Variety (July 1954)

HEM BE VIEWS a: jUog JRJetardL and the > CroMii«rf (C'SCOPE—COLOR) Sir Walter Scott’# cl##il<V «The Talisman/ five* film spectacle treatment In Cin- emascope. Good cast, stout b.o. Hollywood. July 6, Warner proa. relsszsofHsnryBlanks £ reduction. Star* Sax Harrlaon. Virginia [ayo. Georce Sander*. Laurence Harvey; feature* Robert Douglas. ^ Michael Pate, Paula Raymond. Leater Matthewa. Antony Eustrel. Directed by David Butler. Screen- play, John Twist; from Sir Walter Scott’* "The Talisman"; camera (WarnerColor). J. Peverell Marley; editor. Irene Morra; music. Max Steiner; , son*. "Dream. Dream.” by John Twist and Ray Hein- dorf. Previewed June 30, ’54. Running time. 113 MINS. Emir nderim Sultan Saladln Bex Harrison Lady Edith Virginia Mayo King Richard I . George Sanders ShrlCenneth .......... Laurence Uarvey Sir Giles Amaury Robert Douglas Marquis Montferrat > Michael Pate - ^ Michael Pate Queen Berengarla ....... Paula Raymond Archbishop of Tyre.,...Lester Matthews Baron de Vaux Antony Eustrel King Philip of Prance. ...Henry Corden Duke Leopold of Austria... . Wilton Graff A' Dance Specialty Nejla Ates Nectobanus Nick Cravat Castelalne Captain ....... Leslie Bradley 1st Castelalne ............ Bruce Lester 2nd Castelain Mark Dana 3rd Castelain «....... Petet Ortiz (Aspect ratio; 2.55-1) *«■«!• SmtmB the WAflS | Amusing tntrgln JJV mule’ series; too! b.o, e#4~ y#aswj*fe Mr 7.1 SS4 look. Hollywood, July!. Universal t^leasa of T*d Richmond pro- familUriy •loiif'Tather easily Wl tlcipatedllntf. - : v Taylor play# t ruggedAwerican archaeologist who a*r«*to help Miss Parker, married to Thompson, search forlhe tombof the Pharaoh, auction, star* Donald O’Connor, Julia Ra-hobep. She want* to prove that T . . _ aii. 1,1 mill. **^.**.4.^ IIaMN. I 7’ . , • 1* « s Adams, Drill Wills, Mamie Van. Dors* Lynn Bari. ZaSu Pilts; features Joan Snawlee, Allison Htoss. Mam Conlay, Karen Kadler. Elsie Hobnes. Directed by Arthur" Lubin. Screenplay, Dsvery Free- man, James B. AUardieei *tory,Herb«rt Baker; baaed on the character *Fr«ncla her late , father was right In believ- ing the tomb will prove hi# theory about Joseph Ip Egypt, Glues turn] up indicating the tomb already has _ been robbed; and., a j mysterious created by d»vw stern; earners, gaiigi seemingly headed *by sinister sS“ jK?*’ w Kurt Kuaiii. puUehstacles to the Running time, ft min#. . ■ ‘ way of. the search before it is re- raSStoHSSlar *'*'*'*-" Tf ^^JuiS aSK ; ; vealed,Thompson I# theman be- GSerai 5?sye 5&i wuS hind the Crooked goings-on. He and Coir. Bunky HUstrom^. Mamie yan^Doren Taylor battle it OUt atop the tomb. I Thompson is killed and his Widow is free to have her new hero. After Major Louise Simpson...... ..Lynn Bari Lt7 Valerie Humpert ........ ZaSu Pitts Sergeant Kipp. Joan Shawlee Lt v Dickson .............. AHijJon^Hayesi^^ th e pair goes on to uncover Kate Karen Ka«uir I Ra-hotep and the theory’s proof. Bessie Elsie Holme* Capt. Crsavy Olan Soule Alda Anthony Radeckl Francis, the Talking Mule (Aspect ratio: *2-1) '‘The Talisman,” Sir Walter Scott’s classic about the third cru- sade, gets the full Cinemascope spectacle treatment in this box- office entry from Warner Bros, titled “King Richard and the Cru- saders.” It has a good cast of fa- miliar names enacting the period escapism and- the grossing pros- pects are stout. As for the title, the Henry Blanke production could just as easily tbe called “The Saracen and the Crusaders,” so thoroughly does Rex Harrison walk off with per- formance honors as Saladin, the sultan whose Moslem forces are pitted against the invading Chris- tians from Europe. However, Vir- ginia Mayo, George Sanders and Laurence Harvey (British player making his Hollywood debut) plus Robert Douglas and Michael Pate, come up with swashbuckling char acterizations that also sustain the film’s 113' minutes of sweeping ac- tion under David Butler’s vigorous direction... Filming of the Scott classic may give the novel renewed reading in- terest among the younger filmgo ers who may not yet have tasted of its romantic adventures detailing the efforts of Christian nations from Europe, marshalled under the leadership of England’s King. Richard, to gain the Holy. Grail from the Mohammedans. In addi- tion to the fighting wiles of the crafty Moslems, King Richard must contend with the sinister am- bitions of some of his entourage and these rivalries almost doom the crusade. Blanke’s production supervi- sion of the excellent John Twist script has all of the showmanly touches needed to make the pic- ture attractive to almost any age group among viewers. Butler’s di- rection manages to keep a long show nearly always moving at a fast clip. Especially attractive to the action-minded will be the jousting sequences, either those showing training or those in dead ly seriousness, and the bold bat- tling is mostly concerned with combat between the forces of good and evil among* the crusaders - themselves. The script is especial- ly good in its dialog, particularly that handed to Harrison. The latter reminds of his sock deliniation in "Anna and the King of Siam” of some years back in the interpretation he gives the wily Saracen. He even has a song to sing, a charming little melody tag ged "Dream, Dream” by Twist and Ray Heindorf, that is used as a courting air when he tries to con- vince Miss Mayo, the lovely Lady Edith, cousin of the king, that she should be the bride of the sultan so that the bloody crusade could be concluded. Miss Mayo becomes the period costume# of a. lady caught in the -desert with the cru- saders. Sanders’ King Richard has its merits,, as does the villainy of- fered by Douglas, as the ambitious Sir' Giles Amaury, and Pate, as the crafty, evil Marquis of Mont- ferrat. There’s considerable blus- ter of Harvey’s Sir Kenneth, the Scot who serves Richard.the man, not the king, but it goes with this type of role acceptably. J. Peverell Marley uses the Cinemascope cameras and War- ner-Color to advantage in dress- ing up the broad movements of the picture. Anamorphic process- ing is an excellent treatment for this type of subject, but is so keen-eyed it- shows up the false- ness of scenes done 4>efore pro- cess screens. A rousing score by Max Steiner supports the action, but also sometimes competes with 1L Brog. Donald O’Connor and his loqua- cious friend, Francis, the Talking Mule, are back for another laugh session in this .Universal release. The boxpffice outlook is good, since the same type of amusing screwball comedy that has charac- erized the series is put forth slick- y in this one. - A clerical error puts bank clerk and ex-G. I. O’Connor back into service, but in a WAC unit. His talking sidekick goes along to make certain that- no chuckles will be overlooked in the bits of business concocted by Arthur Lubin’s direc- tion and by the script written by P^err Freeman and J«n«B. M -1 torlcal data fa "God£, Grave's and lardice from a story by Herbert I c-hni.r.- hv r w r.»m The , Plot period is 1600 and ageless wonders of the land of the Nile fit perfectly. Viewers are treated to day and night scenes of great beauty as the cameras pick up the Sphinx and- Pyramids, historic Mount Sinai, the Red Sea and the Suez Canal, the vast desert, Cairo streets and buildings, Mena House, a famous hotel near the Pyramids and other landmarks. Miss Parker and Taylor are a good lead team for the drama, but Thompson comes off only fair. Kurt Kasznar, Leon Askin, Victor Jory, doing native menaces of vary tog degree, are excellent in color- ful parts, and Aldo Silvan! accept ably plays Father Anthimos from St. Catherine’s Monastery on Sinai. Sarnia Gamal is in for a very brief navel expose during a cafe scene. The script was suggested By his- barous cruelty Imppcedu by the white boss whoto* their midst, they could have orated- without trace. Brie angle ig unpalatable and there U- no amelioration through 4hfc peaallMy of insanity which could Well have been, implied, fahr mother being shown «s ultra eccentric.. : ^ Jeanne 'Crain play# the hard to get herojne wftfr q>mmend#|)le courage-end Dana Andrews a# the doubly pursuing pursuer registers a clearcut characterization. David Farrar does his best in ,the think- less role of the* brutal defrauder. Excellent support is given in small- er parts by Mary Merrall, Charles GoWner, • Wilfrid * Hyde ~ White, George Coulouris and Patrick Barr. Camerawork, particularly in the African sequences, is on a high 'eveL Cleln. Baker. Hokum gets an added assist .In this latest series entry by having Chill Wills, thq voice of Francis, also playing a visible role for the first time. It sets up a number of funny complications. So does the assignment of O’Connor to the WAC unit commanded by Lynn Bari and her aide, Julia Adams. The gals see It as an attempt by Wills, commanding general, to satotage the WAC’s work in camou- flage, but with the help of Francis, O’Connor is able to out-master- mind Wills and the femmes so that the latter wins out In the wat games being played. O’Connor, Wills, the Misses Adams, Ban, Mamie Van Doren and ZaSu Pitts, the latter seen again in the screwy nurse role she created for the first Francis film, plus the other casters all deliver slickly to point the Ted Richmond production for a favorable reaction from the ticket buyers. Technical departments are ex- pert, although footage is a mite longer than necessary at 94 min* utes. Brog. Valley of the Kings (COLOR) Scholars” by C. W. Ceram. The very good camera work was con- tributed by Robert Surtees. Miklos. Rozsa’s background score is an aide to tbe film’s mood and settings; Other technical supports are okay. Broy. Duel in the Jungle (BRITISH-COLOR) Topheavy drama starring Jean- ne Grain, Dana Andrews and David Farrar with authentic African settings. Overlong and contrived situations. Robert Taylor, Eleanor Parker in Egyptian-lensed suspense feature. London, June 30. Associated BritiQi-Pathe release o£ Mar- cel HeUmsn production starrlnx Jeanne Crain, Dana Andrews. David Farrar with Patrick Bkur. Mary Merrall. Charles Goldner, Georte Coulouris. Directed by Gcorxe -Marshall; screenplay, Sam Marx, T. J. Morrison from original story by IS. K. Kennedy; camera, Edwin HUlier; editor,. E. B. Jarvis: music. Mlscha Spollansky with lyric "The Night Belongs to Mo” by Norman Newell: color by Technicolor. At Warner Theatre. London, June 30 *54. Running time. 105 MINS. Scott Walters Dana Andrews Marian Jeanne Crain Perry and Arthur Henderson David Farrar Roberts Patrick Barr Capt. Malburn George Coulouris MarteU Charles Goldner Pitt ........ Wilfrid Hyde White Mrs.. Henderson Mary MerraU Lady Heather Thatcher Vincent Michael-Mataka Clerk Paul Carpenter . Hollywood, July 0. Metro release (no producer credit). Stars Robert Taylor, Eleanor Parker, Carlos Thompson; feature* Kurt Kasznar, Victor Jory, Leon' Askin, Aldo Sihranl, Sarnia GamaL Directed by Robert Pirosh. Written by Pirosh and Karl Tunberg; suggested by historical data In "Gods, I Graves and Scholars,” by C. W. Ceram; camera (EastmanColor), Robert Surtees; editor. Harold F. Kress; music. Miklos This melodramatic story of trek through the jungle to unearth a' sadistic swindler has brought the reaction that the overseas showing of such a situation would do harm to Britain’s prestige at the present time. There is plenty of scope for an entertaining story in the basic idea, but this present treatment and trite dialog prove a waste o: much that is good and of the im portation of Jeanne Crain and Rozsa. Previewed Juno<*3, '34. Running SSlVSH Taylor I Andrews for two of the lead- Ann Mercedes Philip Mercedes 'Carlos-Thompson Homed Bachkour Kurt Kasznar Taureg Chief ..T,'....,, Victor Jory Valentine Arko Leon Aaldn Father Anthimos ^ldo Silvan! Dancer j Samia Gamal (Aspect ratio: 1.75-1) Spectators are given a tour of the land of the Nile in this sus- pense drama, and the backgrounds offer more freshness to the film than does the routine story. The color cameras show off settings never before lensed for a Holly- wood-produced picture and provide some exploitation excitement that will help the payoff chances. The familiar names of Robert Taylor and Eleanor Parker team to topline the cast. Also starred is newcomer Carlos Thompson, who has yet to be seen to any particular advantage in a domestic produc- tion. The story is one dealing with robbers of the tombs of .the Pharaohs in Egypt, with a side an- gle having to do with the^ estab- lishment that Old Testament ac- counts of Joseph in Egypt are lit- erally true. Some good suspense actlhn and thrills are whipped up in the' screenplay by Robert Pirosh and Karl Tunberg on the robber score during the first 70 minutes of foot- age. The side angle to the plot is wrapped up in the concluding 15 minutes and, while quite Interest- ing, is anti-climactic to the main story interest. Pirosh also directed, and gives satisfactory pacing and, The Bowery Boys Meet The Monsters Below entry. Par bread-and-butter £ * . Hollywood, June 30. Allied Artists release of a Ben Scbwalb reduction. Stars Leo Gorcey,-Hunt* Hall; features Bernard Goreey; Lloyd Corrigan, EUen Corby, John Dehner, Laura Mason, Paul Wexler. David Condon, Bennie Bart- lett. Directed by Edward Bernds, Screen- lay, EUwood Ullman, Bernds; camera, tarry Neumann; editors, Lester A. Son- som. William Austin; music. Marlin Skiles. At 'Orpheum, L.A., June 30, *04. Running time 43 MINS. Slip Leo Goreey Sach ;... Huntz Hall Louie Bernard Goreey Anton Lloyd Corrigan Amelia EUen Corby Derek John Pehner Franclne Laura Mason . Grissom Paul Wexler f Chuck David Condon Butch Bennie Bartlett (Aspect** ratio: 1.85-1) '’The Bowery Boys Meet the Monsters” goes overbpard on the inalaproprisins which generally give, zest to series in this latest release of Allied Artists’ bread- and-butter program. The Ben Schwalb production is on the weak ■j^ide, not up to the usual standard, with appeal even for followers of the series apt to be limited. This time, Leo Goreey and Huntz Hall, in their familiar zany charac- ters, get involved in a household of madmen seeking; to obtain human heads for their scientific experiments. One wants a brain with a low I.Q. for transference to the skull of a giant ape, another a head to attach to an electronic robot, Controlled by a microphone. Edward Bernds’ direction of his and Ellwood Ullman’s screenplay matches the slapstick qualities of the thin story line, but film is badly in need of editing to elimi- nate duplication of action. ^ The two stars acquit themselves in their usual style, and have the benefit of top support. John Deh- ner and Lloyd Corrigan are the two. scientists; Ellen Corby their sister, who wants Goreey to feedf to her pet, a man-eating tree; and Laura Mason is the niece, a vam- pire. Bernard Goreey is in for his customary role of Louie, the sweet- shop owner, and Paul Wexler is the butler. On technical side, Harry Neu- mann’s photography is standard. Whit. Bing of Fear (C’SCOPE-COLOR) Eleanor Parker (tog roles. Presumed appeal will be to sensation seekers and those not already satiated with longshots o wild animal life and death lurking in the forest. Dana Andrews plays an Ameri- can insurance agent visiting Lon- don to protest at the danger risks being run by an explorer-diamond broker for whom his company holds a million dollar life policy. The ‘ firm’s assurance that their chief will cease his current deep sea diving activities off Africa is followed by the news that he has been drowned. Sensing there is something phoney in the setup the investigator planes out in the wake of the dead man’s secretary whom he has tried to make before learn- ing she is engaged to her boss: She repudiates his suggestion the death report is false and claims she is going to Visit her fiance’s mother. 'He tags along on safari with death lurking through lfohs, snakes, leopards* crocs and other jungle tonpediraftrta' until they reach joumey's eritf and tbe/mus- ing man. He ttpfefiiy boaSts f of his successful fraud ^claiming his fiSn needed the fiaugh to itrtoeed with costly undersea prbbing for dia- monds. He tries to kill the investi- gator on a lion hunt and in a terrific fight, culminating in a ca- noe chase over the rapids which brings the native police to round up the cornered man. . Apart from improbabilities in the story and dialog^ one of the Exploitable melodrama with circus background. Marred by mediocre scripting. _ Hollywood. July 2. Warner Bros .release o£ Wayne-Fellows production, produced by Robert M. Fel- c,yde ®featty. O'Brien. Mickey Spillane; features Sean McClory, Mfcrain Carr, John Bromfleld. Directed by James Edward Grant, Written by Paul Fix, Philip MacDonald, James Edward Grant; camera (WarnerColor), Edwin DuPan editor, Fred MacDoweli; music, Emil Newman, Arthur Lange. Previewed June ?2. '34. Running time, 43 MINS. Himself Clyde .Baattx grsuk Wailac* Pat Obrien Mickey SplUane S u . b 4? S* 811 McC* Valerie St. Denis Armbnd St. Denis Gonzalez ......... Twitchy Paul Martin Shreveport Suzette »W%wht ..•Bttfctty maritog*-of M ' dhomlcldal “If but ai. Wfc to wreck w *nd the Carkv a. iiri he fancies, to John Bromfleld a jeslous aeriallst. Hi# successful sabotage, using a drunken old ctowv'ghinett tom a# the tool, keeps the elKhr sSmd up and him- self (badly) and hi# cop friend Jack Stang/to smoke out the mys- tery. Climak ha# McClory killed by a giant tiger he had loosed to kill others. V The circus footage is real, and good, especially the lion and tiger act .staged by Beatty. These are the best such .scenes yef filmed for a regular feature, and the Cinema- Scope lehs helps ’ to make them so. Aerial footage, too, has its thrills. The Robert M. Fellows' produc- tion set up Its cameras with the Beatty show to film the authentic circus, flavor. It is to be regretted that this and other attempts to bring off a somewhat different mo- tion picture were negated by a slipshod Script and poorer direc- tion. Some , attempt to salvage and bolster the picture was made by re-shooting some scenes and adding others after-the original lensing but this has only added to the hot- and-cold feel and stilL leaves the grossing possibilities up to the good ballyhoo values. Fred Mac- Dowell edited and Edwin DuPar did the WarnerColor lensing. Brog. Happy Ever After (BRITISH*—COLOR) Sparkling Irish village comedy starring David Niven, Yvohne de Carlo, Barry Fitzgerald; should have widespread b.o. appeal. London, July .6. Associated . Britlsh-Patho release of Mario Zampl production. .Stars David Niven, Yvonne de Carlo, Barry Fitzgerald; features George Cole. Robert Urquhart, A. E. Mattnewa. Directed by Mario Zampi. Screenplay, JafefeDaviaa. Michael Per twee; camera, Stanley Pavey; editor, Kathleen Connors: music. Stanley Black with num- ber, "*My Heart Is Irish.” by Michael Carr; color by Technicolor. At Ritz, Lon- don, June 29, ’54. Running time, S7 MINS. Jasper O'Leary David Niven Serena McGlUsky ...... Yvonne de Carlo Thady O* Hexgarty ..... Barry Fitzgerald Terence . George Cole General O'Leary A. E. Matthews Kathy McGlusky ....... Noetic Middleton Dr. Flynn Robert Urquhart Major McGlusky Michael Shepley Dooley Joseph Tomelty Lannigan ................ Eddie Byrne Regan Liam Redmond ... Sean McClory ... Marian Carr . John Bromfleld Gonzalcz-Gonzalez Emmett Lynn . : Jack Strang Kenneth Tobey . Kathy Cline (Aspect ratio: 2.55-1) An assortment of good, commer- cial exploitation values should pull ’’Ring of Fear” through to profit- able grosses in most general mar- ket dates. Chances would have been more assured had the sales factors been backed with a more worthwhile story. Best prospects are in the action-exploitation sifri- ! While Clyde Beatty, Pat O'Briefi and 'Mickey Spillane are Starred, and -the presence of ‘ Beatty and Spillane are among the ballyhoo factors, there’s only one perform- ance in the footage and that by Sean McClory, Irish-brogued heavy of the piece. Had James Edward Grant's direction,'and the screen, sl;ory he wrote with Paul Fix and Philip MacDonald, been This hilarious Irish comedy starts off with, the advantage of having three Hollywood, names to bolster a thin story. It is depend- ent for most of Its laughs on situ- ations. In addition, there is mag- nificent background . scenery and plenty of local color to provide all, associated with the brogue and the blarney. It Is- a. natural b.o. win- ner here and its nationalistic ap- peal should find real response in tbe U. S. The did town hall and local pub are the pivots of activity in a tiny hamlet, with typical rustics and gentry fulfilling the old traditions. The local Hunt has been kept go- ing by the old^sauire who, despite his 80 years, still insists on lead- ing off the meet by jumping the customary 10-foot wall. The old boy literally takes the plunge, landing to the ditch , and passing out with his hoots on and a twinkly eye and-a bottle of grog. This provides the framework for David" Niven’s* arrival from Eng- land to Inherit the estate and smilingly terminate all kindly cus- toms and concessions. He claims unpaid debts verbally cancelled by his uncle, finds his tippling butler and evicts an old tenant whose minute rent the old squire had scorned to collect. Poaching, which had been genially accepted and fairly apportioned, is now taboo and everyone seethes with revolt. Lo(s are drawn as to who shall rub out the,tyrant and every contnv- ance is rigged up and Independent- ly operated. Gunshot, homemade bombs, steel wire traps and ghostly manifestations all react on the perpetrators rather than their in- tended victim. When a new will turns up disinheriting the new- comers, the. village relaxes back into its carefree-normalcy. '■ Through; all this upheaval, two love-stories, are faintly threaded. Yvonne, 'd®. Carlo,^.who , dnc ® ditched the young’ doctor* .returns as flji' Sttr^mUve wiqow and again queers her stster!s chances, with hint, jhfe dashing lord of the manor looks a far better catch so the siren transfers her wiles ana sticks despite his unpopular^ and loss of inheritance. , . Some, may regret the unpleasant character so well depicted oy Niven as alien to his usual pei- (Conttoued on page 22)