Variety (April 1953)

IS PICTURES PSSTEff Wednesday, April 29, 1953 Film Reviews Contluued from pace 6 Guerrilla Girl recognizable among the cast, is seen as a Greek officer who flees occupied Athens and his fiancee, Irene Champlin, with the aid of g ipsies and a gypsy girl, Marianna. uring flight he falls in love with Marianna and the story hints at a warm affair. After the Nazis are defeated he returns to Athens as a Greek official and becomes a target of revolutionary forces attempting to secure Greece for Communism. By now, Marianna is a member of the revolutionaries, but when she learns Dantine is on the purge list, she tries to warn him against an ambush. Both are shot down and die in each other's arms to bring the film to an end. Trouping is either wooden or completely uninhibited, and the production-direction by Christian extremely poor. A noisy music score, bad photography and choppy editing, the letter by Christian, make up the technical credits. John Byrne and Ben Parker are credited with the screenplay, and added dialog is contributed by William Koch and William Kyriskys. Brog. Grand Xational I\ight (BRITISH) Legit, radio meller makes okay British entry; may do for some U.S. spots. London, April 21. Renown Pictures Corp. production and release. Stars Nigel Patrick, Moira Lister, Beatrice Campbell, Betty Ann Davies. Di- rected by Bob McNaoght. Camera, Jack Asher; music, John Greenwood. At Odeon, Leicester Square, London, April 15, *53. Running time, <1 MINS* Gerald Coates Nigel Patrick Babs Coates ............... Moira Lister Joyce Penrose ....... Beatrice Campbell Pinkie Collins Betty Ann Davies Inspector Ay ling Michael Hordern Philip Balfour Noel Purcell Jack Donovan ............ Leslie Mitchell Sergeant Gibson ......... Barry MaeKay Buns Darling............... Colin Gordon. Morton Gibb McLaughlin Chandler Bichard Grayden Hoskyns ................... May HaUett George * George Sequira Le SaEaire de la Pear (The Wages of Fear) (FRENCH)' Paris, April 21. . Filmsonor-ClCC release of Vera Film- Fono Roma production. Stars Yves Montand, Charles Van el. Vera Clouzot; features Peter Van Eyck, William Tubbs, Dadio Moreno, Jo Dest. Directed by H- G. Clouzot; screenplay, Clouzot from novel by Georges Amaud; camera, Armand Thirard; editor, Madeleine Gug, EL Rust. At Cannes Film Fest. April 15, *53. Run-! ning time, 155 MINS. Mario Yves Montand Jo Charles Vanel Linda Vera Clouzot Bimba Peter Van Eyck O’Brien . William Tubbs Hernandez Dario Moreno I Sraerloff Jo Best Luigi Falco Lulli > A harrowing odyssey of four derelicts inching two trucks loaded with nitro-giycerine over a tortu- rous terrain puts this in the strong meat department with a downbeat theme of fear and its manifesta- tions. Not for general runs in its-j unrelenting portrait of men in crisis, this unusual offering could do for U.S. arty houses on theme and treatment. Trimming is needed to get this down to a more di- gestible size. ^ This picture looks set to cop top honors at the' Cannes Festival with Its intense filmic form and tour-de- force technical achievement. Cast presence of Yves Montand, and publicity anent his Commie lean- ings presents a problem for its pos- sible U. J§. market. JDirector Clougot is also reportedly far on the left side. Early portion showing a.group of outcasts in a torrid Central Ameri- can outpost could be tightened a bit and some of thfe truck scenes could be trimmed since heaping too much suspense on an already taut situation. Word-of-mouth and crix should favor this although uncom- promising aspects of film showing people as they really are lead to a treatment that may be fotind ob- jectional by censors and other groups. Story shows a group of foreign tramps huddled in a small tropical village suffering from heat and boredom, and plotting some means of getting out. Into this comes an ex-gangster who is immediately lackeyed by Mario, a young French- man. He neglect's his halfbreed mis- tress and moves out on his Italian friend. A chance to get away offers itself because an American oil com- pany wants two trucks loaded with explosives driven to a well fire. Two teams are chosen and then pic depicts the dangerous trip and delineates the character reactions of each to fear. The trip becomes an epic struggle as barriers are overcome, men fight and find friendship and finally meet an in- evitable doom. Director H. G. Clouzot has given this rhythm and pacing that makes it seems, shorter than it is. He catches the feeling of a dank tropic- town and the attitude of the men in crisis. Yves Montand is good as the young Frenchman who sees his idol’s clay feet while Charles Vanel etches an excellent portrait of an aging man feeling fear and resigna- tion. Falco Lulli adds an expressive Italo humanity to the film. Peter Van Eyck is precise and dignified In a cold Germanic manner. Music is sparse but telling. The lensing and editing are of top or- der in getting the stark composi- tions of the country and trip with a mounting tension and suspense brought to a Breaking point. Vera Clouzot is fine as a lovesick half- breed with the many-languaged actors adequate. William Tubbs is fine as the steely oil boss who is fair but firm with the desperate derelicts. Mosk, i Having started life as a legit hit l and later being adapted as a radio ; play, “Grand National Night” has ! now gone full circle and emerged as a solid, satisfying British pic- ture. In its new form the story re- tains its earlier dramatic strength with a wide canvas permitting in- clusion of action sequences. Can be regarded as dependable attrac- tion for British theatres and should get some showings overseas. Production has .a cast of valuable local marquee names. It has been staged in good taste and has been tautly directed to keep the sus- pense at a peak. The north country locales, with some interesting horse racing shots on the famous Grand National course, have been effec- tively lensed. Plot focuses on a young race- horse owner who accidentally kills his dipsomaniac wife and, in a mo- ment of panic, hides the corpse in another man’s car. Although he persistently denies 'all knowledge of the incident, police suspicion is adroitly built up and when*his arrest for murder appears immi- nent, he is saved by a neat theatri- cal devise. Thesping is on an allround qual- ity standard with Nigel Patrick giving a sincere, studied portrayal as the rdeehourse owner. Moira Lister does a sterling job as the dipso and Beatrice Campbell is properly restrained as the other girl in the piece. Betty Ann Davies gives a breezy performance as Miss Lister's sister. Other promi- nent roles are well played by Michael Hordern, Noel Purcell, and Leslie Mitchell. Myro. O Cangaeeiros (BRAZILIAN) Cannes, Anril 21. Vera. Cruz production and release. Stars Milton Ribetr o. Written and directed by Lima Barreto. Camera. H. JL Fowley; editor, • Oswald Hofenrichler; music, Gabriel MlgllorL At Cannes Film Fest April 16, *53. Running time, 105 MINS. Teodoro .........Alberto Ruschel Olivia. .Marisa Prado Ferrelsa ,• Jfflton Ribeire Mana Vanjjr Oric., This is an eyefilling saga from Brazil of the northern bandits who pillage the countryside and live in their own primitive, brutal code of the jungle. Pic has'some authentic feeling for countryside and ritual, but is offset by a contrived love story and revenge pattern that puts this in the oater class. This might do for language spots and in spe- cial situations because of its gory action spot§ and meaty theme. The Cangaceiros are bandits liv- ing off the land who kidnap a schoolteacher one day. One of the men falls in love with her and es- capes with her. v The vengeful, brutal chieftain tracks them down. Here the epic becomes a conven- tional meller. However, early scenes of pillage, the gathering of the band, their dancing and singing are filled with fine camera, editing and compositional work. ‘ Milton Kibeiro is fine as the adamant leader, while Alberto Ruschel and Marisa Prado are ade- quate as the lovers. Lensing by H. E. Fowley is tops and rich in con- trasts. There is a fine musical score embroidered with old folk melodies. The Cangaceiro theme should make fine material for a pop song. , Mask. La Drovfnciale (ITALIAN) Genoa, April 7. Warner release of Electra production. Stars Gina LoUobrigida; features Gabriele Forzetti. Franco Interletfghi, Rcnato Bal- dini, Alda Mangini, Marylin Buferd, Bar- bara Berg. Directed by Mario Soldati. Screenplay, Giorgio Bassanl. Sandro * Do Feo, Jean Ferry, M.arlo Soldati, from novel by Alberto Moravia. Camera, G. R. Aldo. Domenico Scalat music. Franco Mannino; editor, Leo CAtozzo; sets, Flavlo MogherinL At Cinema Lux, Genoa. Run- ning time. 111 MINS. Gemma Forest Gina LoUobrigida Franco Vagnuzri Gabriele Forzetti Paolo Sertori Franco Interllnghi Luciano Vlttonl Renato Boldinl Elvira Coceanu Alda Mangini Signora Foresi Manda Prlmavora Letlzia Sertori Marylin Buford Star name and Alberto Moravia story should help this Item to com- fortable local grosses. Stateside, it’s an exploitable entry for the newly breached dubbed market, with ultimate success in general runs dependent on suitable sendoff and proper trimming of excessive foot- age. Deprived of Moravia’s skillful prose cover, story reveals a pulpy and often familiar outline. Flash- back format has also been added for dramatic emphasis, and helps. Basically, tale tells of a provincial girl who, after a childhood romance with a boy who turns out to be her half-brother, is truncated by her mother, marries a respectable but seemingly dull science professor. Only after a brief adulterous affair with a childhood friend, arranged by a scheming Rumanian countess, does she realize the value of her marriage. ^ Story’s sudsy quality should dis- courage art patrons while en- couraging general audience reac- tion. Pace is a bit slow at times, but tale is skillfully told, and acting unusually good. Gina LoUobrigida, besides appearing to advantage In innumerable slips and low-cut gowns, makes the best of her weightiest part to date, and Ga- briele Ferzetti, a legit recruit, is a sure comer in the difficult role of the professor. Others, including Alda Mangini. as the Countess; work over their parts skillfully. G. R. Aldo and Domenico Stales camerawork is exceUent, with other credits, including music by Franca Mannino, also rating highly. Cen- sor squawks are possible. Hawk, Leu Vacances De Monsieur Hnlot (Mr. Hulot’s Vacation) (FRENCH) Paris, April 21. Disci release of Cady FUm-Fred Oraln production. Written, directed by and star- ring Jacques TatL Additional scripting by Henri Marquet; camera. Jacques Mercan- ton; editor, Jacques Grassi; music, Alain R o mana ca. At Balzac, Paris. Running time, 90 MINS. Hnlot Jacques Tati Boss Louis Perrault Girl Nathalie Pascaud Mother Michele Rolls Husband Andre Dubois Wife Valentine Camax » Jacques Tati, whose comic tal- ents were revealed in “Jour De Fete,” confirms them in his second | pic. Though not as funny air “Fete ” due to a lesser story peg, this .one generates a load of yocks, and its underlining fine observa- tion of types at a vacation resort makes this one of the more orig- inal pix of the season here. It will do well here, and bodes to repeat stateside with hypo precedent of “Fete” and word-of-mouth and crix sure to he a plus factor. It is a fine comedy and will pay off re- sultingly. There, is no story in this, but a looksee at little people and their try at play at a quiet little seaside resort. All the types are there, from the robust English spinster to the beach strong-boy, henpecked husband, frustrated, martyred waiter, ingenue, and a host of other characters that give this a rounded, comic feeL Tati builds his gags with sureness, and clever timing and pantomime bring most of them off. Tati is the semi-articulate, blun- dering but well-meaning clown, reminiscent of the early Mack Sennett types. Whether he is be- ing chased by dogs, setting off a cabin full of fireworks, or blunder- ing into a staid funeral, he is a very funny man. He has a weird, broken-down car that is also a good source of gags. Lensing is good, capturing the feeling of a small resort with its tranquility, boredom and repose. Tati has surrounded himself with little-known actors who, however, are fine in their type roles. Though he tries to please, Tati ends up alone at the end of his hectic vaca- tion. Music is fine in its mood content. - M osk. ACT’S Stand Continued"from page 3 his equipment who should‘be sup- plementary to the normal crew.!’ ACT announcement is seen here as being behind the unexplained recent switches in production plans on at least three big American films, Metro’s “Knights of The Round Table,” Paramount’s “Knock on Wood” and Warners' “Dial M for Murder.” These were original- ly listed for production in England. “Knock” now is scheduled for 3-D in Hollywood, while “Dial” will probably follow suit. It’s figured that majors’ reluctance to shoot in 3-D abroad without a full technical crew and ACT’s stand against reg- ulation change cued switch In plans. No process is now definite for “table.” Distribs Tell Senate Group Continued from page 3 shares, and has 22,313 with fewer than 100. shares. Reagan added, “Just as the interests of the small exhibitors, as small businessmen, should be considered, so should the interests of these small inves- tors be considered.” No 'Calculated* Prod Holdup Contrary to testimony by exhibi- tors, there Is “no calculated plan to restrict production so as to create a scarcity of products,” so fair as Loew’s Is concerned. It has increased its output of films, since v the war, and expects an output of 42 pix this year, which would be a postwar peak. Charges by exhibs that the dis- tributors “force” features on them is in direct conflict- with their other charges that thfere is a scarcity of product. Exhibitors’ request for a “set, uniform, fixed system of runs and clearances” cannot be given, since it is prohibited by the big anti- trust decree. There is no excessive amount of competitive bidding, and it is not being used to extract higher rentals from the indies. “So far as Loew’s is concerned, there are at the pres- ent time only 546 situations where competitive bidding is used. It is a method of licensing pictures which Loew’s does not seek. The licens- ing of our pictures in any situation through competitive bidding has been instituted solely by reason of a specific request of one or more competing exhibitors for competi- tive bidding; or of the request of an exhibitor that he be licensed a picture* on* a run which had been formerly licensed by his competi- tor. “Whenever we can eliminate competitive bidding by licensing our pictures on £ split basis, we will do so. We have, in the past few years, eliminated 140 competi- tive bidding situations by splitting our product among the competing exhibitors at their request and with their consent.” “Many independent exhibitors, who have asked for competitive bidding, have for many years con- tinued to use that method of licens- ing pictures. This is contrary to the purport of previous testimony that independents cannot survive competitive bidding.” ‘Loew’s Will Disclose Bids 9 Loew’s is willing to disclose bids, if both bidders are agreeable and make the request in advance. Com- pany would also be glad to include this disclosure provision in any arbitration system. Loew’s favors arbitration but not for film rental prices. “Our production and distribution business based solely upon domes- tic rentals—income from theatres in the U. S. and Canada—repre- sents losses from 1947 to date, the loss in the last year being one of ♦he heaviest. With the inclusion of foreign income, the business for the year 1952 showed a profit„of $584,000, on gross rentals of $109,- 026,000 for'that year, a return of Ya of 1% . . . From the viewpoint of profit and loss, our position is as precarious as that stated by the independent exhibitors who have appeared before your committee.” From 1939 to the present, Loew’s has not released any picture “in a manner which could be called pre- release,” except for “Quo Vadis” and “Ivanhoe.” There was no at- tempt to dictate minimum b.o. prices. “Quo Vadis” cost $9,875,000 for production, printing and advertis- ing. “Ivanhoe” cost $5,317,000. Feldman Outlines Views Feldman made the following points in his appearance: “The business of selling motion pictures is almost entirely an in- tangible business. No two pictures are alike in value in any tvro given cities or villages, or in any two theatres within those localities. Generally speaking, value of a picture is based on its acceptability in a given theatre, at a given time in a locality.” In the period roughly from 1947 through 1949, U em- barked on a program of turn- ing out expensive pix averaging $1,250,000 for the negative cost alone., In that period, company lost from $10,000,000 to $12,000,000. When it switched back to film of the “Ma And Pa Kettle” and “Francis The Talking Mule” type, it came out of the red with a “reasonably happy result today.” “Ouir trade disagreements with customers involve mainly the pic- ^at do the most business. I When we have a shaky picture, we are unable to sell it, or must sell it at greatly reduced prices in order to market it at all. When we have a picture of wide acceptability, the exhibitor does his best to buy it for as little as he can, in accord- ance with his trading position in his theatre, and we try to get as near as possible to what we con- sider a fair, price.” U has fewer than 400 bidding situations. It employs them only when a competing exhibitor re- quests it, or when somebody wants to move up on his run. Claims ‘Collision’ by Exhibs There is collusion by exhibitors. “We often find ourselves assigned to a second or third-class theatre, which we do not like at alL In most of these cases, there is little we can do, except to deal with the ac- count to whom we are assigned, or to forego the revenue from the sit- uation. “Such agreements are made be- tween circuits and independents, between competing Circuits and between competing independents. Another method employed, in carv- ing us up, is to allow us to con- tinue sending bidding letter to competing parties, and the pattern of response clearly indicates agree- ment or’collusion between the ex- hibitors.” ,U does not want to drive the small indies out of business, be- cause, “nothing could be worse for a distributing company than to find itself completely in the hands of the independent circuit operators, the large independent buying com- bines, and the large national cir- cuits.” U has increased number of pix it distributes, rather than cutting down the number, since the end of the war. U has no national pre-release pattern. It had used the system once or twice on a local basis “to establish acceptability” of a pic. Company wants an arbitration system, and is willing to accept “in principle” a method of arbitrating rebates, where a pic does poorly. Theatre closing is not limited to small indies; includes large chain houses, and there are many causes, such as changing neighborhoods, drive-ins and TV, which play a part. The drive-ins, which have been built since the war, probably have more seating capacity than the houses which have folded. Flow of Specs Continued from page * He said that, besides Metro, n0 other studio had reached an agree- ment with 20th for use of the Cin- emascope lens, but that there are plenty of applicants. “We want to make sure the right kind of films are made in the process,” Skouras said. Majority of 20th CinemaScopt productions already skedded' gives an indication of the studio’s awareness of the need for visual scope with Cinema'Scope. Pix to be lensed and in production in- clude several stories taken from the Bible, like “The Robe,” “The Story of Demetrius,” “The Queen of Sheba” and "The Story of Jeze- bel.” Among the other big-scopers: “Prince Valiant,” “Sir Walter Ral- eigh,” “King of the Khyber Rifles,” ‘The Egyptian” and There’s No Business Like Show Business.” Metro also is shooting for pano- ramic effects in the two Cinema- Scope pix it has reportedly sched- uled, “Kiss Me Kate” and“‘Knights of the Round Table.” No ‘Dictator’ Continued from page 7 clarify the statement which made Interstate bf Texas an out-and-out dictator of admission prices and exercising monopolistic practices. “Never did i mean to question the integrity of O’Donnell and hi* established operating policy of the Interstate Circuit,” he said, “It is Interstate’s constitutional right to exercise their prerogative in pay- ing higher film rentals and charg- ing higher admission prices de- manded by the distributors. But it is unfortunate that this affect* other theatre operators, who ar# forced by theatre distributing com- panies to pay increased film rental* and charge higher admission prices, according to terms imposed on the Interstate circuit? Other ex- hibitors are not in.that unique posi- tion.”