Variety (March 1953)

6 Vc^wlay, Marck 4, 1953 nuu iBvmri €all Me MaiaM (MUSICAL—COLOB) Much moftla with Merman* 20th-Fox relea** of Sol C. Slefel pro- duction. Star* Kth«l Merman, Donald O’Connor, VorA-EUan, George Sandora; foatdros Billy D« Wolf*. Helmut Dsmfino, Steven Geray, Lud^OIt Std*»el, Llli* Skala. Charier Dingle. Emory Parnell. Percy Holton. Directed by Walter Lang. Dances and musical numbers staged by Robert Alton. Screenplay. Arthur Shaekman: adapted from the Leland Hayward legit S reduction, book by Howard Lindsay and .ussel Crouse; muik and lyrics. Irving Berlin; camera (Technicolor), Leon Sham* roy; musical direction, Alfred Newman; editor. Robert Simpson. Previewed Feb. 25, '53. Running time, 114 MINS. Mrs.- Sally Adams......... Ethel Merman Kenneth. ,"Donald O’Connor Princess Maria Vera-EUen Cosmo Constantine George Sanders Pemberton Maxwell Billy De Wolfe Prince Hugo. Helmut Dantlne Tantlnnin Walter Slezak Sebastian Steven Geray Grand Duke Ludwig Stossel- Grand Duchess Lilia Skala Senator Brockway Charles Dingle Senator Gallagher ........ Emory Parnell Senator Wilkins Percy Helton Leader Leon Belasce Chamberlain Oscar Beregi Mlccoti Nestor Paiva Proprietor Sidney Marlon Rudolph Torben Meyer Supreme Court Justice ...Richard Garrick Secretary of State...Walter Woolf King Clerk Olan Soule Rtmchin John Wengraf Hat Clerk Fritz Feld Musle Clerk firao Verebes Switchboard Opecator. .Hbnnelore Axnaan Minister from MagrmdOr. .Lai Chand Mohra A hit musical on Broadway, "Call Me’Madam” has been pic- turized to the hilt in terms of cash values. Elaborate, bright and zesly, it can’t miss as an important b.o. click. “Madam,” Leland Hayward-pro- duced lejfiter, scored a run of close to two years in Gotham with Ethel Merman as Ambassador Sally Adams, the fabulous, femme.-diplo- mat representing^ the U. S. in the mythical Grand Duchy of Lichten- burg. Miss Merman still reigns in the einemaiic version, although her entourage has ehanged substan- * tially. In key spots, George Sanders is the tiny country’s foreign depart- ment chief, and Donald O'Connor is the-U. & press attache, replacing Paul Lukas and Bussell Nype, re- spectively, from the original. Billy De Wolfe is now the American charge d’affaires; the- role- of the princess is far .more prominent ’ with Vera-Ellen in that spot, and Helmut Dantine-is now on hand as the prince who’s spurned by the princess in favor of the American press fcp. “Madam” offers, an ingratiating book loosely fashioned after the career of Perle Mesta, former U. S. Minister . to Luxembourg. Added plusses are via the widened scope and richness- of the Sol C. Siegel production, lush mountings- and extra trimmings fdr the delightful Irving Berlin score. .Also, there’s the fresh, inventive choreography staged by Hobert Alton, with O’Connor and Misk Ellen as a terp- ing combo of top calibre. Sanders comes through as choice casting in ' a- role switching him from the suave- and sardonic posturing with which he’s been identified in past. And he’s got a voice. “Madam” is, in a sense, A literate musical, and it avoids most of the common cliches. Arthur Sheek- raan’s screenplay, from the Howard Lindsay-Russel Crouse book, is imaginative and whimsical. Miss Merman’s solicitous telephone con- versations with “Harry,” about his and the family’s health,. and, the critics’ appraisals of “Margaret, are gems of high-level humor. The star’s stilted acceptance speech im- mediately following her appoint ment to Lichtenburg and, in fact the dialog throughout, has been scribed with the accent on top- order comedy. Miss Merman is at her robus best with a tune. At the opening she gives “Hostess with the Montes on the Ball” a powerhouse delivery and it’s a cinch to provoke heavy mitting, Her “You’re Just in Love’ duet with O’Connor also is stand- out. Among Berlin’s other strong tunes are “Best Thing for Me Woi<d Be You,” which Miss Mer- man and Sanders duet, and “It’s a Lovely Day Today,” appealingly handled by Miss Ellen and O’Con- nor. For the uninitiated, SanderS will be a surprise, revealing a lyric bass of dimension and warmth* On Broadway, “Madam” was a one-gal show, but not so in the film. O'Connor takes a good share of the spotlight with his nimble, graceful hoofing and the boy-gir] stuff with Miss Ellen. This pari' of the story business, incidentally, gets a little sticky at times. De Wolfe Is properly stuffy as the charge d’affaires whose life is dedicated to “protocol,” and Dan- tine registers with the right sin- ister effect as the prince interested iri the money benefits of a mar- riage with Miss Ellen. Walter . Slezak does a clever job as the Lichtenburg finance minister plot- ting the big lean from the U. S., and Steven Geray fits in amusingly - as his conspirator. Particularly engaging among the ina prevented from dancing by a serioua, heart: condition. > When. Mason, ‘a famous choreographer, sees her Improvising id a At of loneliness on an empty stage, he asks her to his studio to perform for him so he can do a ballet which her dancing has inspired, Tom between the desire to dance and create, and the fear of her heart condition, she finally ac- cepts. with Mason unaware of her illness. She inspires the xiew bal- let, and in the process they fall in love, but tfie strafn ’is too much for her, and she dies. Both Mason and Miss Shearer score, the latter especially in her beautiful terping to the music of Rachmaninoff’s “Rhapsody in a Theme by Paganini.” Credit Sad- ler’s Wells choreographer Freder- ick Ashton with some topnotch dance arrangements. Second episode, ‘’Mademoiselle, a fantasy, is aimless in direction and lacking in interest. A boy, in Rome with his parents, wishes he could grow up so as to be rid of his French governess. Ethel Barry- more, as an old lady believed by children to be a witch, grants him the wish for four hours, and as a staged in a wine cellar of the man he falls in love with the gov- Lichtenburg palace and up the erness, Leslie Caron. Comes mid- steps and around a blue-shaded night and he changes back to a pond, the-set designing in both inn boy, leaving Miss Caron * in Jove stances offering colorful backdrops with someone who doesnt exist, for Miss Ellen's and O'Connor’s Farley Granger is a bit iweven footwork. O’Connor does an amus- as the man, but Bicky Nelson ing song-dance single* with ‘What scores as the child. Miss Caron is Chance Have. I With Love.’ Num- effective as the lonely governess, her, which Berlin wrote a decade ®nd Miss Barrymore is sufficiently airo wasn’t in the nlav bizarre in a humorous sort of way. “Madam” runs into several slow But the. lightweight script just spots because of the tempo of some doesn't carry, of its 13 songs. But Walter Lang’s Final episode has Kirk Douglas direction gives fluidity to the . as a trapeze artist who &.retired screenplay and paces the charac- after being accused of killing: n» ters briskly- through the dialog and femme partner by giving her too story situations. • • risky a. trick. After he fishes Pier Concerning the topical factor, Angeli, a lonely young widow, out the “I Like Ike” number from the of the* Seine, he decides she. would Jostle* Is ’‘Justice tig Dene,”. Fren<h- mide entsy width preemed at the Trans-Lug 60th St. Thea-* tre, N. Y.* on March 2, was re-- viewed at the 1950 Venice Film Festival by Variety in issue of Nov. J, 1950* MosJc described the Silver Films production as a “series of character sketches Intriguing- ly based on a story of mercy killings*” Critic felt' that "some ex- ploitation pegs may get the film by in some U.S; spots... Extremely talky, It has good direction and competent act- ing to keep the film moving.” Acting, he added, “is uniform- ly fine.” Picture, incidentally, was winner of the Grand Prize at the 1950 Venice Fest. Jo- seph Burstyn . is distributing in the U.S. (Cut 9 mins, for the U. S. trade, a brief English narra- tion describing the French jury system has been added. Otherwise, Mosk’s critical sum- mation stands as is). stage prototype has. been removed, be a good partner, since-she has with Berlin’s "International Rag’* no will to live. His warning that as substitute*' Latter is an okay too much desire for life, can en- intenutionally - flavored rAzmataz- danger an aerialist sets the* stage zer, shouted nut by Miss Merman for a thrilling ending, since they with characteristic gusto. Second fall in love and desire is reawak- chorus of the Berlin oldie has been ened in Miss Angeli. There’s a given updated lyrics. switch ending in that they do suc- Scenic values are greatly en~ cessfully complete their dangerous — j. ^ au dition for a circus, but decide not to take the offer and go off to get married instead. Story gets r off to a slow start, with too much time devoted to set- hanced by Technicolor. Camera is an especially big asset in a multi- tinted costume dance to “The Ocarina,” with Miss- Ellen in the lead. Excellent color also accents the "old world” splendor of the ting the character, and motivations palace scenes. of each, but it builds* suspense and Lesser acting assignments are thrills for a solid close. Both Doug- uniformly well handled and, tech- las and Miss Angeli are topnotch. nically,' "Madam” is a competent Production values are solid in job althoughv in a few spots the all departments. Charles Kosher editing, could have been tighter, and Harold Rosson have provided Gene. Story of Three Loves (COLOR) fluid and eye-catching lensing, and Miklos Rozsa’s^ music. enhances the entire production. • Chan. Top names boost' three short stories of varying quality; good b.o* Metro release of Sidney Franklin pro- duction. Stars Pier Angeli, Ethel Barry- more# Leslie Caron, Kirk Douglas, James Macon, Farley Granger, Moira Shearer; features Agnes Moorfehead, Ricky Nelson, Zsu Zsa Gabor, Richard Anderson. Editor, Ralph E. Winters; camera (Technicolor), Charles Kosher, Harold Rosson; music, Miklos Rozsa (Jacob Glmoel, pianist); choreography, Frederick Ashton. "The Jealous ttyer" directed by Gottfried Reinhardt; screenplay, John Collier. "Mademoiselle” directed by Vincente Min- nelli; screenplay,. Jan Lustig, George Girl Who Had Everything Fair program drama, despite some name importance; talky and implausible. Hollywood, March 2. Metro release of Armand .Deutcch pro- duction. Stars Elizabeth Taylor, Fernando Lumas, William Powell; features Gig Young, James Whitmore, Robert Burton. William Walker. Directed by Richard Thorpe. Screenplay, Art Cohn, based on novel by Adela Rogers St, Johns; camera, Paul Vogel; Editor, Ben Lewis; music Andre Previn. Previewed Feb. 23, '53, - -vi . _ - ------ Running time, 44 MlN5. Froeschel, based on Arnold Phillips story. T , "Equilibrium" directed by Reinhardt; Elizabeth Taylor screenplay. Collier, adapted by Lustig and ^S,?M?i ndo » ama « Froeschel, from story ^y LadLslas Vajda and Jacques Maret. Previewed in Steve Latimer "William Powell Vance Court Gig Young Despite some name importance in the casting of “The Girl Who NT Y vaucc V/Uurc ixlg xoung Feb. 25,'53. Running time, 122 MINS. ‘ ” Menlow. .James Whitmore „ _. John Ashmond Robert Burton •-•••• v* Pier An S eli Julian William Walker Mrs. Pennicott Ethel Barrymore Mademoiselle Leslie Caron Pierre Narval Kirk Douglas Tommy Farley Granger ^W2te-::::::;::-M2iSr*sJ2SS Had Everything'' it's just a fair Aunt Lydia Agnes Moorehead program drama that will have to Tommy (u years) ... Ricky Nelson get by mostly with companion fea Marcel Richard Anderson hookings for- its playdates, Talents ot William- Powell, Eliza- Metro has put some top stars beth Taylor and Fernando Lamas into, a beautifully dressed Techni- are more or less wasted in the color combination of three stories, talky, implausible plot, and' the While the pic is impaired by un- dramatics seem dated, even though even story quality and excessive, ,such modern touches as telecasts running time, it shapes good box- of U. S. crime investigation hear- office via its strong name .lineup, ings are used. Three yarns are tied together by Film is based on a novel by placing the key characters aboard Adela Rogers St. Johns, with Art an ocean liner. -With each done as Cohn doing the screenwriting. a flashback, the next episode is begun by having the camera move to a new character, completing the previous sketch by returning to its principal aboard ship. De- vice serves to integrate the three stories neatly. With a strong- initial entry and a suspenseful finale, picture’s weakness lies in the middle. Story here is overlong and ineffective, and together with a slow start In the closer, tends to diminish in- terest in the flint* as a package. Some cuttting could be 1 used to advantage, but in this .case it’s the story as a whole that’s at fault. Opening spisocje, “The Jealous Lover,” starring James Mason and Moira Shearer, is easily the most effective, both from the scripting and artistic Viewpoints; Script is a mild affair, long on J - I — -»wuwv ,,u<r^viuiu. MlSS dance numbers tfre= those trickily i Shearer plays’ an aspiring baller- Bnnlnnteho VJ^amuntcho,” French film version of the novel by Pierre Loti, which op ened. at the ■55th. { Sk Playhouse, N; ,Y.. Saturday (28), was reviewed by Variety from Paris in the issue of March 23, 1938. In appraising the picture, Speck wrote “there is little in this one but heart tugs . . Story’s a sentimental yarn about romance among smug- glers on the Franco-Spanish border. Top roles are' han- dled by Franqoise Rosay, Louis Jouvet and Paul Gambo. Ar- lan Pictures is distributing the Arthur Davis presentation in the XJ. S.< Ikidl WUftiMit IlM«r ” "Duel Without Honor” (Du- ell* Senza Onbre) t , Italian import which preemed at the Cinema Verdi, N. Y*, Friday -*(27), was reviewed by Vari- . ety from Genoa in the Issue of April 26, 1950. "A hand- somely produced period piece with dialog to match” was the opinion of Hawk. Massimo Girotti and Constance Dowl- ing have top roles in this IFE release. Reviewer added that the film’s values are “dampened by an involved script that rarely catches fire, but never- theless it’s a slick job which should rate Its share of re- turns.” Yarn’s about a scheming-woman (Miss Dowl- ing) whose selfishness ruins cousin Annette Bach’s life-and love. Cast’s performances drew the critic’s praise. dialog, and the characters aren’t sufficiently lifelike to provide sub- stance for Richard Thorpe’s direc- tion. Under his handling th^ per- formances are smooth and polished, but the players can’t do much with the soap opera-ish plotting. Ad* mand Deutsch’s production guid- ance drew on expert technical assists to dress up the physical look of the film, but short-changed the paying customers on story value and * entertainment. Miss Taylor, spoiled daughter of Powell, rich criminal lawyer, falls for a client. Lamas, a suave, ruth- less head of a betting syndicate with a-long record of unpunished crime. Despite the opposition of Powell and Gig Young, wealthy Kentuckian who wants to marry her, the-romance continues to the point of marriage. To save her from this final mistake and make sure Lamas pays for past crimes, he is made the. victim of a gang- land killing at the fadeout. Since considerable time is spent throw- ing sympathy towards Lamas as a gangster who wants; to get .out of the rackets and live a life of respectability, the reversal to a heel in the concluding sequences is unbelievable and unsatisfactory, even though probably up to Pro- duction Code requirements. The players are "required to stand and talk out much of the plot, so any high dramatics or suspense are kept to a. minimum. Miss Taylor is lushly gowned, .wearing the Helen Rose costumes for maximum visual impact. Young is likeable in a' thankless role. James Whitmore, as Lamas* aide; Robert Burton, Powell’s law part- ner, and William Walker, a butler, have no more-than walkona; Paul Vogel’s lensing, the Andre Previn musical score and other contributions to the film are skill- ful* Brog. .hSL. The Glass Wall familiar, although not itrong, nam. is that of -Gloria Grahame, a i s * doing well as a girl down on her luck who tries to help the fugitive after he has jumped the Ihip that was to carry him back to the hor- rors of the Europe from which he had fled. Another who comes to his aid in the dark, troubled night of the story period is Robin Ray- mond, a burley dancer with a tough exterior and a soft heart. The script and. direction make her char- acter much too caricatured, but she sells it anyway. Douglas Spencer, immigration, inspector Jerry Paris, clarinetist who is the only one who can back up the fugitive’s tale of underground work during World War II, and Ann Robinson, his fiancee, are the other featured players. Gassman, without proof of aiding the Allies during the war, is told he cannot land on the promised land. He jumps* ship and flees through the night, trying to find a bandsman he-knows only as Tom who works in Times Square. As the night and the search wear on he dodges the Taw, takes up with Miss Graham, whom he saves from the police after she tries to steal a coat, gets separated from her and meets Miss Raymond. By now the law has been told by Paris of Gassraan's record and is trying to catch him to give- him the good news. His frightened flight even- tually carries him to the UN Build- ing; at dawn, and he is saved from jumping from its lofty roof at the last minute by the good-intentioned pursuers. - . Joseph F. Biroc’s camerawork is effectively tricky in lighting and angle shots that bring N. Y: streets and crowds to‘life with a documen- tary feel. Leith” Stevens has pro- vided the film with - an excellent music score, and there is a jazz beat in the appearance of Jack Teagarden and Shorty Rogers and his band to help express the caco- phony of the city. -Brog. (COLOR) Outdoor actioner in color de- picting founding- of the Pony Express. Average kv. Paramount rdcaw •( Nat Holt produc. uon. 5tar» Charlton H**ton, Rhonda Ffemlnr, Jan Sterling. Forroat TutJter, .JOchart Maora. Porter Hall. Rk*art» Shannon. Henry Brandon. Stuart RandaU, Lewi* Martin. Pat Hogan. Di- Jerry Hooper. Screenplay, Charle* Marqui* Warren, baaed on a story hr Frank GruWrr eamera (Technicolor). Ray Ktouichan; editor. Eda Warren; music score* Paul sawtell. Previewed Feb. 26, 'fiJ- ^unninff time. HI MINS.' Buffalo Bill Cody . Eralyn Denny Wild BUI Hickok .. Ranca Bastingr .... Bridjer Barrett Cooper Pemberton S*t. Russell Chief Yellow Hand ..... Charlton Urston .. .♦ Rhonda Fleming Jan Sterling ...... Forrest Tucker ....... Michael Moore Porter Hall ... Richard Shannon Henry Brandon Stuart RandaU Lewis Martin Pat Hogan Italian star Vittorio Gassman* Gloria Grahame in DP drama filmed in N. Y. Some exploita- tion values, but medium b.o. Hollywood, March 3. Columbia release of Ivan Tor* (Shane- Tors) production. Stars Vittorio Gassman, Gloria Grahame; feature* Ann Robinson. Douglas Spencer, Robin Raymond. Jerry Paris. Jack Teagarden. Shorty Roger* and his band. Directed by Maxwell Shane. Screenplay. Tors and Shane; camera, Joseph F. Blroc; editor. Herbert L. Strock; music. Leith Stevens. Previewed Feb. 27, '53. Running time, 74 MINS. Peter Vittorio Gassman Maggie Gloria Grahame Nancy Ann Robinson Inspector Bailey Douglas Spencer Tanya Robin Raymond Tom Jerry Paris Mrs. Hinckley Elizabeth. Slifer Eddie Richard Reeves Freddie Joseph Turkel Mrs. Zakolya Else Ncft Toomey Michael Fox Monroe Ned Booth Fnt Woman 1 Kathleen Freeman Girl Friend Juney Ellis “The Glass Wall” builds its drama around the efforts of a dis- placed person to get into the U, S. and is of the “long chase” variety of screen entertainment. Results are effective enough for the de- mands of the more general market and offer some exploitation possibles] ties for certain ballyhoo houses. Picture is an indie by Sliane- Tors Production being released by Columbia. Actual New York set-, tings are used for the principal portions and help to make the story more valid. Plot, written. by Ivan Tors and Maxwell Shane, and di- rected, by the latter,, has dramatic value^ bdt' too often slips off into stock’ mpUer .tricks and. obvious situations’. Considerable . montage’ and composite footage ai‘e used| making for another distraction but, overall, it lives up to its entertain- ment intentions sufficiently to rate as regulation lieavy-drama screen- fare. Vittorio Gassman, Italian actor, is a potent factor in holding the picture together. Ke packs much emotion into his role as the DP Without flamboyant theatrics; In this type of character, afl^ast, he i displays a lot of ability. A more This is a well-titled outdoor ac- tion feature that should rate an average run through the market that makes the best use of this type film subject. A Nat Holt pro- duction for release through Para- mount, the film takes nicely to the Technicolor tints and some spec- tacular scenic shots, and. features some tight western action, good performances and the other stand- ard ingredients that go with re- lease intentions. Charles Marquis Warren’s screen- play is based on a story by Frank Gruber. While the dialog is appro- priate and the situations are solid action, the plot development is so obscure at times it almost thwarts its entertainment aims by keeping the audience, instead of the play- ers, in the dark about what’s going on. Also the picture is on the lengthy side at 101 minutes. Jerry Hopper’s direction sends stars Charlton Heston, Rhonda Fleming, Jan Sterling and Forrest Tucker through the story paces as the script details the founding of the Pony Express and how it linked early California with the rest of the country and prevented the state from becoming an inde- pendent republic. Heston, as Buf- falo Bill Cody, first crosses paths with Miss Fleming and her brother, Michael Moore, when he prevents their creation of an in- cident that might provoke a Cali- fornia uprising. They are loyal Californians who t ;,iipnesfJy believe a republic statii’s .wbdld be.fetter than -statehood because'of the dis- tance 'froitf Wa^hrlrigtoh. However, they - l are’“ bcitift' used, by Henry BVdn'don', -stag'd line dp’erittar, and Stuart Randall, a foreign;” agent trying to split California from the Union. , Devious schemes are employed by Brandon and" Randall to hah the plans of Heston and Tucker, ’the latter as Wild Bill Hickok. to get the Pony Express started,. Tne heavies* plan to-.arm, Indians; kill the two. : heroes; fails after Hcs- i (Continued on pnge.,18)