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FILM REVIEWS Wedhcodmy, September 1, 1954 White Chriitpum ; (MUSICAL-COLOR) First VistaVIsion feature with Bins Crosby and Danny Kaye; Irvins Berlin. score slantin* for top b.o. Hollywood, Aug. 27. Paramount release o£ Robert Emmett Dolan production. Star* Bing Crosby, Danny Kaye, Rosemary Clooney, Vera Ellen; feature* Dean Jagger. Directed by Michael Curtiz. Screenplay, Norman Krasna, Norman Panama, Melvin Frank; songs, Irving Berlin; camera (Techni- color), Loyal Griggs; editor, Frank Brecht; music direction and vocal arrangement*. Joseph J. Lilley; music associate, Troy Sanders; arrangements. Van Cleave; dances by Robert Alton. Previewed Aug. 33, '54. Running time, 120 MINS. Bob Wallace v. Bing Cro*by Phil Davis Danny Kaye Betty . Rosemary Clooney General Wavcrly Dean ,’i?. £ £ er Emma Mary Wickes j oe John Brescia Susan • * Anno Whitfield ( Aspect ratio: 1.85-1)_ “White Christmas” should be a natural at the boxoffice,, introduc- ing as it does Paramount’s new Vista Vision system with such a hot combination as Bing Crosby, Danny Kaye and an Irving Berlin score. The debut of the new photographic process is' a plus factor complex menting the already solidly estab- lished draw of Crosby and Kaye. The widescreen process has an impressive vastness, with color clarity and sharp definition that add greatly to the visual quality of a production. W’s impact, while giving a full-stage effect to this musical, should be even greater when applied to Outdoor and ac- tion-drama stories. An important value is the consistent picture qual- ity in the various projection ratios (Paramount recommends 1.85), from the standard 1.33 up to 2 to 1. The quality carries-over into 2.55-1 when the W negative is printed anamorphieally for that as- pect ratio projection. The above qualities were not dis- played to their fullest on the an- swer print Used at the preview, but have been decidedly evident in demonstration showings staged pre- 1 viously by Paramount. Crosby and Kaye, along with VV, keep the entertainment going in this fancifully staged Robert Em- mett Dolan production, clicking so well the teaming should call for a repeat. Both Crosby and Kaye are long in the talent department and provide a lift and importance to ; the material scripted by Norman r Krasna, Norman Panama and Mel- vin Frank. The directorial handling by Michael CUrtiz gives a smooth blend of music (13 numbers plus snatches of others) and drama, and in the climax creates a genuine heart tug that will squeeze tears. The standout song presentation, beautifully $ocked by Rosemary Clooney, is “Love, You Didn’t Do Right By Me.” The top song-dance number is “The Best Things Hap- pen While You’re Dancing,” strik- ingly terped by Kaye and Vera Ellen. “Choreography” scores through Kaye’s impression of modem bal- let, with Miss Ellen and John Bras- cia providing the jazzier counter- point to his hilarious posturing. The full Crosby flavor is heard on “What Can You Do With a Gen- eral?” and “Count .Your Blessings^’ latter reprised by Miss Clooney. Also listening favorably are “The Old Man,” an ensemble number, and the colorfully amusing “Min- strel Show Routine,” including Berlin’s oldie, "Mandy,” with Cros* by, Kaye, the Misses Clooney and Vera Ellen and ensemble doing the musical funning. As for “White Christmas,” the Berlin hit Crosby ■introduced in “Holiday Inn” in 1942—it’s still a top hit. On a lesser level are “Sisters,” tune introducing the sister act of the two femme stars, and “Snow. ’ Both wear a bit, although the first has a very funny reprise by the Crosby-Kaye team. “Gee, I Wish I Was Back In the Army” and “Santa Claus Routine” are other new Ber- lin cleffings. “Blue Skies” and “Abraham” are among some of the oldies. The plot holding the entire affair together has Crosby and Kaye, two Army buddies, joining forces after the war and becoming a big musi- cal team. They gdt together with the girls and trek to Vermont for a white Christmas, The inn at which they stay is run by Dean Jagger, their old general, and the boys put oil a show to pull him out of a financial hole, at the same time finding love with the girls. Crosby wraps up his portion of the show with deceptive ease, sell- ing the songs with the Crosby sock, shuffling a mean hoof in the dances and generally acquitting himself like a champion. Certainly . he has never had a more facile partner than Kaye against whom to J bounce bis .misleading nonchalance, Kaye takes in stride the dance, song and comedy demands of his assignment, keeping Crosby on bis toes at all times proving himself an ace entertainer of virtually un- limited talent .Miss Clooney does quite well by the story portions and scores on her song chores, while Vera Ellen is a pert terper who can also handle her lines well. Supporting roles are few. The chief featured part is in the able hands of Jagger and his finale scene, in which he reacts like a tough general with a heart to the turnout of his old division, is fine trouping. Mary Wickes, the inn’s housekeeper, -gets some chuckles. Brascia figures importantly in mak- ing the* production numbers come over so well. Anne Whitfield, sev- eral unbilled chorines and others do their share. Topnotch behind - the - cameras contributions provide the—show with a lavish gloss. Among them are Loyal Griggs' Technicolor pho- tography; the dance and musical numbers staged by Robert Alton; Joseph J, Lilley’s musical direction and vocal arrangements; the art direction by . Hal Pereira and Ro- land Anderson; Edith Head’s cos- tuming, the recording and other technical aids. Brog. Rogue Cop Melodrama about a / crooked cop and fang killings, with Robert Taylor, Janet Leigh; average prospects. Hollywood, Aug, 31. Metro releaae of Nicholas Nayfack pro* duction.- Stare Robert Taylor, Janet Leigh, George Raft, Steve Forrest, Anne Francis; features Robert EUenstein, Robert F. Simon, Anthony Ross, Alan Hale Jr. Directed by Rpy . Rowland. Screenplay. Sudney Boehm; based on novel by Wil- liam P. ~~McGivern; camera, John Seitz; editor, James E. Newcom; music, Jeff Alexander. Previewed Aug. 25, '54. Run- ning time, 91 MINS. Christopher Kelvaney.... .Robert Taylor Garen Stephenson Janet Leigh Dan Beaumonte ........... George Raft Eddie Kelvaney Steve Forrest Nancy Corlane Anne Francis Sidney Y. Myers .Robert EUenstein Ackerman Robert F. Simon Father Ahearn Anthony Ross Johnny Stark Alan Hale Jr. Wrinkle* FaUon , Peter Brocco Langley Vince Edwards Selma 7 ": Olive Carey Lt. Vince D. Bardeman... Roy Barcroft Manny Dale Van Sickel Patrolman Mullins Ray Teal (Aspect ratio: 1.75-1) Privdte Hell SR - * - " •• i .. FItc well Into current crooked cop cycle for okay program returns. Hollywood, Aug. 30. Fllmaker* ’ release Qf CoUier Young production. Stars Ida Lupino, Steve Cochran, Howard. Duff, Dean Jagger, Dorothy Malone. Directed by Don ^icgel. Screenplay, Miss Lupino, Young; camera, Burnett Guffey; editor, Stanford Tischler; music. Leith Stevens; song, "Didn't You Know," by John'Franco. Previewed Aug. 30, '54. Running time, f 1 MINI. Lilli Marlowe .............. Ida Lupino Cal Bruner Steve Cochran Jack Farnham .,.,.Howard Duff Captain' Michaels .......... Dean Jagger Francey Farnham........Dorothy Malone ‘ . (Aspect ratio : 1.85-1) The rough melodramatics in this story of a crooked cop are brought with fair results to the action fan. And because the names are good, topped by Robert. Taylor,( average prospects are probable generally. Picture is one of .several in the current cops-’n’-robbers cycle, sug- gesting possibilities for those sit- uations that like to give action audiences a* double-barrelled crime bill, with this Metro entry as the uppercase booking. The Nicholas Nayfack produc- tion gets off to a logically plotted start but doesn’t remain believable for very long. Stronger supervision would have helped to hold things together better. Compensating are good performances and a rugged action pace that is stirred up by Roy Rowland’s direction. Guidance makes the most of a number of violent fight sequences and the customers of this type drama will like them best. Sydney Boehm scripted from the novel by William P. McGivern. Taylor is the rogue cop of the title, playing it with a suave tough- ness that fits a policeman on the tako from the vested gang interests ruled over by George Raft. Foot- age opens with a knifing and Steve Forrest, Taylor’s rookie brother, spots the killer. The big interests get into the act to force the case to be dropped. It seems the killer has something on Raft. When Tay- lor fails to bring Forrest into line by using money and his girl friend, Janet Leigh, the gang kills the young policeman, an act that makes a vengeful man out of .the bad cop. and the windup features a guns-blazing climax as Taylor fights it out with the baddies and turns state’s witness to unveil the workings of the syndicate. The satisfactory performance by 'all concerned almost bring the show off, and had the scripting been more logical and moral values would have had more point. Miss Leigh, a bad girl going straight, and Anne Francis, Raft’s moll who is brutally used and then killed, are the principal femmes mixed up in the melodramatics. Olive Carey spots a slick delinia- tion of a a newsie who stools for Taylor. Robert EUenstein, a good policeman; Anthony Ross, a priest; Robert F. Simon and Alan Hale Jr., associates of Raft, and Peter Brocco, the killer in 'the opening sequence, come off okay. John Seitz’ lensing is lowkeyed to the melodramatics and the other credits show up acceptably. Brog* , Current cycle of crooked cop yarns gets a good entry in “Private Hell 35,” which should rack up satisfactory grosses in the program market. Film is occasionally slow- paced but the Collier Young pro- duction generally gets payoff values slugged over for okay effect by Don Siegel in his direction. Names of star lineup should boost film’s chances. Young and Ida Lupino, eyrie of the cdstars* coauthored script for production and release by their own company, Filmakers. Excellent use is made of Los Angeles and Hollywood park exteriors for story purposes and film gets Off to a sock start, a $300,000 N.Y. holdup- murder which picks up a year later in L.A. when a hot $50 bill turns up. Steve Cochran and Howard Duff; detectives, are assigned the case after the note is found. First half of narrative follows their search for the man who passed it, and the. second half covers the pair’s reac- tions after Cochran has taken $80,- 000 in bills off the man killed in an auto chase. Cochran counts the unwilling Duff in for a 50-50 cut. They are aided in their search by Miss Lupino, a nitery singer, to Whom the bill was traced after she had received it as a tip. Windup shows Duff insisting they turn the money over to the police, Cochran shooting him when they get the coin from a cache and himself being killed by his superior offi- cer, Dean Jagger, who has been suspected of taking part of the loot. Both Cochran and Duff turn in suitable performances and Miss Lupino is properly brassy in her entertainer role, romanced by Cochran. Dorothy Malone is okay as Duff’s wife and Jagger is im- pressive as the detective captain. Technical departments are well executed. Burnett Guffey’s pho- tography in particular is effective. Leith Stevens’ musical scorel catches the proper mood. Whit. A Bullet Is Waiting (COLOR) Slow-moving, talky piece with Jean Simmons, Rory Calhoun; . needs hard selling for fair re- turns. Hollywood, Aug. 16. Columbia release of Howard Welsch production. Stars Jean Simmons, Rory Calhoun, Stephen McNally, Brian Aherne. Directed by John Farrow. Screenplay, Thames Williamson, Casey Robinson; story, Williamson; camera (Technicolor), Frank F. Planer; music, Dimitri Tlemkln; editor, Otto Ludwig. Previewed Aug. 12, '54. Running time, 83 MINS. £& U3 L Canham .-...Jean Simmons |d Stone ...Rory Calhoun Sheriff Munson Stephen McNally David Canham Brian Aherne (Aspect ratio: 1.85-1) This Columbia release, though boasting excellent color photogra- phy and a competent cast, is a slow-moving, talkative yarn which never attains realism. Returns will depend entirely upon the b.o. draw of its principals. Film's unusually small cast of four—the fourth appearing only in the final reel or so-—make their pitch in and around an isolated sheepranch cabin on the Cali- fornia coast. Parts are undertaken by Jean Simmons, Rory Calhoun, Stephen McNally and Brian Aherne, but even with such able performers John Farrow isn’t able to direct them past the hurdles of story and script. Plot revolves around a vindic- tive sheriff, McNally, and his pris- oner, Calhoun, crashing their plane enroute back to Utah— where latter is to face a man- slaughter rap—and forced to hole up in the cabin belonging to Miss Simmons and her English profes- sor-father, Aherne, until the storms which make travel impos- sible subside. Femme is alone, father being absent for several days, and when the sheriff sees she is warming up to Calhoun he warns her not to interfere with his efforts to return his prisoner to justice. Most of the footage concerns this conflict, presented mostly in drawn-out passages of unconvinc- ing dialog, the femme certain that, Calhoun isn’t a killer at heart and McNally taking the opposite view. When the father finally returns. the four after * good* deal of lur ther talk bundle into Aherne’* jeep and «et out for Utah, where Calhoun presumably will get the fair trial he previously believed impossible. Principals try hard but the over- accented parts „ are against them straight through and none fares well. -Dimitri Tiomkin composed the score of the Howard Welsch production; Whit. Shield lor Murder Melodrama of a cop turned * killer;.for programmer book- ings. Hollywood, Aug. 30. . United Artist* release of Schenck-Koch (Aubrey Schenck) production. Stars Ed- mond O'Brien, John Agar, Marla. English; features' David Hughes, Emile Meyer, Carolyn Jones. Directed by O'Brien, How- ard W. Koch. Screenplay, Richard Alan Simmons and John C. Higgins: adapted by Simmons from book by William P. McGivern; camera, Gordon Avil; editor, John F. Schreyer; music, Paul Dunlap. Previewed Aug. 26, '54. Running time, 81 MINS. Barney Nolan Edmond O’Brien Mark Brewster ............... John Agar Patty Winters Marla English Ernest Sternmueller ...... David Hughes Capt. Gunnarson ........... Emile Meyer Girl at Bar Carolyn Jones Fat Michaels Claude Akins Laddie OtNeil Larry Ryle Cabot Herbert Butterfield 1 Packy Reed ............ Hugh Sanders Assistant D.A, William SchaUert (Aspect ratio: t L75-l) The programmer market will find “Shield for Murder” a pass- able thriller in the current crime melodrama cycle. „ Plot of the Schenck-Koch pro- duction for United Artists release is another of those William P. McGivern tales about a cop gone bad. It has been adequately script- ed by Richard Alan Simmons, who also adapted from the book, and John C. Higgins to fit the demands of the less discriminating market, but the direction by Edmond O’Brien, who (Stars as the bad cop, and Howard W. Koch is rather slowly paced for the action fans.. O’Brien, a detective, kills a bookmaker and lifts a $25,000 roll he is carrying as the story opens. Killing goes into the books as a homicide in the line of duty, even though the gambling syndicate spreads some dirty rumors. The murder has been witnessed by a. deafmute and, when O’Brien learns this, he commits a second killing. John Agar, a young detective trained by O’Brien, gets wjse and after a wild and wooly chase-that has the^bad cop dodging both the law and the syndicate’s hatchet- men, the killer is trapped and shot down at the model home where he had hidden his loot.« Performances are to type, ade- quate to the melodramatics but never giving anything extra to the show. Costarring with O’Brien and Agar is Marla English, on loan from Paramount. Her chief asset to the picture will be lobby art from her role of the cigaret girl with whom O’Brien is in I5ve. David Hughes, the deafmute; Emile Meyer, detective captain, and Carolyn Jones, -a B-girl, are among some of the others more prominently spotted in the plot. Gordon Avil gives the presenta- tion lowkey photography to fit with the mood of the piece and the other technical credits are average, Brog. BRlw. In tlw^Mm, he threaten* to become * ftrattanfei* because Dnf.Nordstrom*ad Srrfcon (T*y- lor Holme* andCharfe* Drake) . -get a few wire* crossed; Billy Chapin, as the Nordstrom grandson, doe* hi* share to he- ftiddle and later exonerate the metallic mastermind* There’s thin 1 » ve j£ tere 5 t between Janice (Karin Booth) and the younger scientist. Harrison, but hand-holding is kept at minimum while playing time is mostly split between Tobor’s gyra- tions and leering of. the cloak-and- dagger team headed by the mys- tery man (Steven Geray). /Direction by Lee Sholem is static while camera work by John L. Rus- sell m some of the" angle-shots par- ticularly, is the hlost upbeat item in the pic.- Art. . • '• t The Gulden Link -(BRITISH) Neatly contrived whodunit with sufficient suspense to hold interest; lack of inter- national names will relegate to lower bracket* . ' : London, Aug. 24. Archway Film Distributors release of Parkside-Guido Coen production. Star* Andre MoreU; features Thea Gregory. Patrick Holt, Jack Watljng. i.w^i Difected by Charles SauSdeTJ; Scre^T* play, Allan Macklnnon; camera, Harry waxmah; editor. Jade Slade; music, Eric tawsawans"* 6 t - **- Superintendent Blake..-.. .Andre MorreU Joan Blake Thea Gregory TerrV Maguire.. ... Patrick Holt BUI Howard *... ..Jack Watling Det. Inspector Harris....... Arnold Bell Mrs. Pullman.,.........*. ik .OUve Sloane Sergeant Bakmr............ Bruce Beeby Arnold Debenham...... Alexander Gauge Norma Sheridan Dorinda Stevena Mrs. West ... ....Elsie WagstafT Major Grey .Edward Lexy" Maria *.......Marla Land! Tolior the Great Machinations of a robot in so- so science-fiction piece for av- erage supporting fare. Republic release of Dudley Pictures (Richard Goldstone) production. Stars Charles Drake, Karin Booth; features Taylor Holmes, TFlly Chapin, Steven Geray. Directed \y Lee Sholem. Screen- play, Philip MacDonald; from story by Carl Dudley; camera, John L, Russell Jr.; editor, Basil Wrangell; ■ music, Howard Jackson. Previewed in N.Y. Aug. 26, *54. Running time, 77 MINS. Harrison '. Charles Drake Janice Karin Booth Cadge . Btilly Chapin Dr, Nordstrom .Taylor Holmes Man with Glasses Steven Geray Paul. . Henry Kulky Karl Franz Roehn Max * Hal Baylor Gilligan Alan Reynolds Dr. Gustav Peter Brocco Commissioner Norman Field First General Robert Shaync Admiral , Lyle Talbot First Congressman....... Emmett Vogan Johnston William Schallert Secretary Helen Winston This melodrama is awkwardly clothed in pseudo-scientific trap- pings. “Topor (robot, spelled back- wards) the Great” overlooks its original but brief scientific theme for some cops-and-robbers hokum, in a talky story with stock acting that rates as supporting fare. After a meaningless semi-docu- mentary intro about the atom bomb and interplanetary travel, there comes this hunk of mental metal (Tobor) with extra-sensory perception. Designed to do man- kind’s experimental dirtywork, To- bor ends up instead building a dog- like devotion to his creator, and the latter’s grandson and family wipes put a band of mean but dull A well-knit thriller with good scripting and camerawork makes this a workmanlike mystery story providing good entertainment values. Theme is well and plausib- ly developed without sensational- ism; it should make a good dualer on most programs. When a girl’s body crashes down from a top floor apartment into the main hallway, the obvious an- swer is that it’s a suicide. She is a penniless out-of-work actress es- tranged from her husband, who lives in the building. One of the tenants, a police superintendent, takes a different view, and the hus- band, despite a sound alibi, is suspected of murder. Although not officially in charge of the case, this police official uncovers un- pleasant facts, most damning of which is that his daughter is in love with the suspect. The suspect’s wife had refused a divorce, and ensuing clifes point to the daugh- ter as having equal motive and opportunity for committing the crime. She follows her lover to a secluded houseboat, unaware of planted evidence against herself, and an anonymous telephone tall that notifies the police of their hideout. The tracking down of this informant unmasks the killer, a pleasant young neighbor involved with the dead actress. Andre Morel! is excellent as the harassed father torn between pa- ternal love and sense of duty Thea Gregory registers more faintly, as his daughter while Patrick Holt does well in the rather thankless roleof the suspected husband. Jack Watling provides an even more shadowy characterization as the toiler Arnoid Beil vies with Andre Morell in realism as the investigat- inspector. Helen Pollock con- tributes a correctly overacted cameo as a phoney seeress. Olive Sloane provides another gem as ?{ rt « 00 K m, ^ 0 l ,se " kee P er * direc- tion by Charles Saunders gives full value to the highlights and never strains at credulity. Clem. The Yonn^ Lover* (BRITISH) * Sensitive romantic drama of young lovers caught up in the east-west conflict. Delicately d, * e .®ted and acted. Worthy of exhibition in the U. S. An c «”««> rum D^buZ, A r U e?cie 4 'o« rectfd bv° AAt^rtnv d A Da ^OSSOff. Di* CeorwT.wte £ s ?y ,th - Screenplay. t,eorge Tabori and Robin Estridge; cam- son J At k T ed . itt>r > Frederick Wil- 5™’ .At Odeon, Leicester Square, Lon- don, Au*. 24, 34. Runnine time, 95 MINS. T?"° Odlle Versois MofFatt *"‘'"'"“.•■“■'••‘j David Knight GreetT J « 8 4 h _ Tomelty JoKPnh Paul Carpenter r;r ........ Theodore^ Bikel sS?hAt' , V' _ JU1 Adams Mar«?et*n«’ ’ ‘ David Kossoff John McClaren gr?' (Kassa.'.v.v.v.v.v ggg! Wfan Bernard Rebel The political conflict betweer east and west is brought home poignantly in this moving, sensitive romantic drama, directed with < sympathetic hand by Anthony As- quith and delicately interpreted bj (Continued on page 22)