Variety (March 1954)

VH4M REVIEWS UStiklEFr . l|o«e Marie ? (CTSCOPE—COLOR) Siow-nMfetar version of famil- iar operetta, but with suffi- cient Ingredient* to make it b.o. Metro release of Mervyn LeRoy produc- tion. Stars Ann Blyth, Howard Keel and Fernando Lamas. Features Bert Lahr and Marjorie Main. Directed by LeRoy. Screenplay, Ronald Millar and George Froeschel, based on the operetta '‘Rose Marie" presented by Arthur Hammer- stein, book and lyrics by Otto A. Harbach and Oscar Hammersteln 2d, music by Rudolf Frlml and Herbert Stotharl; lyrics for screen version by Paul Francis Web- ster; additional music and lyrics by Frlml,' George StoU and Herbert Baker; musical direction by Stoll; musical numbers staged by Busby Berkeley; camera, Paul Vogel: editor, Harold F. Kress. Previewed in N.Y., March 1, '54. Running time, 104 MINS. Rose Marie Lemaitre Ann Blyth Alike Malone Howard Keel James Severn Duval... .Fernando Lamas Barney McCorkle Bert Lahr Lady Jane Dunstock Marjorie Main Wanda Joan Taylor Inspector Appleby Ray Collins Black Eagle Chief Yowlachte “Rose Marie,” a p.erreni&l oper- etta favorite since first presented on Broadway in 1924, was first con- verted to the screen as a silent picture in 1928 with Joan Craw- ford in the leading role. Then “Rose Marie” talked and sang when Metro teamed Jeanette Mac- Donald and Nelson Eddy in 1936. Now the Rudolf Friml-Herbert Stothart-Otto A.. Harbach-Oscar Hammerstein 2d opus is dished up as a lavish Cinemascope produo tion complete with stereophonic sound. C’Scope treatment adds to the production values, for the wide- screen medium is ideally suited for the presentation of the Cana- dian northwest scenery. The views cf the forests, the lakes and the mountains are breathtaking and they have been captured in beauti- ful Eastman color. Unfort una tely “typical” operetta plot of yester- year is sweet and occasionally sad, but with little substance. Result- antly, the current “Rose Marie” is a slow-moving offering. Old score fares better than plot. Despite the familiarity of such Friml tunes as “Rose Marie,” “Indian Love Call” and. the rous- ing “Mounties,” they aU register solidly. Some additional tones added by Friml, with lyrics by Paul Fra nci s Webster, niafcp pleasant listening. These include “Free to Be Free," ‘The Right Place for a Girl," and T Have the Love.” There are probably enough in- gredients, however, in the film to make it a- generally acceptable boxoffice attraction. Like the Moun- ries of the story who always get :heir man, “Rose Marie" will get .ts coin, but the chase won’t be an entirely easy one. Mervyn LeRoy, who produced and directed, has fine looking leads in Ann Blyth, Howard Keel and Fernando Lamas, but they fail to instill much verve or enthusiasm to the proceedings. The bright mo- ments of the film are offered by Marjorie Main and Bert Lahr, who provide some welcome comedy re- lief. Lamentably, Lahr is not given enough screen time. His buffoonery in Tm a Mountie Who Never Got His Man,” by George Stoll and Herbert Baker, comes over solidly. Miss Blyth is seen as the back- woods French-Canadian gal who has to choost between Howard Keel, the Mounti*, r ahd faunas, “the ornery bufcmo-killer” trapper, Keel magnimlmously jreieaies her from any obligations and •boride* oft into the woods to. Join Lamas, There may be many In the audi- ence who may quarrel with the ending.' There is one dance production number, staged by Busby Berkeley, an Indian festival dance completely lacking in authenticity but never- theless an effective eye-catcher. Paul Vogel’s photography is top- notch and all other technical as- pects are right out of the top draw. There is a nine-minute prologue to the film, with the Metro orches- tra, under the direction of sym- phony conductor Alfred Waller- stein, playing the “Poet and Peasant* overture. Holl. Casanova’s Big Night (SONG-COLOR) « a ■ ■ Mild comedy with Bob Hope to. give it fair b.o. chances. Hollywood, Feb. 26. Paramount release of Paul Jones pro- duction. Stars Bob Hope, -Joan Fontaine, Basil Rathbone; co-stars' Audrey Dalton. Hugh Marlowe; features Arnold Moss. John Carradine, John Hoyt. Hope Emer- son, Robert Hutton* Lon Chaney, Ray- mond Burr. Frieda Inescort, Primo Car- tiers. Directed by Norman Z. McLeod. Written for the screen by Hal Kanter and Edmund Hartmann; based on a story by Audrey Wlsberff camera (Techni- color). Lionel Lindon; editor, Ellsworth Hoagland; score. Lyn Murray; song. Jay Livingston and Ray Evans. Previewed Feb. 24, ’54. Running time. If MINS. 1 Pfppo Bob Rope Francesca Joan Fontaine Elena Andrey Dalton Lucio Basil Rathbone Stefano Di Gambetta Hugh Marlowe The, Doge Arnold Moss Minister Forced John Carradine Maggiorin — John Hoyt Duchess of CastelbeUo .. Hope Emerson Raphael, Due of CastelbeUo Robert Hutton Emo Lon .Chaney BragadSn Raymond Burr Signora Dl Gambetta ... Frieda Inescort Corfa .................... Primo Camera Carabacdo Frank Puglia Signor Alberta Di Gambetta Paul Cavanagh Giovanni ................. Romo Vincent Capt, Susello Henry Brandon Signora Foressl Natalie Schafer 2nd Prisoner ........... Douglas Fowley j-Gnocchi Nestor Pajva I 1st Prisoner .......... Laden Littlefield \my «■<! Today Film nostalgia isn’t the sole property of tv, yet. “Yesterday and Today,” a 57-minute clip- story of pix progress, is strong supporting fare. Pic already has had some playdates around the country and is due for a New York showcasing at the Embassy Theatre shortly. Film is a George Jessel op- eration. As the writer, he blends the vintage clips with a terse and wry commentary. And as the narrator, he deliv- ers in his flavorsome toast- master styling that captures the spirit of the pic. The oldies come across clear and precise and they’re not the familiar museum pieces, either. Each is a standout ex- ample of the cinema technique of that period. Among the socko episodes are clips with such oldtime stars as John Bunny, Max Lindner and Ton- tolini, Italian comic. There are also shots of such yester- year faves as Mary Pickford, Charles Chaplin, Marie Dress- ier George Arliss, Clara Bow, Dolores De’ Rio and RUdolph Valentino that’ll delight the fans. Valentino is grieat stuff for the femmes. Pic was produced and di- rected by Abner J. Greshler and is being released via United Artists. Eliot Daniel’s musical background comple- ments the footage nicely. Gros. This is an attempt at broad com- edy that misses as often as it' clicks. Overall effect is very mild. Boxoffice chances, although the name of Bob Hope can be expected to help, point to fair returns only. The laughs are spotty In the Paul Jones production, coming mostly from Hope’s -interpretation of a meek tailor’s apprentice who finds himself forced to impersonate the notorious libertine, Casanova. The costume comedy Is laid in Italy back in the 1700’s and rates widescreen lensing in Technicolor to show off the period trappings. The blowup in size at the preview wasn’t particularly impressive since there was a noticeable lack of defi- nition. Norman Z. McLeod’s direction holds a loose rein on the antics, letting the situations run wild over the 85 minutes of footage to force as many laughs as possible. This was probably the best way to han- dle the frantic hoke offered in the script by Hal Kanter and Edmund Hartmann, based on a story by Au- . brey Wisberg. Audience comment [ Ls invited by two endings on the v film, one showing Hope being be- headed and the other having him best his enemies. Winding the plot up shouldn’t have posed any prob- lems for the writers as they have shown a tendency to blithely ig- nore all the other story holes. Comedy basis has Hope, mis- taken for Casanova, hired by Hope Emerson, a duchess, and Robert Hutton, her son, to "test” the love of Hutton’s fiancee, Audrey Dalton. Tf successful, he is to bring baok Miss Dalton’s petticoat, embroid- ered with the duchess' family crest. Chaperoning Hope on this love ad- venture are Joan Fontaihe, a wid- ow to whom he is attracted, and Basil Rathbone, the real Casa- novas valet. Court intrigue is mixed in by having Arnold Moss, Doge of Venice, use the situation -is an excuse to take over Miss Em- erson’s duchy, Genoa. Comedy is not Miss Fontaine’s orte, but she manages to be a pleas- ent sparring partner for Hope. The others in the cast work hard at aughs, sometimes scoring. Hope’s oest .moments include a comedy ouel, dancing a gavotte while iressed as a baroness, a prison se- quence with Lon Chaney, and some ;°2.? 0,a antics while singing "Tic> A-Tlc-A-Tic,” defied by Jay Liv- ingston and Ray Evans. Lionel Lindon handled the color cameras on the production, with nw T' ooing the special photographic effects. Art direction, editing and other assists are okay, Brog. Robert Stack and Mona Freeman rule as King and Queen of the Uni- versity of Saint Thomas Mardl . Gras in Houston this week, Pkimtom mt ttw Morgue (34) COLOR) ii ,l r Three-D horror feature In col- or for. exploltaflqiidates. Fair entertainment for thrill-chill fans, Hollywood, Feb. 25. Warner Bros. release of Henry Blanke E roductlon. Stare Karl Malden, Claude auphln. Patricia Medina, * Steve Forrest, Directed by Roy Del RUHR, Screenplay, Harold Medford, James R, Webb;. v irom Edgar Allen Poe’s "Murders. In too Rue Morgue"; camera (WarnerCoIor). J, Pov- erell Harley; editor, James MooTe; music, David Buttolph. Previewed Feb. 23, ’M. Running time, |3 MINS, Dr. Marais Karl Malden Inspector Bonnard ...... Claude Dauphin Jeannette Rovere Patricia Medina Prof. Paul Dupln Steve Forrest Yvonne Allyn MdLerie Arlette Veola Vonn Camille Dolores Dorn Jacques Anthony Caruso Georges Brevert Merv Griffin Rene Paul Richards LeBon Rolpbe Sedan Wardrobe' Woman.. • Erin O'Brien-Moore Specialty The Flying Zacchlnls The horror in “Phantom of the Rue Morgue” is more to be taken lightly than seriously, since the shocker quality in Edgar Alldn Poe’s chiller tale, “Murders in the Rue Morgue,” has been dimmed considerably by the passage of time. The picture is light on mar- quee names that will sell tickets, but has plenty of strong ballyhoo values and other commercial as- pects, such as the 3-D, Warner- Color treatment, to give it good prospects for exploitation dates. Most filmgoers attracted to this kind of show should enjoy its at- tempts at hackle-raismg, but are not likely to experience any goose- pimple thrills. Murders and gory bodies abound in the Henry Blanke production, which gives fulsome attention to the bloody violence loosed by the title’s phantom. Considering the film’s entertainment intent and those it will attract, the display of crushed victims is okay, but not for the squeamish. The script by Harold Medford and James R. Webb follows regulation horror lines in getting the Poe yarn on film and Roy Del Ruth’s direction also is standard. Performances by Karl Malden, Claude Dauphin, Pa- tricia Medina, Steve Forrest and the others fall into the same groove and none manages to rise above the material. Malden is the mad scientist who has his trained ape destroy all pretty girls who spurn him. The ape is lured to the victims by bells jangling on the bracelets they wear. After Allyn McLerie, Veloa Vonn and Dolores Dorn have died violent deaths, the rather stupid police inspector played by Dauphin figures Forrest, young professor of psychology, is the guilty psurty. For- rest is jailed and Malden seems set to make time with the young man’s girl. Miss Medina. Finale takes place in a zoo gone mad with escaped animals, a completely ber- serk Malden, an ape who has fallen for Miss Medina, and police who have seen the truth at last. The 3-D color lensing by J. Pev- erell Marley is good, and puts the turn-of-the-century Paris scenes on display to full advantage. The set- tings have excellent period values, the score fits the melodrama and the editing is good. Brog . Battle of Rogue River (COLOR) George Montgomery in stand- ard cavalry versus Indians outdoor feature. Fair actioner. Hollywood, Feb. 26. Columbia release of Sam Katzman pro- duction. Stars George Montgomery; fea- tures Richard Denning, Martna Hyer. Di- rected by William Castle. Story and screenplay, Douglas Heyest camera (Tech- nicolor), Henry Freulich; editor, Charles Nelson. Previewed Feb. 23, '54. Running time, 7S MINS. Major Frank Archer. George Montgomery Stacey Wyatt Richard Denning Brett McClain Martha Hyer Capt. Richard Hillman... .John Crawford Sergeant McClain Emory Parnell Chief Mike .....' Michael Granger Private Reed Freeman Morse Corporal- BUI Bryant Matt Parish Charles Evans Lt. Keith Ryan Lee Roberts Kohler Frank Sully 1st Brave Steve Hitch Henry Bill Hale , Wes Hudman Major Walllch Willis Bouchey Some fair action, along program lines, is kicked up in this regula- tion outdoor feature which has George Montgomery toplining to give it a booking assist in its mar- ket,'The plot is of the cavalry ver- sus Indians school, strictly stock, but should get by with the undis- criminating trade. Story period is in the pre-fetatc- hood days of . Oregon, Montgomery is a stem cavalry officer assigned to bring order to the Rogue River fort. Working against him in secret U Richard Denning, leader of a group of civilian volunteers, who t keeps the Indians led by Michael j Granger stirred up so that Ore- ii gon's rich mineral resources can j be exploited by Charles Evans and other crooked businessmen. Mont- gomery learns the truth in time i*nd brings the crooks to justice, Kfadneulay, March. 5, 1954 establishing a lasting peace with the redskinj. The heroic* of Montgorhery come off acceptably and Denning-also does okay with hip skullduggery. Martha Hyer lends the action an attractive femme touch and thcre is capable support from John Crawford, Emory Pamejl, Granger and the others. The Sam Katzman production uses Technicolor for added physi- | cal values, Which are passable con- sidering budget expenditure. Wil- liam Castle’s direffclon is fairly I effective in Handling the players and the screen story by Douglas Heyps. Technical credits turn in standard jobs. Brog. The Runaway Bus (BRITISH) London/ Feb. 16. Boisterous British comedy has limited U.S. appeal because lacking known-name stars. Eros >Fllms release of Conqyest-Guest production. Stars Frankie Howerd. Mar- garet Rutherford. Petula Clark. Written and directed by Val Guest. Camera, Stan Pavey; editor, Doug Myers; music. Ronald Binge. At Dominion Theatre, London, Running time, 10 MINS. Percy. Lamb ! Frankie Howerd Miss Beeston Margaret Rutherford Lee Nichols Petula Clark Shroeder George Coulourls Henry Waterman Toke. Townley Peter Jones ...Terence Alexander Janie Grey Belinda Lee Detective Henley John Horsley Duty Officer Anthony Oliver Frankie Howerd, a British comic who recently has come to the fore, makes his screen debut in this broad, boisterous comedy which will hit the jackpot in the home market, but. will have only a lim- ited appeal overseas. This is espe- cially true of the U.S. market be- cause lacking known-name players. A prolog preceding the credit titles establishes the fact that there’s going to be a bullion raid on the London Airport at the first heavy fog. On the appointed day, Frankie Howerd is a relief driver who is. detailed to drive a coach from one airport to another with a cargo of half-a-dozen assorted pas- sengers and a load of gold tucked away, unknown to him, in the lug- gage compartment. The plot is neatly worked out as the coach slowly moves on its tortuous way through the almost impenetrable fog. With the accent on easy laughs, the suspense angles are of second- ary consideration. Atmosphere is effectively created while the mixed passenger list provides all the necessary red herrings. Apart from Howerd, there is Margaret Ruther- ford, as a determined battleaxe ferociously wielding an umbrella; George Coulouris, a suspicious- looking character .with a foreign- sounding name; Terence Alexan- der in the uniform of a pilot offi- cer, who obviously knows too much; Toke Townley, as a mild in- dividual with a passion for garden seed catalogs; Belinda Lee, whose entire conversation is made up from the plots of paper-covered thrillere and Petula Clark, who is the official hostess. They enter into the spirit of the theme with ob- vious good humor, extracting the best from the story. Film has been competently scripted and directed by Val Guest. Myro. Hobfton’s Choice (BRITISH) 1 p™ - Charles Laughton and John Mills starred in successful filmtzation of stage hit; high- grade art house winner. >is name, coupled with John Mills, .fhouldhelp sell th*|>&< ’ v - Laughton plays the Widower Hobson,:* shoetttak$* witfc three .unmarried daughter, one of whom is regarded as being perm§nently on the shelf. After, all, as he Is al- ways explaining to his cronies in the saloon, she Is past it at 30. But the daughter will have none of it; she railroads oneof her father’s assistants irito jriarriage 4 . and to- gether, rising her brafi^jnit his skill, they set up successfully in opposition. Finally, when the old man is critically iUj^Hvith chronic alcoholism, the sneered, at son-in- law returns as A partner in the business.' Dovetailed into the main plot are a number Of delightful epi- sodes with rich comedy situations. One of the best of* these is the wedding night supper when the bride traps her father' into provid- ing marriage settlements for her two sisters. ’There are times, how- ever, where the/ treatment is a shade too leisurely, and some com- edy scenes are allowed to ruii overly long. This is. a defect which caii easily be remedied in a film, of this length. , .. . It . was a natural piece of casting to have Laughton .fill the Hobson part. Although he richly overplays every major scene/ .his perform-, ance remains one .. of ' the film’s highlights. Mills also makes a major .con- tribution in his interpretation of the illiterate shoemaker’s assistant who learns' to assert himself. Brenda de Banzie captures top femme honors for her pldyiftg of the spirited daughter who triumphs over the ridicule of her father and sisters. These latter roles are-nice- ly filled by Daphne Anderson and Prunella Scales while Richard Wattis. and Derek' Blomfield are more than adequate <*as their suitors. . The name supporting. cast In- cludes Helen Haye, Joseph Tom- elty, John Laurie and Raymond Huntley, all of wijom contribute to the picture. ' Myro. LTta Dell’Amore (The Age ojf Love) (FRANCO-AMEKICAN) , Rome, Feb. D. Diana release of t ICS-tJormoran pro- duction. Stars Marina Vlady, Pierre Mi- chel Beck, Fernand Gravey. Aldo Fabrizi, Vittorio SanlpoU. Directed by Lionello DeFellce. Screenplay, Franco Bnisatl, Vittorio Novarese, DeFelice, front the play, "Mother Nature," by Andre Bira- beau; music. Mario Nascimbene; camera, Mario Montuori; editor, Mario SerandreL Trade shown in Rome, A touchy subject is handled with care and taste- in. this coproduc- tion, shot, in Rome with; a mixed cast. With a stronger script, it might have gone places. As is, it looks mild for the local trade, but export offers some possibilities. Subject and treatment may help in the U.S. but it looms very lim- ited there. Two 15-year-olds, one the son of a well-to-do lawyer with marital troubles and the other the daugh- ter of a widowed jailbird, fall in love. After the boy is sent away to school, the girl - discovers She is pregnant. In their innocence, both kids are happy over the coming event Only contact with their elders and efforts of police to find the child’s father make them real- ize that their innocence is an evil thjng. pic is weak in depicting parental events, although Aldo Fabrizi has some good moments in his few appearances.' Hawk. RrlM . Tl ,London, Feb. 25. rwLi!. , Llon r * , * a *« of London Films- P?. .X., L production. Stars Charles ohn AnjJs, -Brenda de Banzie. ^« d T 5 avd Loan* Screenplay, Norm i n Sponcer, Harold W / nyar A Browne; camera. l? c *5 Hlldyard; editor, Peter Taylor: music, Malcolm Arnold At Plaza, London Feb. 24, 54. Running time, 107 MINS. Charles Laughton M * * John Mills idiS u^ wn ....... Brenda da Banzie Vlckv Hat Daphne Anderson Y 1 ,£* y . Hobson Prunella Scales Hir. ro “i r * Richard Wattis ”••••••• ••• 'sa sris Mrs F Dorothy Gordon Madge Brindley • ■ John Laurie T^hhv Raymond Huntley Printer Wad ° W ■ . How.-rth rnnter Herbert C. Wur.on There Is a wealth of charm, hu- r? or u a ? d characterization in David Lean’s latest British picture made under the Korda banner. Al- though the film ambles slowly to its obvious conclusion, it should have great boxoffice appeal to class audiences which appreciate better type of productions. This is also a highgrade arty theater offering which could play selected dates throughout America as well. This period comedy, with a Lan- cashire setting, is essentially Brit- rish in its makeup although it ■should prove international in ap- peal. Charles Laughton returned to his native country to star, and ‘Beat the Devil 9 “Beat the Devil,” a Romulus production starring Humphrey Bogart, and Jennifer Jones, was reviewed from London for Variety Dec. 2, 1953. The film Is being distributed in this country by Independent Film Distributors in association, with British Lion. According to Myro, “The picture is John Huston’s third successive directorial effort for Romulus and demonstrates his mastery of diverse facets of the screen. The story un- folds with a gay and .fascinat- ing freshness, though at times the action drags and the over- all tempo could be heightened by more careful editing. In an easy sort of way, the story describes the adventures of a bunch of uranium hunters who want to get hold of some valuable land in Africa. Hum- phrey Bogart’s virile perform- ance in handsomely matched by Jennifer Jones’ part and vivacious * study of the wife of the Englishman, Ed. ward Underdown. Despite its colorful settings the picture losses nothing by its hand- some black and white lens- ing.”