Variety (March 1953)

I# PICTURES Wednesday, March 11, 1953 Film Reviews Continued from page 9 One Girl’s Confession brings on herself. First she steals $25,0Q0, hides it, calmly confesses the crime and goes to. jail. After a few years, she’s put on probation and starts waiting on tables in Haas’ harbor cafe-bar .while carry- ing on a yes-and-no relationship with Langan, a fisherman. When Haas loses his cafe and money gambling, she offers to loan him some. He can't find the loot, but she thihks he has when he sud- denly becomes a freer spender, and she wacks him over‘the head with a. bottle. Believing Haas is dead, Miss Moore finds her money, gives it'to an orphanage and surrenders to the police. However, Haas isn't dead, so she goes'off happily with Langan on his mackerel boat. Performances* are about what might be expected from such a plot and Haas* direction is so measured4 it becomes pedestrian. Paul Ivano’s photography mostly features well- angled shots of Miss Moore in tight knit goods. The music score is de- signed to fit the moody meller. Brog. Problem Girls Routine melodrama for duals. Columbia release of Aubrey' WLsbcrg- Jack PoUexfen production. Stars Helen Walker, Rose Elliott, Susan Morrow; fea- tures Anthony Jochim, Jrimes Seay, Mar- jorie Stapp, Roy Regnier, EUeene Stevens', Tom • Cnarlesworth, - Beverly Garland, Joyce Jameson. Directed by E. A. Dupont. Screenplay, Wisberg and Pollexfen; cam- era, John L. Russell, Jr.; editor, Fred Feltshahs, Jr.; music, Albert Glasser. Tradeshown, N.Y., March 6; '53. Running, time, 70 MINS. Miss Dixon Helen Walker John Page Ross Elliott Jean Thorpe Susan Morrow Professor Richards Anthony Jochim Max Thorpe James Seay Bella Marjorie Stapp Dr.“Manning Roy Regnier Mrs. Kargen Elleene Stevens Mr.- Clammerley Tom Charlesworth Nancy Eaton Beverly Garland Peggy Carstalrs Joyce Jameson Claire Harris Nan Leslie Valerie Ci’eighton Joyce Jarvis Dorothy Childers Mara Corday Judith Tandra Quinn Louise Norma Eberhardt Interne Eric Colmar Photographer Merritt Stone Mr, Carstalrs Walter Bonn Henderson John Oger Miss Fanshaw Gladys Kingston Miss Tippins Juney EUis “Problem Girls” is routine melo- drama,>and as such shapes up as suitable supporting material for the duals. Story of Aubrey Wisberg and Jack Pollexfen', who jointly produced, follows conventional lines although there’s an occasional ex- ploitable peg. Exhibitors will need them since marquee values are light. Script has medical student Ross Elliott taking a temporary job as a psychology instructor at a private school for mentally unstable girls. Little time elapses before he dis- covers that the institution’s oper- ator (Helen Walker) and athletic director James Seay are drugging youthful Susan Morrow to palm her off as an oil heiress. Suspicious of Elliott, Miss Walker and Seay eject him from the prem- ises. Intensive sherlocking con- vinces Elliott that the real heiress has been murdered and Miss .Mor- row will meet the same fate unless she’s saved by quick getion. He then returns to the school and kayoes the nefarious scheme in a brief scuffle with the principals. Direction of E. A. Dupont man-, ages to endow a fair amount of suspense in the proceedings. Gen- erally grim atmosphere of the yarn is further accented by varied psy- chopathic tendencies of the pulchri- tudinous students. For example, one has a penchant for arson, an- ] other is given to larcenous acts and a thir^ is an alcoholic. Performances are in keeping with the stock story. Miss Walker is adequate as the school adminis- tratrix, Elliott is resolute as the prying teacher and Miss Morrow has little to do as the bedridden gal who doesn’t quite become a victim. Worthy of note -among the supporting players are Anthony Jochim, an eccentric professor, and Seay as the heavy. The Wisberg-Pollexien produc- tion values reflect a modest budget. Producers’ screenplay is somevdiat unique in light of an abrupt end that indicates they suddenly* rail out of ideas. Camerawork of Jdhn L. Russell, Jr., is competent as is the editing of Fred Feitshans, Jr. Albert Glasser’s musical score is par for the course. Gilb. GORDON PREPS INDIE Hollywood, March 10. Leon Gordon, after years as a writer-producer at Metro, is ready- ing two of his own story producers •for independent production. First is ‘‘Birth of the Regiment,” based on a British novel by Sylvia Hopkins. Second is a Klondike gold- rush yarn, “The Open Door.” Tit Coq (FRENCH-CANADIAN) Montreal, Feb, 21. France Film release of Gratlen Gellnas production ' (Paul L'Anglals, associate). Stars Gratlen . .Frldolln) Gellnas, Monique Miller; features Fred Barry, Paul Dupuis, Clement Latour. Directed by Roger Ga- rand. Screenplay,' Gratlen Gellnas. Cam- era, Jose Mena. At St. Denis Theatre, Montreal, Feb. 20, '533. Ruhning time, 102 MINS. Tit-Coq Gratlen Gellnas Marle-Aftge ...........I..Monique Miller Father Desllets .....; Fred Barry Padre Paul Dupuis Germaine Denise Pelletier Jean-Paul Defiilets Clement Latour Aunt Clara ............Juliette Bellveau Mother DesUet* Amanada Alarle Camp Commander ....George Alexander Leomod Vcrmette ...... Jean Duceppe Rosie .Corinne Conley Uncle Alclde Henri Poltras The tremendous faith Gratien Gelinas has always had for his play, “Tit-Coq,” has finally been justified, even for the skeptics; with this film version. The life of “Tit-Coq” has been varied and complicated. As a legit . offering- several years ago in French, it played for many weeks in Montreal to capacity biz. An English translation, with mo$t of the original cast, also garnered hefty ‘returns, and o'q the strength of 'this ‘ New York producers ■ in- duced Gelinas to bring the show to New York. It opened there oq. -a Friday night and closed the folloW- irig night following , indifferent critical opinions. . As a screen vehicle “Tit-jQoq” is perhaps the -first, full-length film made in Canada by Canadians that will show a profit. The marquee draw of the name .Gratien (Frido- lin) Gelinas is surefire in this prov- ince, and with the blanket cover- age of the distributors, France Film, both in Quebec and through the New England states, the b.o. returns should be solid. “Tit-Coq” is the story of a cocky young French-Canadian sol- dier born out of wedlock; bis meet- ing with Marie-Ange; their court- ship and separation when he goes overseas; her' eventual marriage co someone else through a misunder- standing, and Tit-Coq’s "bitterness when he comes home to find him- self again a poor little .guy on his own and his chance at a respecta- ble marriage shattered. .The greater latitude offered through the medium of the film makes Tit-Coq a more convincing figure than on the stage. Although Gelinas has followed his original story at all times, the screen gives him a better chance to build the explosiv* \ and sometimes cynical character of Tit-Coq in more be- lievable fashion. His meeting with Marie-Ange at her family’s home at Christmas and the* tradi- tionay French festivities are cap- tured with* spirit and honesty. Tempo throughout, except during midway mark when excess gabbing gets in the way, is at' top level. The fadeout, with Tit-Coq going down a dismal train platform alone after being convinced by the padre that he would never be happy with Marie-Ange if they ran away from her husband to live together un- married, packs a wallop. Two newcomers to the original legit cast, Monique Miller fis Ma- rie-Ange and Paul Dupiiis as the padre, are standout. Fred Barry, as the father, and Denise Pelletier, the friend of Marie-Ange, register solidly; Clement Latuour, as Tit- Coq’s army buddy, and Juliette Beliveau, the spinster aunt, do much to boost overall impact. Jose Mena, with limited facili- ties, has done an understanding job with the photography; and Roger Garand’s first major direc- ting effort is adequate. Made at a cost of $87,000, “Tit- Coq” opened in five Quebec cities Feb. 21. , Newt. La Ncmica (The Enemy) (ITALIAN) . Genoa, Feb. 17. Rank Film release of an Athens Cine- matografica production. Stars Elisa Ce- ganl, Frank Latimore, Vira Silenti Cia- como Verlier. Directed by Giorgio Bianchi. From play by Dario Nicodenii; camera. Carlo Montuori. At the Olimpia, Genoa. Running time, U MINS. Anna di Nemi Elisa Cegani Roberto Frank Latimore Fioronza .. Vira Silenti Gastone Giacomo Verlier Marta Cosetta Greco Countess Ada Dondlni Priest Carlo Ninchi Smooth, competent film .version of one of most popular Italian plays, written 35 years ago by Dario Nicodemi and since frequent- ly reprised. Well acted by a good cast, “Enemy” looks good for local runs, aided by title, with ■ strong following probable from the femme trade. Conversely, overseas chances which will not be aided by names or period Setting, appear thin. Story deals mainly with the efforts of Duchess Anna di Neml (Elisa Cegani) to maintain her secret that one of her two sons is actually the illegitimate child of her dead husband. Struggle brings in intense hatred for the son she feels is imposing on family rights despite his being well-liked by all and the affection that unites him to the person he thinks his brother. He tries hard to win his mother’s love, but not until the other son is killed in the war does the Duchess welcome him as her son. Thanks to Its legit origin, plot is well knit and carries plenty of emotional punch. Elisa Cegani is at .her best as the mother while Frank Latimore does well with one of his rare sympathetic roleS. Newcomer Gia- como Verlier 4s good as the other brother, and Cosetta Graco shows maturing talent as the jealous girl. Vira Silent makes an okay ingenue. Other credits are good. Hawk. Cosh Boy (BRITISH) Controversial and * modest London legit success needs new title and dubbing for U.S. Market. London, Feb. 10. IFD (in association with British Lion) release of a Romulus-Daniel Angel British production. Stars James Kenney and Joan Collins. Features Hermione Baddeley and Hermione Gingold. Directed by Lewis Gilbert. Screenplay, Lewis Gilbert' and Vernon Harris from play . by Bruce Walker; camera. Jack Asher;- editor, Charles Hasse; music, Lambert William* son. At London Pavilion,' Feb. 2, '53. Running time,*75 MINS. Roy Walsh James Kenney Rene Collins'' Joan Collins Elsie Walsh Betty Ann Davies Bob Stevens Robert Ayers Mrs. Collins Hermione Baddeley Quecnie * Hermione Gingold Gran Walsh ., ' Nancy Roberts Alfle Collins Ian Whittaker Pete Stanley Escane Darky Sean Lynch Skinny John Briggs Brian Michael McKeag Sergeant Woods Edward Evans Inspector Donaldson.. .Laurence Naismlth With its strong topical appeal, “Cosh Boy” may have some box- office value to exhibitors, ’but Js bound to provoke undue contro- versy wherever it is screened. It will garner plenty of publicity for the industry and mainly of the wrong sort, even though the young thug, who is the central character, comes to a sticky end. Much of the cockney conversation will make it largely unintelligible to Ameri- can audiences. The film is a fairly faithful adap- tation of a play staged in London a» couple of years ago. As a legit offering, it had a modestly success- ful run, scoring entirely on the sensationalism of the plot. The pic is in the same category. James Kenney repeats the cosh boy role which he originally poi> trayed on the stage. The author has t not pulled his punches and depicts the boy as a thoroughly nasty, unscrpulous youth who goes around bashing old ladies and stealing their purses, seducing a young girl, and inevitably ending up with an attempted murder charge facing him. As on the stage, Kenney plays the title role with surprising as- surance. Joan Collins looks too sophisticated for the yofcng in- nocent girl. Betty Ann Davies as the boy’s widowed mother and Robert Ayres, as the man she mar- ries, fail to rise to the occasion. Hermione Baddeley’s small role is effectively played while Hermione Gingold is standout as a street- walker. Direction by Lewis Gilbert un- derlines the violence Gf the .theme, Myro. Les Aniants de Toledo (The Lovers of Toledo) * (FRENCH—-4 Versions) Paris, Feb. 10. Lux production and release. Stars Pedro Armendariz, Alida Valli, Gerard Landry, Francoise Arnoul. Directed by Henri Decoin. Screenplay, Claude Vcr- "Jprf 1 ; (rom novel by Stendhal; camera, Michel Kclber; editor, Denise Reiss. At MarUrnan, Paris. Running time, 105 MINS. Don Bias ....Pedro Armendariz Alida Valli Fernando «.,.. Gerard Landry Sancha .Francoise Arnold This is a four-language pic shot In Spain and France with French, Italo, Spanish and English versions. Film is a costumer with a backdrop of seething, revolutionary Spain to a passionate love triangle. Literary aspects of script bog down the film, and it emerges as a hybrid action- er, with a mythical love affair. It treats neither thoroughly for a re- sulting unsatisfaction and unfin- ished quality. There are the names, of Alida Valli and Pedro Armendariz to possibly make this acceptable in secondary situations in the U. S. Story concerns a brutal, ambi- tious police chief in old Toledo who, in his love for a fiery Spanish belle, spares the-life of her outlaw rebel lover in exchange for her hand in marriage. She continual- ly Impulses him, but when he gets a bit lenient and engineers the 1 es- cape of some condemned prison- ers, her antagonism begins to turn into love. The return of the lover brings things to a crisis. -' . Incidents are illustrative instead of having a driving pace. The char- acters take on an unreal symbolic air to the detriment of the story. Henri Decoin’s direction does not help to alleviate this. Pedro Ar- mendariz lends his brooding face to the various emotions of the love-ridden tyrant. Gerard Lan- dry is too expressionless as the dashing bandit. Alida Valli can not give much depth to the strange- ly motivated center of this torren- tial triangle. Francoise Arnoul, as the loyal, cute servant, adds only a chance nude scene to her otherwise innocuous role. Lenslng by Mich'el Kelber is on the highest order with Spanish ‘Ex- teriors giving nice production. Editing is good and the mixed na- tional cast are fine types in this overly ambitious costumer. Mask. 1 — ification of robust femininity de- sired by these men. Lamont is fine as the blase Viceroy while the rest of the cast cut fine figures either as court automatons or Dell Arte figures. Lensing and color work is of the highest calibre while the editing helps make the play of colors a delight to the eye, Mosk. Techni Net Continued from, page 5 Metafile Immortalf (Immortal Melodies) (ITALIAN) Genoa, Feb. 10. Lux release of a Lux-GE-Si production. Stars Pierre Cressoy, Carlo Del Poggla, Vera Molnar, Mario Del Monaco. Directed by Giacomo Gentilomo. Screenplay, Ivo Perilli, Liana Ferrl, Giovanna Soria, Piero Pierotti, Gentilomo; from story by Maleno Malenottl; cameja, Aldo Gior- danl; music,' Pietro Mascagni^ editor, Elsa Dubini. At Cinema Odeon, Genoa. Run- ning time, 9t MINS. Pietro Masqagni Pierre Cressoy Lina Carla Del Poggio Wanda ..Vera Molnar Rocco .................MaurLdo di Nardo Dclellis Nerio Bernard! Crepltone Enzo Biliotti Tenor .Mario del Monaco Troublesome musical apprentice- ship, family opposition, early mar- riage ana first success make the biography of composer Pietro Mas- cagni. Pace is slow, treatment heavy and with few exceptions, un- imaginative. Film’s chances appear limited to the music-lover circuit. This chronicles the Unhappy life of the composer, .the loss of his first son, his direction of oper- ettas as means of sustenance (winding up with his unexpected winning of a contest with “Caval- leria Rusticana”) and the birth of his second child. Success brings reconciliation with father, previ- ously opposed to his career. Familiar story pattern, though based on real life, achieves little depth from stereo performances by Pierre Cressoy, as the composer, and Carlo Del Poggio, as his wife. Vera Molnar lends some life as a singer in love with the young Mas- cagni while other character actors support capably. Met tenor Mario Del Monaco is in fine voice with the few operatic bits included. Ex- cept, for some backdropping, these are confined to excerpts from “Ca- valleria Rusticana,” shown at its triumphant Rome preem at the pic’s climax. . Production is on a moderate level. Photography by Aldo Gior- dani is okay. . Hawk . Le Carrosse D’Or (The Golden Coach) (FRENCH-ITALIAN) Paris, March 3. Corona release of Hoche-Daiphinus pro- duction. Stars Anna Magnanl. Directed by Jean Renoir. Screenplay, Renoir, Jack Kirkland after play by Prosper Merimee; camera (Technicolor), Claude Renoir; edi- ?n r ’ David ^Hawkins; music, Antonio 105 m/ns^ 01 ympla, Paris. Running time, Camilla % Anna Magnanl Viceroy Duncan Lamont Riccardo Rioli F e «P« Paul Campbell Nada Forelli Archbishop .... v Jean Debucourt An elaborate co-production in Technicolor about a Commedia Dell Arte troupe that goes to the New World somewhere to South Amenca in the 16th Century, this benefits from the superb color of Claude Renoir’s camera, the bril- liant playing of' Italo star Anna Magnani and the fine direction by Jean Renoir. However, its subtlety, overemphasis on the Dqll Arte group, and play of colors has a tendency to let down the ironic story content for some slow stretches. This would be a fine bet for art houses and sureseaters in the U. S.; with word-of-mouth and crix sure to be a plus factor. It will be a toughie $or general cir- cuit use. Film was made in three versions—French, Italian and Eng- lish. The Dell Arte group arrives in a small South American city run by suave Duncan Lamont, a Vice- roy, who is bored with his office and mistress. He is soon enamored of the lusty, straightforward Miss Mangnani which spells intrigue. There are two other would-be lovers of this fiery woman, a young nobleman and a toreador. Compli- cations naturally develop as the three try to win her while the fate of the town hangs in the balance and a war impends! Lamont gives his’golden carriage to the actress, and she finally straightens things out by giving it to the church to be used as a hearse. Miss Magnani is perfect in tim- ing and verve as the very person- against $2.06 for the prior year. Profit before taxes hit a record $6,340,288, an increase of $397,588 over 1951. * Kalmus said negative sales totaled 29,887,631'feet ill 1952 com- pared to 25,214,062 fe$t in 1951. Advent of wide-angle ahd 3-D pix “will mean amlincreasihg demand for the services and products of Technicolor,” he stated. Techni is currently cooperating with many of the var.ious processes. % Techni TV division continues active, Kalmus reported. He added that “some of these (projects) are directed toward applications of film with color by Technicolor In the field of tele- vision.” Move Into Tinted TV Hollywood, March 10. Technicolor, eyeing a key role in tinted TV when it’s finally okayed, Is about to move into the new medium via a proposed merger with one of the TV manu- facturing outfits. Techni’s plan is to assure for itself the same promi- nent spot In TV color as it has had over the years in‘ the film business. All aspects of the merger are being kept under wraps, for the time being but indications are that finalization of the deal is antici- pated within the next few days. Techni will be a particularly well-heeled new entry in TV. Earnings for 1952, which have yet to - be officially reported, went over the $2,000,000 mark and: its annual dividend rate of $2 per common share has been main- tained. Outfit has no funded debt. &OMMMO IA Suit Continued from pace 5 made demands on the film outfits for the overtime coin over a period of years in an effort to reach an amicable settlement, but had been unsuccessful. Herman Cooper, union’s attorney, said the suit was filed at this time in order to get under the wire of the statute of limitations. Union’s complaint, he noted, dates back to the contract signed on Sept. 1, 1947, which un- der the six-year statute of limita- tion regulation would expire Sep- tember, 1953. The complaint is answerable in N. Y. Supreme Court within 20 days. Cooper stated. Theatre men were quick to an- swer “no labor troubles” when four theatres—Loew’s State and Capitol on Broadway and Loew’s Paradise and RKO Fordham in the Bronx— were* stench - bombed recently. Union and the circuits plus Broad- way houses have been stalemated in negotiating a pact to replace the one. which expired last September. A bomb, causing no injuries and no property damage, exploded with a loud bang yesterday (Tues.) after- noon at the Music Hall. It went off among the orchestra seats while about 2,500 people were in the au- dience. A spokesman for the thea- tre said there was no panic and the Glee Club, performing on the stage at the time of the loud report, con- tinued without missing a note. Excess Profits Continued from page 3 excess profits levy comes off has by no means been resolved. The Eisenhower administration has in- dicated it wants the law extended for an indefinite period, but there are many elements in Congress who oppose its continuance, and it’s generally expected to expire June 30. Even in that case, however, there would still be an excess profits tax for '53, only it would apply at a reduced rate, which would be 50% of the current 30% for the entire year. The levy for the 1952 fiscal year was figured on an 87% aver- age for the 1946-49 base years, with several additions including 12% of the base period capital.