Variety (October 1953)

Wednesday, Odoher KIm Mf KjU* * * Dl >Kiu i' great- Get with it fi Into ti* audier.ce— ’ Trancisco, he hit* the road and! Su>nn. ftdrettly i^JJ*** intended to aocli across during a bored stay In V/J% Angele* poisonous goasip, particularly In a unf—obvioualy »L1 be p»cks up Ida Lupino, a lonely small provincial town, can hij« R being wared into the audience— which mere intended to aoch across the 3-D lensing —obviously mU be lost in 2-D format, however. Ge r .«. V*-r 6w J.r* * 1 V*.’ J'.'j' ♦ y f>' »• y ; I !.*. t Vi J*«* r usr.mirig* vrfr r. sum »Ucnryr Or*v*«-f "•/* K'i a. -••* il**u*p r yw* ... 7 Mtr K*:. **”» , r~t,%zjiVT Bvt ) '•*** e.-r • •< y-t-t.*' l>i* -r c*C v? .* u^c -t •'-» Urn--. I L.' ;--xjv<*-c or ’-ft* r. f* V- , *'.c ATtrtttG SuxfJ* V-* rfilt f v»* r-U'-'*- r i. « 4 cr* rf»»W * t.C *-*P • • ♦•<;'..;•» H*-m*w* F*’ '» :T ' ■’* • ’• I v 7*-* t MCiW ' .. .. |u.p». L v ,f: *.» Pr« • •< 1 Ovi 22 12 Run »* yt MtMS KuU^f.f.r ,. r , . »>« -tr £*«*“* R.S*.T«-*r.al»> A . . v <-r t> M*ru, i ,..'. ViT>'faA*ol fc. v , ... 7.-.,. Ktii <*» ^ *- , »>l V. rr.vf*- Ji?vs Cert* S*lv,* fcht fv. f. K«'* v H« r r x Sf.i ft-, r ft J '!» ii R«-**s . . . V. . vf<5 T 'iok«-i 'ustro j>* .» f> hr.rn • Jirrr.*-* f ^w*3 AH **>f B*-rrsu<S'./z Af ' '/i* ♦ f if. _ J*’*r.r.*' < *>>?** . * j P Appoftalmeal la ■•■darai (COLO*) Chase melodrama with jungle bachgrwwjkd. goad east names, mild b.o. proepeets overall. Hollywood. Oct 25 RKO rtieir oi b^or^Kt St j*. j» pco- tfurGoo S’*ri Oient Fcrd, Anr. Sr^-’.c^r. .vlUri 2«'un Pott feiturn KvOcJft A'V*C*. J*(* EUr.. B.f Xt*r.Ai. h*<v Aumx Di/erenJ ay J*<vu*« 7vurr.e-r P r»»f:piij lUrn Ln^ol! turr. • rv„. ’ t> Mi.-iv J*<c (.orru.’i. i«rr»r» 'T*»bi»i«olor<. Jo*r^t biro* ranvr J*t>» U,' »fi»i L>vu.i Fvrtu-f Hfr 0*t IS. Rurj—r.f Un.* 7J MtWS Jitn Cvrbrtt .... C.. * n r. F cr< S^»pp*fO ....... Ar.r Sr.*pp»i 0 Za*- f.ir> ;.. ,. R'Xl';f'j A'v»-.a uno ....,.,, J*'ii h,» R'»«r. hi>« Au-'.u o» fr-putaiion for lurnin? j < i.;.br<- musical pictures is r »'r. , iar,ced with ‘Kiss Me J' Shakespeare s - Tan.- • Shrew ’ done o-Ver in * ♦ . satisfying la‘n:on •. ;a a >ra’ipn of superior -or.j?. and f ornedy talent 1 f xm- 1- sunn* * s ij»-s**r\edly s ould The pulp fiction melodrama of- fered in ‘Appointment in Hon- duras ’ is of the kino that Hits up some box off ice in cer.a.n situa- tion*. but which, o\era,i. can’t hope for more than generally modest business. It s in Technicolor and has the familiar names of Gler.n Screening of “Kate ’ at toe Ivoev. v homeoffice wa* unique for f ir.e fir 1 ’ f.If unreeled in 3-IJ ar.d j the l;alan»e in conventional 2-Ii • format. Kxhibiton have their t choice *o license either version. ‘ tve tbe ory be ing that showmen • know best their audience prefer- * ersc *• anel c an act accordingly. This department ask*. Why 3-I>’’ J • Kate” has all the dimension it ‘ needs in 2-1) The pictorial effect* , achieved with the 3-1) lensing mean | little in added entertainment. The . necessity c.f wearing viewing glasses, to u* t proved a pain m tfi*- eyebrows. A bother, that is. Technically, there were a few flaws in the 3-f) runoff. Instances where the- two prints apparently were out of sync, while not of ma- jor importance, still were slightly disturbing to the viewer. But the play’s the thing, ol rour*e and “Kate ’ has it Doro- thy Kingsleys screenplay, fiom the Samuel and Bella Spewack legiter. v/as hep handling of a trie kv assignment. Under George Sidney’s skilled direction. “Kate unfolds *moothly all the way a* it goes bac k and fcjrth from the bac k- stage story to the play within the plav and wor ks in the nutnc rous — and brilliant—Cole Porter lunev Ca*t work is uniformly top- 1 notch, the* performers endowing the film with a variety of skil’s that bring out tin* best of both book and music. Howard Keel a dynamic male lead, in complete command of the acting role and leg'isierinp superbly with the* songs. As Prftucio in “Shrew,” his han- dling of the- amusingly lyricized “Where Is the Life That Late I Led" is a sparkling highlight. Kathrvn Grayson is fiery and thoroughly engaging as Kate, lamed by Keel in “Shrew” «|»1 ;iv within plav) and succumbing to his charms backstage after much ro- mantic Maneuvering. Miss Cl ray- son’s and Keel s dueling of “Wun- derbai” and "So In Love" is frv’sh and spirited arc! highly enjoyable The- e comments, while spotlight- ing just a few of the numbers, are cl‘*‘.ieneel to illustrate the top calibre of all the* Porter songs in * Kate. ’ A new album from M-G-M is furthcoming and should be a def- inite click. Only song not from the play prototype is “From This Moment On” and it’s an agreeable next com- er. as delivered by Tommy Hall. Ball plays out the story as a team with Arm Miller and they make a nifty combo with bolh the vocaliz- ing and footwork. A rooftop dance number by Rail especially demon- strates his terpery skill. Miss Mil- ler does a tap single at the outset of the pie. which is hilled "Too Darn Hot." and this is a spectac- ular si/.zlcr. For comedy, just about any audi- ence will get a Charge out of Keenan Wynn and James Wild- more. playing a couple of hoods bent on collecting an I. O. U. re- ceived in a floating ernpgame. In a hit of delightful incongruity they segue into a song and dance piece titled “Brush Ip Your Shake- speare” that has hilarious effect. Choreography 'Hermes Pan) and niusieal direction 'Andre Previn and Saul Chaplin) round out the list of imnortnnt credits. The Jack Cummings production, as said be- fore. brings together variety of highly skilled hands. All together they've fashioned a sweetheart bf a musical. Technical work is, fine, including the sharp editing, clever- ly maneuvered camera work <and agreeably tinted photography in Ansco). A few devices—as objects Ford. Ann Sheridan and Zac.ban Scott heading the cast, but it's prospects stLil seem lean. A measure of su*pen*e and ’en- *ion is built by Jacques Tourneur s direction, but he s unable to ra**e the entertainment above the pot- boiler script. The Benedict Bogeaus production uses all the stock equipment for a Central American jungle chase plot slith- ering snakes; yawning alligator* blood-thirsty piranhas; lurking pumas; man-eating ant*. and swarming wasps. These ingredi- ents get a routine mix in the light- weight Karen DeWolf screenplay- based on a story by Mario Silveira and Jack Comall. Basic idea of the plot i* to have Ford make a laborious trek through the jungle with money that will reinstate an overthrown Honduras president. To start the journey he uses four Latin convicts as tools to leave the small freighter he is aboard, and takes along Miss Sheridan and Scott, a quarreling married couple, as hostages. Re- mainder of the footage is a rather fulsome detailing of jungle dangers and the exposure of the tempera- ments of the oddly assorted group. Windup finds Ford be*ting efforts of his criminal companions to steal the money, outwitting pursuing revolutionary^ and winding up with Miss Sheridan after her hus- band is conveniently killed. Ford almost makes hi* confused character believable. To be most demanded of Miss Sheridan is to look jungle-weary and quarrel with her cowardly husband Scott fares no better. Rodolfo Acosta, leader of the convicts, manages a good characterization. Others are routine. The footage has been held down to a handy 79 minutes for the gen- eral double bill market under James Leicester's editing, but the trimming is not always smooth. Neither is Joseph Biroc's color , lensing. Ilroy. p*cks up Ida Lupino, a lonely hashsLnger. The next thing you know, she's with child and O Brien marries her, not revealing he al- ready ha* a wife. All this emotion- al travail comes out when the legal O Bnens decide to adopt a ciuid ( .n San Francisco and :s told in flashback after an investigation *’.arted by Edmund Gwenn, adop- \on officer, discloses the sorry double life. It all ends in court with the judge promising to pas* sentence next week, thus leaving it up to the sper.utor to wnte the finale Collier Young produced and d:d the --'reenplay from a story by La r, *“ Marcus and Lou Schor. The pr< -tion value* are good for the t.g. judget on which Filrr.aker* operates. Miss Lupino both co- '•tarred and directed and is ade- quate in both functions, as are the other star* and featured player* Since the action i* nearly always on the four principals, there isn t too much for the others to do. Included in the *core is an orig- inal song. “It Wasn't the Stars That Thrilled Me." by Matt Dennis and Dave G.llarn. and"which Den- n.* *ings during a nitery sequence. Background score was composed ar.d directed by Leith Stevens and fits the mood. George Diskant s lensing i* good. ground for thl* melodrama v A was leased la i y s , small provincial town, can have a Pallo*’ Pax FHma. it it * damaging effect on the lives of filmfare for the general p- 0 g- A •everal innocent people. For this market. Names of Denn s G V-l*! particular, plot she has taken the and Coleen Gray iboibci he - ‘* story of a young schoolgirl. Glynis O’Keefe plavs an Ar-#-~V. „ Johns, who develops a crush on guarding Leonardo da Y-7 7 ‘“ her Latin master Leo Genn> and demna and Child, sent f7~ V*’ disappears after hi* wife has toid u\ S. to London for a- ’ -7-- ner she is aware that she is in tional exhibition at the Ta‘7 • * love with her husband. The girls unusually alert because »w S oeret is found floating in the river, da Vinci masterpieces h \ f and immediately there is suspicion appeared mvstenou* • ’ ‘ of either suicice or foul play. [follows him through the'v<7 5 During the girl's three days his special charge and hi* \; , . absence the atmosphere is kept at mg it to the private ga a ter.se pitch, and this makes for Hugh Williams, wealth*. . * «^ meaty suspense entertainment. But gent who had engineered a after her return, with the lame the thefts and is not above r . j excuse that she had been visiting to keep his stolen collect,-.', a friend in London to get herself tact. straightened out. the film lingers) a wealth of technif-ai c ■•- - on for several minutes with an em- the uncovering of faxf- j^V. . ^ barrassing self-consciousness. and other detail having xo-rt Leo Genn and Gene Tierney the world of art is ir.-'-, J make an admirable husband and effectively. The mu*el n ^ 1 wife team His performance is ground provides intere*t rg stamped with a convincing reli- era angles as the principal* ■ ability while she provides a touch among its treasures ar.d Gi/ • of g;arrtor and occasional doubt. Grayson’s direction is i ihnicai ti % fake pa.* ivmg to do : is in*.roc miuse urn r PriMin#*r« of the Casbah are nicely par (COLOR) parent* Suppc t suitably filled. Trite costumer In color for the Anthony Pe programmer market. With his eye fn potentialities * Hollywood, Oct. 27. been ably a* rf.lurr.bia >-t Sam K*trman pro- Wil*on S Came du»-tior St*r» Olor^a Crilum«. Ctur | H'jrr.*ro. Tjrhin B«->: NVctor A1 * ■ n S HiUSlC P*i»a. Paul E N»-wiand, Lucille B*rkl»-'. — Philip V»r> /.*ndt. Frank Richards. John Pirnsh w»dc Crosby, Gloria Saundrr*. 31 f*l Eddy Fields Izireft«-d bv Richard Barr ,, Streenplav. DeVallon Scott; based on a story by W,lliam Raynor; camera OTechm- color). Hrnrv Freuhfh; editor. Char'** f arkinr nl Nelson Previeised Oct. 19. 'S3. Kunninf i .Isij * ... nme. 7i mins. ! m,,d wr^ei Pnn'fM Nadja Gloria Graharr.r ■ * Firoui Cesar Romero films C*n b' Ahmed Turhan Bey In spite of a sterling performance. Miss Johns is somewhat miscast as the 17-year-old student, as she is too well-known and mature a screen fisure to convincingly fill such a role. Pamela Brown gives an intense performance a* a deeply frustrated ma;den aunt, while Wal- ter Fitzgerald ar.d Megs Jenkins are nicely partnered as the girl’s parent* Supporting characters are suitably filled. Anthony Pelissier has directed with his eye firmly on the suspense potentialities of the plot, and has been ably assisted by Frederick Wilson’s camerawork and William Alwyn’s music. ’Tyro. M*rouf .... Thief No 1 .. . Soura Sclirn 7 hief No 2 ... Thief No 3 ... Vaeoub 7-eida AbdulLh Slave Girl Vo. Slave Girl No. Emir Yus*em ...... A> ub Mokar ’. .’. Paul E. New)an I . rjn * Art* Film* release of Venu.« Pro- Lucille Bark lev S, u<tJ0r ‘* film Star* Ceortua Soihern. Philip Van Zandt Rc,y tt Lii; St Cyr With Jack D*a- Frank Richard* niond. Vanoy Kav, Charles Harris. .. John Parrish ?** r -P*’i* *, Andre Petty Pace. Pat Wade Crosbv ) I-orr.bard. V,ia Lee- Betty Tunell. Doris lloria Saunders 1 JwicKtiuif, Ann* Slayton. Mr. Amenta. .. Eddy Fields ' enu * ^*utiei. t>irec*ed by Jerald In- Mimi Borrel 'cater; earn,era. John S Carroll; screen- Willetta Smith ! P**)’- Allan Bodian: music. Frani Bibo. . Nelson Leigh : At Riilto. N V . starting Oct 2. 53. Run- Rav Singer 1 ““>1 Lnte, *S MNS. Siriporama (COLOR) Lacking plenty as even a mild screen production, but okay for spots where sexy films can be sold. although the melodramat^* i< j have, been gaited faster for r 1 dates in this country. O'Keefe fulfills the derr-in'-, ; r his character easily and M.** f, * is a charming partner a* ;-.e r 1 he falls in love with. W... suave as the heavy. Guy , ton. as an investigator •. -a w ith O'Keefe, injects some b:n humor. John Laurie, the - father of Miss Gray. Gera.-;T and Seymour Green, are c-, ' c seen more prominently in the , \ Background music, on v 7 Ilona Abos advised and M*,- t ' Seiber conducted, has been lii-j ! used in the production, being .pi-. 1 mitted to boom out over st*perle land chase scenes, thus Ic*w- o I their impact. The camera work other technical credit* are ckav f l ' • I-ovf fn Pann •BRITISH) ... Wade Crosby . Gloria Saunders Eddy Fields • Mimi Borrel ....Willetta Smith Nelson Leigh Ray Singer ... John Marshall ... John Mansfield Two British radio, TV star* fail to overcome lightweight comedy story; NSH for l. S. Thi* HigamiNt Soap-opera of the "John’s j Other Wife” school for rou- | tine bookings. Hollywood, Oct. 23. Filmakc-rs Undie) release of (oilier Young production. Stars Joan Fontaine. Ida Lupino. Edmund Gween, Edmond O'Brien; features Jane Harwell. Kt-nn-lh Tobev, John Maxm«> 1L Petty Male'. Di reeled by Ida Lupino. Screenplay, ('oi- lier Young; from an original story by l.arry Marcus and Lou Schor; camera. George Diskant; editor, Stanford Ttschler. music composed and directed by Leith : Stevens; song. Matt Dennis and Dave Gillarn. Previewed Oct. 20. '33. Running time, 7* MINS. Harry Graham Edmond O'Brien This trite costumer In Techni- color is strictly a filler booking of- fering a minimum of entertain- ment. even for the least discrim- inating filmeoer. The plot is a hackneyed affair dealing with an evil grand vizier, a princes* and a dashing hero, v.ho saves Algiers and the girl from the clutches of the villain. The Ca*bah enters into things when the hero and princess take refuge there while he cooks up a scheme to thwart the heavy and win the girl - , Mediocre writing and direction make the players appear particu- larly bad. Gloria Grahame is wood- en and reads her lines with a lisp a* the princess. Cesar Romero makes nothing of the villain and Turhan Bey is a ludicrous, impos- sible hero. Other players are to type. , The Sam katzman production has some pretty sight values but these are wasted on the DeVallon "Striporama’’ is the closest thins to a burlesque show, placed on celluloid, that has been concocted of late. It has all the moss-covered burley comedy skits and routines, and also the strippers and a line of show gals, latter being surpris- ingly comely. Color of a sort has been added. This all adds up to a very strange conglomeration, but it will do business via the readily exploitable stripper angle. This is one of the few so-called burley picture* that even partly lives up to its sexy lobby display. Sqme of the stripping sequences have been done with liberal use of doseups. A few of the sexy inci- dents and the g,7gs are put over with all the adroitness of a sledge- hammer A few of the strippers suffer front being captured too closeup. One of the he-t parts of this is termed a specialty. "Cinderella'is Love Lessor.” which is merely Lili St. Cyr doing a modified, original strip. Of the principal «trip artists. Scott script, based on a storv bv ! fb )C; (ta Royco and Georgia Sothern William Raynor. Richard Bare’s j s nape best. Jack Diamond plays direction scares up some action. TT ' V1 . ^ an ,,'* aIK ^ nothing else The technical credits, h harle* Harris handling the bur- Willinm Raynor. Richard Bare’s direction scares lip some action, nothing else The technical credits, headed by Henry Freulich’s lens- ing, are good. Brog. — Personal Affair (BRITISH) lesque comic routines. The Fake Wear. Kv«* Graham I’ll* llis Martin Mr. Jordan Mrs. C’onnellcy ....... Tom Morxan Juris* I’hone Operator I’rnsreuting Attorney,. Mr. Forbes Executive Miss ItiKKins Mr Wallace Matt Dennis ItoV Tanner Driver . Joan Fontaine Ida Lupino Edmund Gwenn Jane Parwell Kenneth Toney . John Maxwell Petty Maley Mack Williams James Todd James Young Lillian Fontaine ... John Rrown ...... Himself Jerry Hou.mer Ken Dibh$ Kenneth Drake Gene Glynis meller; V. S. Tierney, Leo Genn, Johns in taut British steady biz looms for Court Clerk Kenneth Drake Hov on the Street Mar McKim Head Waiter George Lee The independent Filmakers unit has come up with a little drama that might have been lifted right off Elaine Sterne Carrington’s soap-opera assembly line. As such it has some distaffer appeal, but the general run of film audiences in the routine market will not take to it so the outlook is spotty. The star names are a step above the level usually found in this type of programmer. Edmond O’Brien is a travelling salesman married to Joan Fon- taine. While she handles their manufacturer's agency in San London. Oct. 20. GFD release of an Anthony Darnbor- ough (Two Cities Filina* production Stars Gene Tierney. Leo Genn. Glynis Johns features Pamela Brown. Walter Fitzger- ald. Directed by Anthony Pelisser Screen- play, Lesley Storm: camera, Reginald Wyer: editor. Frederick Wilson; music, William Alwvn. At Odoon. Leicester Square. London, Oct. 20, ’53. Running time. 13 MINS. Kay Barlow , Gene Tierney Stephen Barlow Leo Genn Barbara Yining Glynis Johns Evelyn Pamela Brown Henrv Vining ........ Walter Fitzgerald Yi Yining Megs Jenkins Mrs. Usher Thora ilird Headmaster Michael Hordern Police Inspector .......... Martin Boddey Phoebe Norah Gaussen Sally Nanette Newman Up to a point. “Personal Affair.” is a taut meller. But once the mystery js resolved, the action drags on to hn awkward anti-cli- max. Despite this, the pic has sub- stantial entertainment merit and sufficient marquee lure to help it towards steady grosses on both sides of the Atlantic. The yarn, scripted by Lesley- Passable melodrama for the program market: filmed in England and dealing with theft of old masters. Hollywood. Oct. 23. United Artists telt-ase of Steven Polios •Tax Film* production. Star* Dcnm* o Keefe. C oleen Grav. features Hugh W |. liams. Guv Middleton. John T.autie. Di- rected by Godfrev Grayson. Screenplay. Patrick Kirwan; original story. James Daplyn: camera. r r drie Williams: editor. ( narles Hassr. Previewed Oit. 22. '53 Running time, ** MINS. Paul Mitchell .... . Dennis O'Keefe , Coleen Gray sir Richard Aldmth.m lluth William* ii m!th w Gu> Middleton Henrv Mason . ... . John Laurie Pavement Artist Eliot Makeham Peter Randall Gerald Gase Weston Scvmour Gree.i ( artwrieht .. Stanlev \an Beers Barmaid Dora Bryan Miss Fossett Eli. n Pollock Bearded Tramp Philip Hay Pettigrew Morris Sweden Art Salesman Michael Ward Police Inspector Arnold Bell Lodging-House Keeper. Clifford Buckton Girl Student Marianne Noelle Boy Student Leslie Phillios Waitress Billie Whitelaw Schoolteacher Beatrice K„ne Stranrer ... ... ..... Guv Dch‘ , v 1st Thug Tommy Clegg 2nd Thug John W •’riham Attendants 'Tate Gallet v> Frank Atkinson. Johnny Schofield. Leonard Sharp Tate Gallery. London art muse- i uni, provides an artistic back- London. Oct :3 Eros Film* release of a Tempe.,n pro. duetion. Stars Bernard Braden P;:r. a Ke.l.v. Directed by Charles Sa.r.c, - Screenplay by Guy Margin, bisre. n story by Humphrey Knight, with « ; ;i> tional dialog by FYank Muir A N s Norden; camera. Monty Berman truce, Temple Abady; editor. Gordon Pilkir.r- r At Odeon. Marble Arth, London It--., nmg time. 12 MINS. Rober Fox Bernard Braden Jean Fox Barbara K« !.v Hilary Stitfall Walter Gn»t n Fred Pollock Terr. G.li Arnold Bibcock Alan Huh -.-on Albert Truaslove H« c P v n Amelia Trussiove A\i<e Land, 'c Amber Jean ( sr» n Marlene Dorothy C.< •• i c ncle Amos ... ..... Lauivn<e Mr. McCutcheon John L. -. e Bernard Braden and B..: i ..ra Kelly have established the:r>< .vy* as firm radio and TV favoritei here. In this, their first pictuie together, the Canadian couple set the ball rolling with an original idea of a wife pawning hi: - un- band to tide over a trick> s. ’na- tion. Somewhere along the .re the idea sags a bit. but the .ru 1 - virtual performance* turned i: 1 . y this pair go far in recent :l:ng viewers to the rather -laypy unfolding of the story. It *h. .h i do well as a second feature ir leal picture houses on the *tar> :tro- tation. but elsewhere thi> p.. ^.-1 not do so good. An impoverished artist arc h:« ; wife live on a small boat kecp;nii themselves financially afloat w h the husband's earnings a* a - P cartoonist. A wealthy unde lb'ni the Rockies agrees to g:u* * * :n i a sizable fortune, with the u 4 -al strings attached — *teaii> " comfortable home, no bad hai ■>. etc. The attorney who ;* to u;;.e their eligibility is to be wined ..ru dined. Frantic over the lack of nuh.oy for this jamboree, the wi;e p.r. her husband, who lodges our;..- t at the hockshop. The redeenting ticket is lost and the art;**. forced to stay over the weeKcr.n. Infuriated by her husband * 1 1 ent dalliance with In* daughter, the wife refuses to ‘ him. with the usual scene* < : crimination and final reef: tion. Miss Kelly is attractiu iy ’f - : ful and vindicative as the •y ' 1 wife, while Braden inbue* h.* ^ 1 with his customary dry w.j. “ - .Dixon, radio crooner. ma<v»' film debut as the pawn 1 •e"* ^ while Jean Carson yearns 'V ■ tively as his daughter Laurie. Walter Crisham aiiv. • Landone give the most ^ *.)’•'* “ o* the supporting per.o' r ,es Saunders direct* a pace.