Variety (May 1954)

Wednerisy, May 5, 1954 PICTURES 21 Film Reviews Continued from pact. f gorilla at Targe on Pola-Lite’s single-strip system, «o that the douhle-print bugaboos that plague 3-P releases will be avoided. A good ease for Pola- Lite or similar systems was made at the “Gorilla’' preview when the dual prints went out of sync and the last half of the film had to be shown flat. Cameron Mitchell, law student working in the amusement park carnival, and Anne Bancroft, trapeze artist, star in the presenta- tion and both do their parts well. Miss Bancroft cuts a fine figure In her brief, skin-tight costumes, a display that will not be overlooked bv male viewers, even had their, attention not been directed that wav by the direction and camera angles Lee J. Cobb, detective sergeant; Raymond Burr, carney owner and Miss Bancroft’s hus- band; Charlotte Austin, Mitchell’s sweetie, and Peter Whitney, train- er of the title monster, are the principal featured players who help put over the tale of horror and violence. The plot rings In its meller com- plications with the murder of John G Kellogg, carnival barker, ap- parently by Whitney’s great ape. Also suspected are Burr, who had just fired Kellogg, and Cameron, who resented his attentions to Miss Austin. There’s another kill- ing and more auspicious circum- stances before Miss Bancroft is re- vealed as the beautiful murderess. To pay her debt to society she must be rescued from the ape, who has carried her atop the rollei* coaster, a job Miller tackles to clear himself with the law and It puts a thriller cap on the film. Assisting'the principals are Lee Marvin, doing A good study of a talkative cop; Warren Stevens, Kellogg and Charles Tannen, as well as the performer who -wears the monkey suit. Lloyd Ahern's camera angling adds interest, as do the carnival settings, the score directed by Lionel Newman and the other contributions. * Brog. Laughing Anne (Anglo-U.S.) (COLOR—SONGS) Dull South Seas adventure based on a Joseph Conrad story; lightweight entertain- ment. Hollywood, April 27. Republic release of Herbert Wilcox pro' duction. St->rs Wendell Corey, M^^ret Lockwood. Forrest.Tucker, Ronald Shiner. Directed by Wilcox. Screenplay, Pamela Bower: story by Joseph Conrad: camera (Technicolor). Max Greene; editor, Basil Warren: score, Anthony Collins; songs, Ted Grouya. Pierre Roche, Geoffrey Par- sons, Previewed, April 22, *54, Running time, 90 MINS, ✓ Captain Davidson ....... .Wendell Corey Laughing Anne Margaret Lockwood Jem Farrell Forrest Tucker Nobby Clark Ronald Shiner Joseph Conrad Robert Harris Frenchie Jacques Brunius Blonde Singer Daphne Anderson Susan Davidson Helen Shlngler Nicholas Danny Green Jacques Harold Lang Conrad’s Companion Edgar Norfolk David Scan Lynch Davy Gerard Lohan Chinese Merchant Andy Ho Battling Brulnius Maurice Bush First Boxer Dave Crowley Second Boxer Jack Cooper M. of Ceremonies ..Rudolph Offenbach First Escort Christopher Rhodes Second Escort John Serret Third Escort Michael Oldham J'anlst Bernard Robel Plene Joe Powell Bartender Julian Sherler Charlie Nandi (Aspect ratio: 1.85-1) Tucker. Several years later, their paths cross again and she warns Corey that Tucker plans to rob his ship ‘Of a silver shipment. In the ensuing fight, both Miss Lockwood and Tucker arc killed and Corey takes her son away to sea with him. The performances by these three are as unbelievable as tne scripting. So is Shiner’s work as the mate on Corey’s ship. Others do small bits. • “I’ve Fallen in Deep Water,’’ by Ted Grouya and Geoffrey Parsons, and “AH the World Is Mine on Sunday,” by Pierre Roche and Parsons, are the songs done,by tho Lockwood character. The Techni- color camera work by Max Greene is passable, but the process work is extremely poor. Editing per- mits the footage to run long over its logical length. Brog. Sirallord Adventure (DOCUMENTARY) times straight, sometimes with tongue in cheek. Ettore Giannini wrote and directed, helping as well to coordinate the giant produc- tion effort, and deserves a large part of the credit. Leonide Massine was in charge of his Marquis de Ballet as well as being spotted in the cast, as is Spanish dancer An- tonio, both for positive results. On the vocal side, Giacomo Ron- dinella impresses on looks and easy-going style, while Beniamino Gigli’s voice, dubbed into the track, adds extra value. Large cast is mostly spotted for short bits, all capable. But the least credit should go to cameraman Piero Portalupi’s lensing in Pathecolor, a creative contrib tp .tne pic’s visual impact, co-ordinated with Mario Chfari’s tasteful sets and Maria De Matteis’ costuming. Pace slackens somewhat at the halfway mark of this two-hour pro- duction, but with some generous cuts it should turn into non-letup entertainment with unusual sales values. Hawk. Toronto, April 27. Columbia release of Canadian National Film Board production. Stars Alex Gt 1 '”- ness/ Tyrone Guthrie, Irene Worth; with Personnel of the Stratford (Ontario) Shakespearean Festival. Produced by Guy , Glover. Directed by Morten Parker. I Screenplay, Gudrun Parker; camera ; (Eastman), - Don Wilder; editing, Douglas ! TUnstall; music, Louis Applebaum; sound recording, Joseph Champagne; sound edit- ing, Kenneth Healy.Ray. UnlversPv The- atre, Toronto. April 22, '34. Running tinjgj 40 MINS. This color documentary, with name lure for marquee and ex- ploitation purposes, tells the story of how an Ontario town of 19,000 people, namely Stratford, proceed- ed last summer to emulate its namesake in Britain to present a six-weeks’ series of Shakespearean plays that had an overall 98% b.o. sale at $6 top plus tax. (Stratford, Conn, is trying currently to do likewise) “Stratford Adventure” is a dramatic and suspenseful blue- print of a venture which, with Alex Guinness starring in “Richard III” and “All’s Well that Ends Well/’ with Tyrone Guthrie directing, saw top New York critics covering, plus considerable international public- ity, For the picture, the entire cast and working personnel do- nated their services last summer but production costs were still over $100,000 fer this State-financed documentary. On general audience interest, coupled with superb photography, film traces the trials and growth of the Shakespearean Festival from its inception as a dream that over- came civic apathy on initial money grants, plus financial vicissitudes that were finally met by last min- ute five-figure sums from wealthy out-of-town donors; and then a town overflowing with heavy inter- national tourist biz for six weeks. ' Progressive story reconstructs city council debates, the securing of Tyrone Guthrie’s interest and his organizing advice, his selling Alex Guinness’ on coming to Can- ada for expenses only, the rehear- sals and stage action of “Richard III” and “All’s Well,” the ultimate presentation of a season of Shake- speare on a shoestring. Op direc- tion and color photography, the Louis Applebaum music and tight editing, “Stratford Adventure,” as the metamorphosis of a small town, is excellent as lower-case on a dou- ble bill, particularly the “art” houses anywhere. McStay. Cronaca ill Poverl Amanll (Chronicle of Poor Lovers) (ITALIAN) which the irresistible Frenchman uses his cocked strawhat and em- ploys his famous laughj is .the film’s climax. Margot Hielscher’s “C’e.st la vie, Mon Ami” looms okay. But all other song and dance sequenqes can’t stand comparison with those offered even in Hollywood's below- average musicals. The locally much - publicized appearance of Stan Kenton’s band in the film is disappointing because it is on the screen less thah two minutes. Some - songs, including the title song, are easy on the ear; others are either public domain or not too catchy. Direction by Eric Ode definitely lacks pace and imagination. How- ever, he is obviously handicapped by the uninspired material pro- vided in the scripting. The acting is so-so. Lensing by Richard Angst, however, is one of the better things about the production. Hans. Karlexen* Brad (The Bread Of Love) (SWEDISH) Produced and directed in Eng- land for distribution by Republic, ‘Laughing Anne” is a stilted, old- fashioned type of adventure drama that will draw a goodly share of laughs where none is intended. Wendell Corey and Forrest Tucker are familiar names for stateside audiences, teaming with Britishers Margaret Lockwood and Ronald Shiner in the starring roles, but there is scant entertainment merit to back up their use in this over- length. slowly-paced offering. Herbert Wilcox produced and directed from a poorly written script by Pamela Bower. Latter fails to capture any of the flavor of Joseph Conrad’s story. Admitted- ly, Conrad is a difficult author to but neither the scripter nor Wilcox show much insight. As a «yen though the footage runs minutes. - Lockwood plays the title £ Parisian singer who drifts \? the South Seas with her lover, rorrest Tucker, a prizefighter who ijas lost the use of his hands, £*!«» her path drifts Corey, a* F? 0( * man and captain of a small acting schooner. She makes a \ , v °.vage with him and hi* I a * n love » hut she spurns ms offer of marriage, returns to Carosello Napololan© (Neapolitan Carousel) (ITALIAN—COLOR) Cannes, April 27. Lux Film production and release with Paolo Stoppa, Clelis Matanla. Marie Fiore Nadia Gray, Leonide Massine. Antonio, Folco Lull!, Yvette Chauvire, Sophia Loren, Giacomo Rondinella, Alberto Bon- nuccl, Vittorio Caprioll, Marquis de Cuevas Ballet. Directed by Ettore Gian* nlni; camera (Pathecolor), Piero Porta* lupl; sets, Mario Chlarl; choreography, Massine: editor, Nlcolo Lazzarl. At Cannes Film Festival. Running time, 125 MINS. Salvatore Esposito Paolo Stoppa Concetta Clelia Matanla First large-scale Italian filmusi- cal, this pic rings the bell in all sectors and should pay off its pro- ducers handsomely for the impres- sive effort that went into it. By cutting off some excess weight, “Carousel” can be shaped into a tight package of laughs, color and songs for a strong value on any market and a winner at home. Its consequence, the pace is slow. and. unabashed sentimental pitch is me entertainment and perform- especially keyed for Italian audi- ences of the programmer variety, ences, but its buoyant good humor 90 will act to win over new audiences. With special initial handling in U. S„ film could spill over into more general runs. An itinerant family of Neapoli- tan street singers provides a slight plot frame as it leads viewers through a century-spanning pot- pourri of song and dance in the shadow of the Vesuvius. Sentiment alternates with humor, dance and song as most-famed Neapolitan songs are given new life, some- Cannes. Aoril 27. Minerva Release of CSlC Production Stars Anna MUrla FererroTKosetta Greco, AntoneUa Lualdi. Marcello Mastrlolahnl, j Wanda Capodaglio; features Bruno Berel* > lini, Irene Cefaro. Eva Vaniceck, Ga* 1 briele Tlnti, Adolfo Cosolini. Directed by j Carloo Lizzani. Screenplay, Lizzanl, Mas- simo Mida, Vasco Pratolini. from novel |- by Pratolini; camera. Gianni Di Venanzo. At Cannes FUm Festival. RunAIng time, 100 MINS. - Gesuina Anna Marla Ferrero Elisa Cosetta Greco Milena Antonella Lualdi Ugo Marcello MaetroiannJ Janco release of Nordlsk-Tonefilm pro* duction. Directed by Arne Mattson. Screenplay, W. Semltjov, from a novel by Peder Sjogren; camera, Sven Ther- maenlus: editor. Lennart Landhelm; music, Sven Skold. At Cannes Film Fes* tival, April 4, '54. Running time. 90 MINS. Prisoner FoUce Sundqulst Lunnaja Sissi Kaiser Ledin Georife Rvdeberg Tom Nils Harberg Narrator Lennart Llndberr Buteur Erik Hell Mother Dagny Lind Filmization of the novel by Vasco Pratolini has the title plus eftst weight for average Italian grosses.! Reception elsewhere is uncertain. In telling the story of the inhab- itants of Vico de Como, an alley ini Florence, of their troubles with love and politics, “Cronaca.” both in novel and in film form, depicts the spirit? the uncertainties and the social changes of the postwar 1920’s. As such, this is an interesting document of its times. - In showing the alley enmity be- tween right and left. Fascism and Communism, director Lizzani some- times rigs his scales to weight a point at the expense of objectivity, but generally the picture con- vinces. Pace sags a bit midway, but picks up again and patchwork of characters and plots is success- fully handled once -the film gets under way. . Acting is fine and underplayed. Antonella Lualdi gives a sensitive portrayal of the girl whose hus- band is killed by the fascists, Cos- etta Greco does well as the prostie, who operates in and about the alley, and Anna Maria Ferrero is as competent as usual as the serv- ant to the invalid woman (neatly played by Irene Cefaro) who owns the alley real estate. Marcello Mas- troianni Giuliano Montaldo and Bruno Berellini stand out among the males of the cast. Uncredited music gives period flavor to the film as does Gianni di Venenzo’s camerawork. Hawk. Schlagorparatle- (Hit Parade) (GERMAN) Berlin, April 20. Herzog release of Melodle production. Stars Germaine Damar. Walter Giller and Karl Schonbock; features Maurice Che- valier, Stan Kenton orch, Margot Hlcl* Scher. Sunshine Quartet. Cornel Trio. Schoencberger Singing Boys. Barnabas Von Geczy orch, BIAS orch, others. Di- rected by Eric Ode. Screenplay. Alro von Pinelli, H. F. Koellner; camera, Richard Angst; music, Helno Gaze; sets, Karl Weber and Kurt Herlth. At Marmorhaus. Berlin. Running time. 95 MINS. Barbara Blanc Germaine Damar Walter Lorenz Walter GlUer Fred Pauli Karl Schonbock Sherry Sommer Nadja TUler Frau Gabler Lonl Heus Angelika Gabler Renate Danz Otto Bonnhoff Walter Gross Max Balduweit Bully Buhlan This so-called “German Broad- way Melody” features many promi- nent local singers. It looms here as a terrific moneymaker. But lack of really big names in starring roles, color and pace give “Hit Pa- rade” only mild international pos- sibilities. Ballyhoo via the Stan Kenton orch and Maurice Cheva- lier, who appear in the film, may help. Some 16 songs numbers ate brought in while the thin plot un- folds. It is the story of a young composer who can’t find a pub- lisher. His girl friend finally man- ages to smuggle one of his com- positions into the repertoire of a prominent composer and the num- ber happens to become the top tune of the hour. The happy end- ing sees the young composer find- ing himself acknowledged in the world of music. The song (and also dance) pres- entations in “Hit Parade” are rath- er dull and .mostly uninspired. One exception is Maurice Chevalier's “Ca Va” number. This one, in Cannes, April 27. This film is a heavyweigl^arty saga about a lost Finnish patrol during the Finno-Russian war of 1940. Though a bit ponderous in style, the pic exhudes a lyric qual- ity in its harrowing tale of love and death among a group of trapped men. Offbeat qualities and expert technical aspects, direction and acting make this a good entry for special situations with crix and word-of-mouth a probable plus asset. Distribution seems limited to arty bookings. A patrol of Finns is trapped in a bleak hut 'on a snow-covered plain. Two of the men see a Rus- sian soldier communing with a full moon and one understands that he is talking to his wife. They had arranged this when he had been dragged off to war. They leave him as he burrows in the snow to probably die. However, another member of the patrol captures him. and then film fuses the real and the unreal as the prisoner relieves his meeting with his wife. The men want the Russian to get them through a mine field, but he re- fuses. His wife Is in A group of the beseiging Russians and her voice is heard as she sings to her cap- tive husband. One of the Finns gets to his wife and during a souffle kills her. The prisoner kills him and escapes while others are saved bv following his trail through the mine field. Film abounds in excellent pho- tography which captures the frozen battlefields and certain scenes such as a Finn’s dash through the snow to kill a suffering horse oi.ly to be killed in return. The conflicts and relations of the men are subtly defined and directed. It builds into a moving study of men at war. Editing is fine and acting is tops. Music is a notable mood assist Mosk. quest. He picks up a charming Eng- lish gal, and her prudishness fi- nally goes before his assidious, if detached, assault. When she con- siders herself engaged, he flees. Fired from his job he spends two days in the street and in des- peration picks up a streetwalker. She is French, and his youth and need seduce her also, and he be- comes her dependent. He leaves her when site gets a big inheri- tance. His pext woman is the rich widow of one of his pupils. Then the friend of his wife is the next victim as Ripois narrates his life, insisting he is sincere for the first time. She almost gives in, but leaves when another woman knocks on the door. He feigns a leap from the window to bring her back, and really falls. His wile thinks he did this for her and spends her time in his convalescence, but already Ripois has a roving eye. Philipe touches perfection as the strangely unfeeling Ripois v who walks through his ardors with too susceptible females. The femme roles are well played. Joan Green- wood, as the passionate marrying kind; Natasha Parry, as the sup- posed loved one; Valerie Hobson, as the wife, and Germaine Montcro, as the tender prostie are all ex- cellent. Rene Clement, responsible for such pix as “Forbidden Games” and “Walls of Malapaga,” have concentrated his directorial bril- liance. The film abounds in clever observation/ visual nuance and smooth pacing. Lensing and edit- ing ably help the high grade qual- ity of this production, and its two versions are both of high order. Though made in England, this if primarily a French film in feeling, and gives a lucid^Galllc-eyed view of London and its manners. Mosk. Sang El Lumieref (Blood and Light) (FRANCO-SPANISH) (Color) Cannes, April 20. j Cocinor release of Cite Films*Rei< pro- j duction. Stars Daniel Gelin. Zsa Zsa Gabor: features Amoldo Foa. Directed bv Georges Bauquie. Screenplay. Maurice Virry. Michel Audiard from novel by Joseph Peyre; camera. Maurice Barry; editor. Christian Gaudin. ‘At Cannes Film Festival. Running time, 1M MINS. Ricardo Daniel Gelin Marilena Zsa Zsa Gabor Naguera /.... Henri VUbert R fera Arnoldo Foa Pili Christine Carrere Chi spa Jacques Dufhilo Federico Eugenio Domingo Monsieur Ripois (FRANCO-BRITISIl) Cannes, April 20. Clncdls release of Transcontinental Film production. Stars Gerard Philipe; features Joan* Greenwood, Natasha Parry, Margaret Johnston, Germaine Monfero. Valerie Hobson. Directed by Rene Clement. Screenplay. Clement. Hugh Mills from a novel by Louis Hemon: camera. Oswald Morris: editor, Francolse Javet; music. Roman Vlad. At Cannes Film Festi* val. Running time, 100 MINS. Andre Gerard Philipe Marcelle Germaine Montero Catherine Valerie Hobson Norah Joan Greenwood Anne Margaret Johnston Patricia Natasha Parry Diana Diana Decker “Monsieur Ripois" is a rake, a Don Juan, a victim of his times, a debauchee, but whatever he is, this film adds up to a tour-de-force in direction and thesping. A callous subject is presented in a comedic, brilliant vein. It emerges a satirical and engaging adult film which should slake arty theatre thirst in the U.S. There may be some cen- sorship trouble, but this may be easily glossed over, and word-of- mouth and crix are sure to give this a push. . Ripots (Gerard Philipe) is a young Frenchman living in Lon- don, the film recounting his con- fessions to his wife’s best friend, whom he thinks he loves. Ripois’ life is a series of adventures with women with whom he has only a superficial contact seeming incap- able of true feeling. He has a monotonous job in an office and decides to embark on a crusade to seduce his hardbitten female boss. Ripois succeeds too well and finds her too cold and arbitrary for long association, and leaves on a new This bullfight film adds nothing to the vernacular, with the usual tale of a toreador who wants to quit. He is hounded back into the ring by a demanding mistress and acid journalists only to meet his bloody death. Sketchy story line and characterization hampers the pic while the bullfight scenes are held to a minimum. All of which makes this of improbable value for U.S. art houses or sureseafers. It may do for special situations via the Zsa Zsa Gabor name and the exploitable quality of the subject, Daniel Gelin has decided to quit the ring and raise bulls after ihe death of a friend. His demanding American mistress leaves him and a cynical journalist blasts him in his articles. But Ricardo remains firm. However, his manager and mistress scheme to get him back, and they finally succeed. He is gored in the bullring, and the girl he loves comes rushing to his side, is caught in a milling crowd and trampled to death. Director Georges Rouquir has not been able to breathe life into his familiar characters. The film lags and expresses action by in- nuendo rather than moving dra- matics. Gelin is properly impassive as the toreador, but Zsa Zsa Gabor is too wooden and unresponsive to give a semblance of life to the supposedly passionate Hollywood adventuress. Arnoldo Foa is the only one in character as the cynical newspaperman. Eastmancolor is adequate, lensing and editing par, with a notable lift in the final bull- fight sequence which is the main appeal of this lagging film. Mosk. New York Theatres ! h RADIO CITY MUSIC HALL Rockefeller 'Center "EXECUTIVE SUITE” tUrrln* ki.Wllliam' Holdan • Jun« Ally ton • Barbara | Stanwyck • Fredrlo March * Walter Pldiean > Shelley Winter! - Paul Oouftaa • Leult Calhern An M*(J* tl Picture «ml Spectacular 9ta|e Praianlatlen [j RKMIIHC ^ Bum 1 * 800 * » —HCHMD CMLSON'JUU NMMS PARAMOUNT