Variety (April 1953)

9 VHH REVIEWS Wednesday,. April 8, 1953 Man Im th« Rark (3-tf) S-D melodrama with light- weight story hut strpnjf b.o. potential due to novelty val-. ues. Plenty 5 of exploitation angles. % Columbia release of Wallace MacDon- ald production. Star* Edmond O’Brien. Audrey Totter; feature* Ted de Cor6ln, Horace McMahon. Nick Dennis. Dayton Lummis, Dan Riss. Directed by Lew Landers. Screenplay* George Bricker, Jack Leonard; based on story by Tom van Dycke and Henry Altimus; camera, Floyd Crosby; editor. Viola Lawrence; musical direction, Ross DIMagglo; asst, director. Irving Moore. Tradesnown April 7, 53. Running time, 70 MINS. Steve Rawley Edmond O’Brien Peg Benedict Audrey Totter Lefty Ted tie Corsia Arnie 'Horace McMahon Cookie Nick Dennis Dr. Marston Dayton Lummis Jawald Dan 1 Rl6S Intern Shepard Menken Hetman v John Harmon Maymc . Ruth Warren jiijfitafe* g U n tCOIiOR) Ray MUUtrd-Arlene Dalil bill- ing and Technicolor are main b.o, fftetop in *o-se entry. Paramount release of Clarion (Pine* Thomas) Production. Stars Ray Milland. Arlene Dahl, Wendell Corey; features Patrlc Knowles, Laura Elliot, Carroll McComas, William Walker, Murray Mathe- son. Clarence Muse, Michael Moore. Di- rected by Lewis R. Foster. Screenplay. "Foster; from a novel., by Max Murray; camera (Technicolor), Lionel Llndon; edi- tor. Howard Smith; music, Laden Call- llet. Previewed in N.Y. April 2, '53. Run- ning time, ft MINS, Patrick Falrlle Ray Milland Ena Dacey Arlene Dahl Todd Dacey Wendell Corey William Montague ........ Patrlc Knowles Janice Clayton Laura Elliot Mrs. Dacey Carroll McComas Human William Walker Inspector Mole ....... Murray Matheson Mose Clarence Muse Robert Clayton . Michael Moore. Judge Henley Rex Evans Magistrate . Robert Warwick Mr. Willoughby ........ Lester Matthews “Man in the Dark/* Columbia’s initial entry in the 3-D sweep- stakes, has all.the earmarks of a pioneering effort and suffers and gains from them accordingly. Pic- ture looks like a rush job, but could be good for hefty b.o. re- turns as it’s among the very first to satisfy public curiosity about stereo dramatics. Producer Wallace MacDonald and director Lew Landers play the 3-D gimmick to the hilt and use the added dimension for some first- rate shock effects that should thrill the customers. Unfortunately, the film is handicapped, among other things, by what appear to be cer- tain shortcomings in the process used, since not all scenes come through with depth. Clpseups par- ticularly tend to look quite flat and some of the stunt shots are blurred in close range. Sepia coloring in spots made for very dark takes. Preoccupation with spotlighting what 3-D can do detracts some from the picture's entertainment value. Story, scripting and per- formances all are mediocre, which puts the whole load on the attrac- tion* 1 of the stereoscopic effects. Considering the novelty of the thing, that’s probably enough. Plot has Edmond O’Brien in a standard characterization as a crim- inal who undergoes a successful brain operation thfct is supposed to rid him, of his criminal tenden- cies and make him forget his past. He’s kindnapped by his former gangster pals 'who want him to come across with $130,000 he stashed away prior to his arrest for a payroll robbery. He finally manages to track down the money; shoots it out with the gang on a rollep-coaster; - wins his girl, Audrey Totter, and delivers the dough up to an insurance investiga- tor who’s been trailing'him also. If this sounds like pretty tame stuff, the addition of 3-D docs brighten it quite ’ a hit. ^hree- dimensional impression is particu- larly pronounced in medium and long shots, and when staging'is ar- ranged to suit the needs of the -stereo camera. It’s obvious from the beginning that Landers and photographer Floyd Crosby were still feeling their way in the new medium and delighting in this world of optical tricks, Film Is crammed with such shots as doctors bending over an operat- ing table and apparently ‘ reaching towards the audience with their instruments; a bat flapping out of the screen; the inevitable roller- coaster ride, guns being discharged „ into the camera, etc. One of the difficulties is that an object moving towards the audience at too great a speed doesn’t register „ clearly and the impact dissolves into noth- ing more than eye-strain/ O’Brien as the man tracing his past manages ‘to look confused most of the time but tries for little more emotion than that. Miss Tot- ter’s figure is a definite 3-D asset. Horace McMahon, Nick Dennis and Ted de. Corsia make up the gang- ster trio who think O’Brien is put- ting on an act. Final chase scene, with the roller-coaster roaring down on the principals as they wrestle on the tracks, is good ac- tion stuff but never comes through as much more than just a'vehicle for 3-D which doesn’t always jus- tify the star part accorded it. Screenplay,* scripted by George Bricker and Jack Leonard, hugs the conventional line from story to dialog. Robert Priestley’s sets reflect a lack of preparation and also accentuate the need of more realistic-looking interiors for depth pix. Viola Lawrence’s editing job is spotty. Landers’ direction relies for climaxes on 3-D and conse- quently falls short ip building up tension. Dream sequence on the amusement pier comes through best. The film is being offered exhibs in 17-inch and 23-inch reel ver- sions, the former requiring two intermissions and the latter one. Hift. Some basically interesting ideas for colorful adventure- on the screen are given commonplace de- velopment in “Jamaica Run.”* Ray Milland and Arlene Dahl as-mar- quee names, plus Technicolor, may help the initial pull, but the en- tertainment values Ste iftsufficient to give the pic much b.o. power over the long haul. It’s okay main- ly for lesser-half programming. Lewis R. Foster’s direction and writing provide a few instances of excitement. But the liberal doses of cliches in dialog and. story sit- uations detract from conviction, Notable as salable assets are the Island of Jamaica backgrounding and the theme, in which a ship- wreck of 100 years ago figures, for both suggest payoff bally playing up the intrigue in an exotic spot. Milland has a colorful assign ment, mastering a schooner on the Jamaica run and romantically pitching for Miss Dahl. Latter re- sides in an island estate which is going to pot because her mother, Carroll McComas, and brother, Wendell Corey, are a couple of ir- responslbles almost constantly on an alcoholic binge. Complications, and a murder, come into, play as Patric Knowles, who’s out to pick up some , of the island property, attempts to prove that the old manse, called Great House, is not legally the property of Miss Dahl and family. Figur- ing here is the bill of sale buried in the sunken ship. Performances are standard, the script limitations rendering it im possible for any player to register in standout fashion. Clarion pro- duction has some interesting scenic values in the location shooting and underwater shots, although the staging in several instances muffs opportunities for melodramatic whallop, as with a battle between divers at the bottom of the sea. As expected, about half-way through the film the climax has Great House going up in flames. Technical .work is okay. Gene. lFa*t Company ~ Comedy programmer for sup- porting bookings ' generally. Fair fun. ing it to Miss Bergen, Keel figures to get her to sell cheap; so he keeps the horse losing In all of it* races. But when she arrives to, claim her inheritance and learns of the shenanigans, she decides to race the nag herself. It isn’t, long before the gal has been taken by all the track sharpies, but Keel be- gins to feel sorry for her and of- fers his aid. There’s a romance be- ginning to bloom before Nina Foch,. a wealthy r gai, who likes horses and strong men, short-cir- cuits it for a time. Finale gets Keel and Miss Bergen together, and. provides Miss Foch with a new muscle boy for the fadeout. Keel and Miss Bergen are like- able, despite the light, material thrown their way, and Miss Main makes appropriate appearances on the scene as a small stable owner. Miss Foch’s femme, menace chores are done with a broad sophisti- cated touclL Joaquin Garay figures in as Keel’s jockey. Robert Bur- ton and Horace McMahon pair as sharpies, and Carol Nugent is a teen-ager smitten with Keel. Harold Lipstein’s photography is good, and editing by Joseph Der- vin keeps the footage down to 67 minutes. Brog. Invaders From Mars (COLOR) Good scicnce-fictioner; com- fortable returns indicated. 20th-Fox release of Edward L. Alper son production. Features Helena Carter/ Arthur Franz, Jimmy Hunt. Directed by William Cameron Me rules. Screenplay, Richard Blake; camera (Clnecolor), John Seitz; editor, Arthur Roberts* music, Raoul Kraushaar. Tradeshown, N. Y., April 6, '53. Running time, 78 MINS. Dr. Pat Blake Helena Carter Dr. Stuart Kelston Arthur Franz David MacLean Jimmy Hunt George MacLean ...» Leif'Erickson Mary MacLean Hillary Brooke Colonel Fielding Morris Ankrurrt Sgt. Rinaldi Max Wagner Kathy Wilson Janlne Perreau Hollywood, April 7. MGM release of Henry Berman, produc- tion. Star* Howard Keel. PoUy. Bergen, Marjorie Main; features Nina Foch. Rob- ert Burton. Directed by John Sturges. Screenplay, William Roberts; adaptation, Don Minkiewlcz, from « story by Eustace CockreU; camera, Harold Lipstelh; editor, Joseph Dervlm. Previewed April 2, '53s Running time, 47 MINS. Rick Grayton Howard Keel Carol Maldon PoUy Bergen Ma Parkson Marjorie Main Mercedes Bellway Nina - Foch Dave Sandrinjf Robert Burton “Jigger" Pfcrkson Carol Nugent Manuel Monale* Joaquin Garay “Two-Pair" Butford.... Horace McMahon “Hungry" Sig Amo Ben Iron-Mountain Iron Eyes Cody A fair s amount of fun is offered in “Fast Company” to get It by as a program "comedy for supporting bookings generally. By dint of sheer, silly frenetics, it stirs up a" titter here and there, but doesn’t merit consideration outside of pro- grammer dates, the classification for which it was made. Howard Keel and Polly Bergen are the (Srlncipals involved in this tale of love and larceny along the gypsy horse-race circuit. Marjorie Main is the third co-star, supply- ing some selling help for the smaller towns^and situations, but her footage is comparatively short They, along with’ the other per- formances, enact story "charac- ters” typical of most lightweight race-track comedies, although with less emphasis on schmaltzy heart tugs and more on reaching for chuckles. On that basis, and in view of the budget and release in- tentions, Henry Berman brings off the production satisfactorily enough, as does John Sturges’ di- rection of the William Roberts screenplay. - Keel, follower of the small-time tracks, aroupd the country, owns a beatup nag and is caring for an- other whose owner has died, leav- 20th-Fox, has a likely science- fiction contender with “Invaders from Mars.” While, this Edward L. Alperson production lacks mar- quee names, its suspenseful story is charged with exploitable val- ues. Theqe should insure comfort- able returns, especially in situa- tions catering to juveniles and ac- tion fans. Richard Blake’s screenplay is pegged around a typical American family which resides in a small California town. Their existence is tranquil until 12-year-old son Jimmy Hunt awakens in a thun- jderstorm to observe a Martian spaceship land on a nearby sand- pit. His scientist-father, Leif Erickson, and mother, Hillary Brooke, investigate the scene, but return with a sinister demeanor that's in abrupt .contrast to’ their usual cheerful attitudes. Stunned by the mysterious change in his parents' personali- ties and upset by the disappearance of a neighbor’s girl into the sand, Hunt appeals to the local police. They're skeptical of his complaints. However, .city physician Helena Carter and astronomer Arthur Franz are convinced that an in- vader has landed and the country is in vital danger. From this point, the suspense gradually builds un- til the Army surrounds the pit and routs the menacing Martians. Imaginative yarn makes full use of astronomical and lab equipment as well as Government atomic re- search installations as backgrounds to heighten the realism. Highlight, however, is . a Martian ray gun which can cause the earth to part into subterranean passages. All this has been effectively filmed by John Seitz in Clnecolor. Although special effects and technical credits are the star per- formers of the picture, the cast also turns in creditable portrayals under William Cameron Menzies fine direction. Miss Carter is cool- ly efficient as the femme doctor; Franz likewise is mentally adroit as the astronomer who alerts the Army, while young Hunt impresses as the frightened lad. Good sup- port is provided by Erickson and Miss Brooke, among others. Both producer Alperson and son Edward, Jr., who served as asso- ciate producer, extracted maximum physical values from what appears to be a "medium budget. Director Menzies’ design of the production is warmly inventive as is the art direction of Boris Leven. ,-Musi- cal score of Raoul Kraushaar is in keeping with • the film’s genera suspense. . Gilb. Chaplin Lot’s 900G Tag Hollywood, April 7. Price tag on the Charles Chaplin two-stage studio, originally $1,400,- 000 . and later $1,200*000, has’been lowered to $900,000. Business interests here ‘are re ported ready to buy the lot on Sunset Blvd. fof investment pur poses, as a rental lot on a long term lease. £,»w anil Order (COtTOR) Good Technicolor western fea- ture, with satisfactory gross* in* prospects generally* ♦ 1 * ■ 1 Hollywood, April 3. Universal release of John W. Rogers production. Stars Ronald Reagan, Dorothy Malone, Preston Foster; feature* Alex Nlcol, Ruth Hampton, Russell- Johnson, Barry Kelley, Chubby Johnson. Directed by Nathan Juran. Screenplay, John and Gwen Bagni and D. D. Beauchamp based on “Saint Johnson" by William R. Burnett; camera (Technicolor), Clifford Stine; edi- tor, Ted J. Kent. Previewed March 31, '53. Running time* 80 MINS. Frame Johnson .......... Ronald Reagan Jeannle *,,. i.... Dorothy Malone Kurt Durling Preston Foster Lute Johnson Alex Nlcol Maria Ruth Hampton. Jimmy Johnson ......... Russell Johnson Fin Elder Barry Kelley Denver Cahooa Chubby Johnson Jed 0 ‘ Jack Kelly Frank Durling Dennis Weaver Durango Kid Wally Cassell Judge Williams Richard Garrick “Law and Order” is a good west- ern shaped to the demands of the Universal action market, where it should prove a satisfactory grosser. Oater story will find favor with fans of outdoor subjects, as will the familiar cast names, headed by Ronald Reagan, and the Techni- color tints that dress up the pres- entation. Picture has been put together properly under John W. Rogers’ supervision to meet all the de- mands of release intentions. Na- than Juran’s direction is keyed to the same demands, blending in plenty of action to keep the plot moving satisfactorily. While script mixes up a bit too much plot for the 80 minutes of footage, leaving some of the tangents sketchily de- veloped, it is generally acceptable. Reagan plays a law man who, having cleaned up Tombstone, de- cides to turn in his badge and take up ranching in .another western town. This pleases his girl friend, Dorothy Malone, who can't see a long future with him if he, stays a shoot-’em-marshal for whom all the bad men are gunning. 'With his brothers, Alex Nicol and Russell Johnson, and an undertaker friend, Chubby Johnson, Reagan travels to Cottonwood for ranching. He finds the town is being run by Preston Foster, an old enemy, and the good citizens ask him to clean it up. When he refuses, Nicol tackles the job, is later killed by one of Foster’s sons. After this, Reagan, despite his desire for a peaceful life, takes on the task of marshal. His last act as law man is to bring in his own brother, John son,"after latter has killed another of Foster’s sons in self-defense and then fled. When the. -excitement dies down, Reagan is finally able to retire to ranching and romanc- ing. Reagan handles himself easily in the top role and the others named pull their own weight in making the picture a likeable outdoor offer- ing. Barry Kelley, a crooked sheriff; Wally Cassell, very good as a bandit captured by Reagan early in the footage; Richard Gar- rick, a judge, and, Ruth Hampton, Foster's daughter who carries on a hurried romance with Russell Johnson, are among other capables. Script, by John -and Gwen Bagni and D. D. Beauchamp, has a leav- ening sense of humor in the dia log. It is based on William R. Burnette’s “Saint Johnson.” Ex- cellent color lensipg is contributed by Clifford Stine. Editing is good. Brog. Bright Road Warmly humorous drama about adolescence; ballyhoo aspects in all-Negro cast for cosmo- politan areas, as companion film. Hollywood, April 3. MGM release of Sol Baer Fielding pro auction. Features Dorothy Dandridge, Philip Hepburn, Harry Belafonte. Barbara Ann Sanders. Directed by GerAld Mayer. Screenplay, Emmet Lavcry, from “See How They Run," Mary Elizabeth Vroman'* Christopher Award story pubUshed in Ladies’ Home Journal; camera, Alfred Gilks; editor, Joseph Dcrvin; music, David Rose. Previewed March 30, '53. Running time, 68 MINS. Jane Richards Dorothy Dandridge C. T. Young Philip Hepburn School Principal Harry Belafonte Tanya . Barbara Ann Sanders Dr. Mitchell .? Robert Horton Tanya's Mother Madle Norman Booker T. Jones . Renee Beard Boyd Howard McNeely Lloyd Robert McNeely Rachel Smith Patti Marie EUls Sarahlene Babcock Joy Jaokson Roger. Fred Moultrie George James Moultrie Mary Louise Carolyn Ann. Jackson Mary Elizabeth Vroman’s tender little story about a Negro boy and his school teacher, which won a Christopher Award upder the title of “See How They Run,” has be.en made into a warm and humorous secondary film feature.' Because the cast, with one exception, is made up of Negro players, ,it may rate some special bookings in cer- tain situations. Novelty in cast- ing also offers some ballyhoo as- pects. foe tht mora- cosmopolitan §tory is simple, and the produc- tion keeps the presentation that way, without dragging in racial contrasts, or propaganda that Would spoil the flavor. Direction is un- derstanding, and works well with both the juve and adult cast mem-. bers, while properly projecting the heart and humor to be found in 'he plot. Dorothy. Dandridge., better known as a cafe singer, portrays a new school teacher on her fir«,f job. One of her fourth-grade pu- pils, Philip Hepburn, refuses to respond to school* routine, and she determines to win him over, and thus prove her Own worth as a teacher. Young Hepburn prefers the wonders of nature to classroom routine, but his teacher’s persist- ence gradually awakens a response however, when his little sweet- heart, Barbara Ann Sanders, dies suddenly, . the boy’s rebellion breaks out again. As a corrective measure, he is givbn the silent treatment, but eventually returns to favor with the pupils and the teachers when he successfully rids the school of a swarm of bees by capturing the queen and taking her to the. woods. Miss Dandridge acquits herself creditably as the teacher and sings two simple hymns during the course of the footage. Young Hep- burn is splendid as the boy. Harry Belafonte is satisfactory as school principal, and sings one of his folk songs. Miss Sanders’ endearing personality carries her through the role of Hepburn’s school playmate. Only white player in the cast is Robert Horton, portraying a doc- tor called in to aid the sick girl and he is good. Sol Baer Fielding’s production draws a reasonably accurate pic- ture of a Negro grade school in the south. Gerald Mayer’s direction keeps the 68 minutes of footage interesting and the technical as- sists are excellent, Brog. Egypt by Tlttc© Egyptian - filmed short • story trilogy of only mild interest for pseudo-art spots. Hollywood, March 30. Filmaker* release of Victor Stoloff pro- duction. directed by Stoloff. Features Ann StanviUe. Jackie Craven, Paul Campbell. Abbas Fares. Charles Fawcett, Muhoud el ^Millgui, Hatsan el Baroudl, Charles Mendick. Eddie Constantine, Nabilk Nouhy and the Coptic Priest* of the Church of " Abu Sefen. Screenplay, Joseph Morheim, Fred Frciborger, Lou Morheim? original, " Morheim; camera, Nicholas Hayer; story introduction, Joseph Cotton. Previewed March 25, '53. Running time. 74 MINS. The girl Ann Stanvllle The wife Jackie Craven Knife thrower Paul Campbell Caravan sheik .............. Abbas Fares American doctor Charles Fawcett Egyptian doctor ..... Mahmoud el Millgul Magician Hassan el Baroudl Charlie Charles Mendick Nick Eddie Constantine Miriam NabHa Nouhy Captic Priest* of Church of Abu Sefen Other than the moot exploitation possibilities in the fact “Egypt By Three”- /was iensed -in Egypt .and ' uses many foreign players, this in- dependently-made trilogy being distributed by' Filmakers Releasing Organization doesn’t offer much for the domestic market. Some pseudo-art spots may find it of mild interest. Victor Stoloff produced and di- rected, using-three stories by Lou Morheim. The narrative bridge holding the tales together is spoken by Joseph Cotten. He expounds some cliches on the dark mysteries of the regions of the Nile. Stories, screenplayed by Joseph TVIorheim, Fred Freiberger and Lou Morheim, each have a twist that strives for an O. Henry touch. Foreign back- grounds are fresh and the lensing by Nicholas Hayer low-key? First plot, running 24 minutes, concerns the affair between Ann Stanvllle and Paul Campbell, a knife thrower, and the vengeance exacted by the cast-off wife, Jackie Craven; Latter clears her husband of a murder -charge on his promise never to see Miss Stanville again, leaving the viewer with the impres-. sion that some night during a per- formance, the husband .will hurl his knife into her instead of the target against which she stanfc. Plot two is involvetfTor 26 min- utes with a threatened cholera epi- demic that quarantines a caravan led by Abbas Fares before it is 'able to complete its pilgrlr.lage to Mecca, with Charles Fawcett and Mahmoud el Millgui, regular mec-- icos, trying to outwit the" tribe magician, Hassan el Baroudl. Fares saves his face and solves the prob- lem by letting the decision whether to stay in quarantine oy defy the authorities be settled-by a homing pigeon, who fifes west to home in- stead of east to Mecca. Plot three, running 26 minfites, finds Charles Meiidick and Eddie. Constantine as a 'cbuple of Ameri- can confidence men trying to make a fast buck out of holy bread baked and given away by' the Coptic Priests of the Church of Abu Sefen. I (Continued on page 22)