine’s direction follows a fairly good pace. There’s no subtlety in the ribbing of rassling, and broad ring scenes fit into the general tenor of the production. Technical credits ‘are good. Daku. L© Rldeau Rouge (The Red Curtain) (FRENCH) Paris, Dec. 9. Gaumont production and release Michel Simon, Pierre Brasseur, Mon^nf Valentin. Directed by Andre Barsirf Screenplay, Jean Anouilh; camera, Mai. rice Barry; editor, Jean Feyte; musie Joseph Kosma. At Morjaeuf, Paris. Run ning time, 90 MINS. Kun ’ »ertal. Michel Simon Ludovic Pierre Brasseur Aurelia Monelle Valentin Inspector Jean Broehard Segur Noel Roque vert Gobinet Olivier Hussenot Playwright Jean Anouilh has fashioned a whodunit around a performance of "Macbeth” by a second-rate theatre group. Parallel action of play’s progress and solv- ing of a backstage murder add in- terest to this offbeat film offering. Made by theatre people, this is at times stagey, but gives a good ac- count of backstage intrigues to lend it a ring of authenticity. Names of Pierre Brasseur and Michael Simon are potent box- officewise here and hold some weight for American art house situations. An unsavory trio play out their tragedy to the backdrop of the mayhem and evil passions of "Mac- beth.” A snide, brutal director is killed on the eve of the play’s opening. He was hated by his mis- tress, whom he kept at his side because of her drug addiction and since the leading actor is in love with her. Underlying hate smold- ers into murder. The police inspec- tor lets the play go on and as the tragedy unfolds, the pieces of the puzzle fit together in the murder case. Fine detail is given to the play performance as well as the ten- sion between the thesps. Film’s m^in flaw is thu lack of character penetration which fuses too easily with the heavier Shakespearean drama, and makes for a weaken- ing of the structure. Flashback technique of inspector telling the story also robs pic of needed im- agery. 6 Simon, as the hated director,, etches a sharp performance as a' bitter, tormented myi in full deca- dence and hate. Brasseur, the weak and failing actor, gives power and dimension to the thespian who re- lives his crime as he plays out "Macbeth” on the stage. Monelle Valentin’s thin-lipped voice ade- quately put over the conflicting feelings of the dope-addict woman. Jean Broehard is warm and under- standing as the relentless police inspector. Andre Barsaq has given the film fine polish in his first directorial stint, but tends to use too much dialog. However, the final scenes of the pic build to a fine crescendo. Lensing is top flight and editing keeps the two actmns clear. Music by Joseph Kosma is good, Mosk. Cariea Eroiea (Heroic Charge) (ITALIAN) Genoa, Dec. 9. LUX Film release of a Mambretti pro- duction, Features Dario Michaelis, 1 raiu’o Fabrlzi, Luciano Pallocchia, Tania W eber, Italo Juli, Roberto Zattella, Nino Milano. Directed by Francesco DeRobertis. Story and screenplay, DeRobertis; camera. Carlo Bellero; editor. Franco Fraticelli. At Nuovo Verdi, Genoa. Runnting time, v* MINS. Col. Franco Tallarigo Iljmsclf Major di Bugnano if Capt. Cavotti Ij! nis Capt. Caprice H*™ 5 ® i Capt. del Salzo ir Lt. Carignani Padre Vincenzo Bizzarri “V, v « Kalina Tanls Weber Lt. Giorgio Valli Dario Miohac is Capt. Secori Franco Febrm Capt. Ter'ni Luciano Pallocchia Loosely based on actual events during the Italian campaign on the Russian front in 1942, pic’s heroics and other good production values should make "Cariea” a good gross- er at home and in some Italian lingual situations abroad. With its definite Italo slant, chances else- where are problematical. Main drawback Is a fragmentary script. Film narrates events leading up to the final cavalry charge on tne Russian front which for practical purposes is said to have marked the end of cavalry as a weapon of modern warfare. The cavalry regiment, after settling down in Russo village for a rest period, gets its chance in a desperate suicide charge to prevent an enemy attack. Village respite gives troops a chance to fraternize, with efforts centered on comely ex-partisan Tania Weber, local schoolmarm- Thinnish plot threads involve tne lone surviving horse of the reai- .life charge and the commanding colonel and his son-in-law. Miss Weber makes an intriguing debut as the teacher. Pic high- light is final cavalry charge, splen- didly lensed by Carlo Bellero, witn a nifty editing job by Franco Fra- ticelli. - Han*.