Variety (October 1954)

FILM REVIEWS Wednesday, October 6 , 1954 Beau Bravtmell (COLOR) Opulent costume drama, fairly entertaining, with good names, ballyhoo angles, Hollywood, Oct. 5. Metro release of Sam ZimbaUst produc- tion. Stars Stewart Giariger, Elizabeth. Taylor, Peter Ustinov; features Robert Morley, James Donald, James■ Hayter, Rosemary Harris, Paul Rogers, Noel Will-, man. Directed by Curtis Bernhardt. Screenplay, Karl Tunberg; based, on the. plav Written Jor Richard Mansfield by Clyde Fitch; camera (Eastman' Color), Oswald .Morris; editor,. Prank^. Clarke; music. Richard Addinsell; played by Jhe Royal Philharmonic Orchestra; conducted by Muir Mathieson. Previewed Sept. 24, *54. Runnihg .time. Ill MINS.. Beau Brummell Stewart Granger Lady Patricia,.... . . . .Elizabeth Tayioi Prince of Wales .......... Ustinov King George HI Robert Morley Lord Edwin Mercer ....... James Donald .Mortimer ' . Jarnes Hayter Mrs. Fitzher ..... Rosemary Hams Lord Byron ........ Jioel Willman Midger ........... Peter. Dyncley Sir Geoffrey Baker ...... Charles Carson Doctor Warren .... *> • • Ernest Clark Mr. Fox ......... •... •... ■ Peter Bull .Mr, Burke ........ •• • • ■ Martt .Uignam Colonel ............. Desmond, Boberts Sir Ralph Sidl*y. ...., w ;. -Baton truman Mr Tupp B.rooK*Jones. Doctor Duboi ^George De Marfaz Doctor Willis ,..., • • Honjy-Oscar Mayor ..... .,. • Harold Kasket This is an opulent, fairly enter- taining; period drama based on the career of England’s famous dandy and amateur politician. The mar- quee dressing provided by the fa- miliar iiames $ of Stewart Granger and Elizabeth Taylor, along With a number of exploitation possibili- ties, should shape it for okay returns. The Sam Zimbalist production is drawn from the Clyde; Fitch: play Which served Richard Mansfield as a legit vehicle; The -lensing took place in England to give its period settings an authentic look, an in- tent also carried out by the British casters, so everything, is in keeping through the overly long 111 min- utes. Some rather obvious process scenes are . permitted to contrast sharply with those that are real. The Karl Tunberg screenplay gives Curtis Bernhardt's direction ample opportunity for romantically emotional scenes and he gets a good- effect: from them with his players.. Also effective are .several dramatic sequences dealing with the relationship between Beaii Brummell and the Prince of Wales, and the final, deathbed scerte that reconciles the dying dandy and his prince, now king. For those, who like to be plunged at length into tearjerk, the climax is made to order. Others Will find Brummell a long time dying. General appeal for the masses probably would have been greater had the motivations behind the Brummell character played by Stewart Granger been more clearly established. As it is, one is never quite sura whether' he is. patriot or opportunist as, he cultivates the Prince of Wales. Sad he been more heel, or more hero, viewers would have known whether to .love him or hate him. Result of this’ is to throw the major sympathy to the Prince, a more Understandable person as superbly interpreted by Peter Ustinov; Miss Taylor, too, is a vic- tim of motivation obscurity as the beauty attracted to Brummell; first tur ing him down and then being turned down by him when she does decide to surrender. . Plotwise, Brummeli’s self assur- ance intrigues the Prince of Wales, who sponsors him in society and listens to his advice against Prime Minister William Pitt. While under the prfhee's favor, Brummell rises to be something of a style-setter arid favorite. lira beruffled era, he goes in for simple elegance and.is well on his way to an earldom until the scheme he has cooked up to have the prince declared regent fails arid the two friends fall out Brummell flees to France and there, as the years pass, falls deathly ill. A, forgiving prince—• now king—searches him out and they . reconcile before Brummell dies. This is Clyde Fitch history. Excellent type performances are turned in by Robert Morley, the prince’s mad father, James Hayter, Brummell’s faithful valet; arid Rosemary Harris, as Mrs, Fitzher-: bert, the woman the prince loves but cannot -marry. Paul Rogers, as Pitt; James Donald, as the lord who gets Miss Taylor, and Noel Will man, as Lord. Byron, are among others doing good work; ■ The Eastman Color, printed by Technicolor, is used to advantage by Oswald. Morris’ ; lensing. Other technical credits are capable. Brog. Sftip Weshner on 'Contessa’ David E. (Skip) Weshner has been named producer's sales rep for "The Barefoot Contessa.” . Pic was made under the Figaro, Inc., banner .with Joseph L. Man- kiewicz as writer and director. United Artists is the distributor. Lovers, Happy Lovers! (’Monsieur ‘RipoJs’) “Lovers, Happy Lovers!" was reviewed in Variety, May 5, .1954 under its original tag "Monsieur Ripois/’ Cinedis re- lease of Transcontinental Film production, starring Gerard Philipe, Valerie Hobson and Joan Greenwood, is being re- leased in the U. S.i by A.F.E. Reviewer Mosk opined “Mon- sieur Ripoiis” is a fake, a Don Juan, a victim of his times, debauchee, but whatever he is, this film adds up to a tour-de- force in direction and thesp- ing. A callous subject is pre- sented in a comedic, brilliant vei It emerges a satirical and engaging adult film. There may be some censorship;trou- ble,. but this may be easily glossed over, and word-of- mouth and crix are sure to give this a push.” ('armen Jones (C’SCOPE-COLOlt) Stirring, . colorful film ver- sion of the smash Broadway musical; healthy b.o. + Hollywood, Oct. i. Twentieth-Fox. release of an Otto Preminger. production. Co-stars Dorothy Dandridge; Harry Belafonte, Olga. James, Pearl Bailey, Joe Adams. : Directed by Preminger. . Screenplay, Harry Kleiner, fromi book by Oscar Hammersteln, - 2d; music, Georges Bizet; lyrics Hammersteln; camera, Sam Leavitt; editor, Louis R.. Loefler. Color by DeLuxe. At Studio, Sept, 22; '54. Running time,. 105 MINS.. Carnien .... Dorothy . Dandridge Joe Harry Belafonte Cindy ; Olga James Frankie Pearl Bailey Myrt :................... . lahann CarroU Rum .... Boy Glenn Dink Nick Stewart Husky Joe Adams Sgt. Brown Broc Peters T-B'one -....—,......: ....Sandy Lewis Sally Mauri Lynn Trainer DeForest Covan Aiid the voices of Le Vern Hutcherson, Marilynn Horne, Marvin Hayes. . ( Aspect ratio i 2.55-1). As a Wartime legit, offering "Carmen Jones’.’^-the modernized, all-Negro version! of the opera ‘ ‘ Carmen’ ’—was a long-run hit both on. Broadway and on the road. Now, Otto Preminger has transferred it to the screen with, taste and iriiagi- riation in all opulent production that has a healthy boxoffice out- look, although as an all-Negro film, it. will encounter difficulty in some situations. Preminger has made -sonie changes from the legit version, but none of the basic elements have beeri removed and the sexy situa- tions inherent in the original story are retained to make this perhaps the first picture in both Cinema- Scope and Sensuoscope. Excision has been skillfully handled and might even have been carried further with at least one more riot too familiar aria removed to per- mit the film to unspool without a lag. At its present 105-minute length, it is perhaps ten minutes too long. Harry Kleiner's screenplay close- ly follows the lines Of the stage libretto by Oscar Hammerstein, 2d, in 'hich Carmen is a pleasure-, loving southern gar who works in a Dixie parachute factory, where Joe (Jose) is a member of the army regiment on guard duty. She lures him away from Cindy Lou (Mi-:' caela) and he deserts with her after a fatal brawl with his sergeant. Eventually^ Carmen tires of him and stakes up with Husky- Miller (Escamillo) the fighter and Joe kills her when shie refuses to re- turn to him. In the legit version,; he stabbed her; in the film, he* strangles her. (Credits blithely ignore the fact that the original creator of “Carmen” was art author named Prosper Merimee. Does pro- fessional courtesy stop at the grave?) "As in, the wartime legit version, the standout sorigs—as a result of Hammerstein ? s lyricizing — are “Stand. Up and Fight”, (the Torea dor spng), “I Go. For You, But You’re Taboo” (Habanera) and "Beat out the Rhythm on the Drums.” . . Preminger has directed with a deft touch, blending the comedy and tragedy easily and building his scenes to some suspenseful heights. He gets fine performances from the cast toppers; notably Dorothy Dandridge, a sultry Car- men whose performance maintains the right- hedonistic note through- out, andf' Harry Belafonte, who is an extremely convincing Joe. Olga James is seen comparatively brief- ly as Cindy Lou, but makes the most of her footage and Joe Adarhs (a coast dee jay) is good as Husky Miller. Pearl Bailey stands out as i Frankie, scoring a. particular tri- j umph since she has only one song I the "Drums” number with which : to showcase her voice. Off-screeri j voices were used for Miss Darid- I ridge, Belafonte and. Adams, the. [standout being Marvi Hayes' handling of the latter, for the stir- ring “Stand Up and Fight/’ Dub- bing throughout is excellent. Of the supporting players, Dia- hana Carroll is glimpsed briefly as Myrt arid Roy Glenn and Nick Stewart Bach turn in a fine per- formance as Rum and Dink, the manager and manager's manager attached to Miller, ♦ Fine camera work by Sam Lea- vitt, the color by Deluxe, musical direction by Herschel Burke Gil- bert,, costumes by Mary Ann Ny-' berg and settings by Edward L. Ilou all contribute strongly to the film’s appeal. Kap. Hansel ami G ret el (SONG—COLOR) Unusually well done puppet film that should mop up With the moppet trade. Strong b.o. contender with Proper 1 han- Mlchael Myerberg production. Stars the voices of Anna Russell; Mildred Dunnock, Frank Rogler, Delbert Anderson, Helen Boatright, Constance Brigham and .Apollo Boys' Choir. Directed. by John Paul.. Screenplay by Adelheid Weft; adapted by Padriac Colum; camera (Technicolor), Martin Munkacsi; settings, Evalds. Dajev- skis; costumes,. Ida Vendicktow; editor. Jamas F. Barclay; head animator, Joseph Horstmahn; characters designed by James Summers; production manager, William F. Rodgers Jr. Previewed in N.Y. Sept. 29, '54.- Running time, 75. MINS, Rosina Rubylips : Ann RuSsell Mother .............. i. Mildred' Dunnock Father ..;..;,...... ..... Frank Rogler Sandman ............. Delbert Anderson Dew Fairy Helen Boatright Angels and - Children., Apollo Boys' Choir Hansel: A Gretel , Constance Brigham IJberty for IJs (A Nous La Llbcrte) “A Nous. La Liberte/ r tho Rens Clair film classic which Is scheduled to preem Oct. 6 at the Art Theatre, N. Y,, was reviewed from . France by Variety May 31, 1932. The French import stars Henri Marchand, Raymond Cordy, Rolla France, and has been especially reedited by Clair for reissue which Joseph Burstyn Inc. is releasing pic in the •uy s/;' ' Reviewer Kauf opined " ‘A ; Nous La Liberte’ is. grand satire film. Intellectually it probably reaches a new high in film fare, although neither satire nor intellect belong in money films. More important is the sound. Every scene is musically underlined. There are but a bare dozen spoken Sentences throughout the film; And what there is spoken is so obvious as to be immediately understandable to anyone in; the audience, whether knowing French Or not. No doubt left, at the. end of the film’s show- ing, that Rene Clair is an out- standing film personality.” It’s been quite a while since any- one bothered making .a direct pitch for the moppet trade via that trick- iest of all media, the puppet pic- ture. Now Michael Myerberg has filled the void with "Hansel and Gretel,” a skilfully produced and wholly delightful puppet version of Humperdinck’s . tuneful opera of the same title, Unless youngsters of today are too preoccupied with, space cadet yarns t6 find enjoyment in simple, musical fables such as this, "Han- sel and Gretel” can’t fail to charm its way into the hearts of many millions. It shapes as a potent b;o. contender. Here is the answer to: all those parents and! educators who complain that Hollywood, ignores the young. Done in exquisite Technicolor that underscores the great crafts- manship that has gone into this filtri> "Hansel and Gretel’’ is un- usual npt only fpr the tasteful and imaginative way in which it tack- led its subject' but =• also for, the "actors” themselves. The Myerberg puppets—he calls them “Kirie- mins”—are a triumph in them- selves. For one, in decided contrast to Other puppets used in films in the past, the Myerberg figures are pleasing to the eye, even beautiful; They’re capable of changing their facial expressions .and do, too, with very good effects. Their movements appear awkward and . jerky at times, but on the whole they have remarkable grace arid Convey the kind of realism not achieved be- fore. The credit goes to Myerberg arid sculptor-painter James Sum- mers who designed them. If the merits of "Hansel and Gretel” are high, the Kirtemins themselves have considerable exploitation value that ought not to be over- looked by exhibitors. The fairy tale and the Humper- dinck music are the perfect subject for a puppet film and the produc- tion makes the best possible use of its opportunities. It has visual beauty, but it has also movement, and music and, from the younger set’s point of view, sortie lively excitement in the form of the witch Rosina Rubylips who looms, but without the. customary, empha- sis on horror. Here again, the fine moulding of the Kirtemins and the deft execution of the staging help to make the story come alive with- out overemphasis on the more 'frightening part of the tale. Every character in the film is a puppet. They take ori an added human quality via the voices which, wisely, haven’t been distorted but come through much as they would iri the opera. Constance Brigham does herself proud in the double role of Hansel and Gretel*,' Anna Russell excels as the witch;! Mil dred Dunnock is perfectly cast as the mother and Frank Rogler does wonders with the voice of the father. As the Sandinan, Delbert Ander- son gives aural support to one of the most charming scenes , in the picture, Helen Boatright is just fine as.. the Dew Fairy, and the Apollo Boys’ Choir sounds fresh and beautiful. John Paul’s direc- tion is faultless, seeing, to it that the transition from stage to screen is smooth and expert in its feel for the. necessary balances. Padriac Colum, well-known Irish poet-playwright, did the screen adaptation of the.play, making the dialog Jit the simplicity of the Sit- uations and brightening it with occasional touches of humor. A 60- piece . symphony orch plays the Humperdinck score under Franz Allers’ firm batoning. Humperdinck’s opera has been a favorite all over the world for riiany years., In bringing it to the screen with such a fine Sense for the; demands of the medium, Myer- berg deserves a vote of thanks from millions. of youngsters who can’t get to an opera house. If he Cleans up with it, it’ll be a just reward for a job well done. Hift. Passion (COLOR) So-so early California, action drama , with mild b.o. outlook. Hollywood, Oct, 5. BKO release of Benedict Bogeaus pro- duction. Stars Cornel .Wilder Yvonne De Carlo; features .Raymond Burr, Lon Chaney. Rodolfo : Acosta. John Qualen, Anthony Caruso,. Frank de Kova. Directed by .AUan. Dwan. Screenplay, Beatrice A. Dresher, Josef Leytes; adaptation, How- ard Estabrook; based on a story by Beatrice A. Dresher, Miguel Padilla, Josef Leytes; camera (Technicolor), John Alton; editor, Carl Lodato; score, Lodis Forbes; Previewed Sept. 30. '54. Running time, S4 MINS. Juan Obreon Tonyg Rosa Rodriguez Castro Sandro. ... Caspar Munoz Martinez Colfre Escobar ;.. .. Don Domingo ... Grandmother .... Senora Carrisa Manuel Felipe Marca. ........... Maraqulta Bernal .......... Don Rosendo .... Padre . .. .... ;., (Aspect Carnel Wilde Yvonne De Carlo ....... Raymond Burr ...,...;... . Lon Chaney ....,.., Rodolfo Acosta ... >....... John Qualen ...... Anthony Caruso . Frank .de. Kova .. Peter Coe ......... John. Dierkes. .... Richard Hale Rozene Kemper Belle Mitchell Alex Montoya .........; Zon Murray ....... . Rosa Turich ....... Stuart Whitjnan ...... James Kirkwood ...... Robert Warwick ration 1.85-1) Bob Mothloo Story Mtecneotment^of story of dou- ble .winner ^of Olympics De- cathlon. Athlete and wife play themselves in good family trade programmer with tieup and ballyhoo angles. Hollywood, Oct. 5. Allied Artists release. Of William E Selwyn production;' .Btars Bob Mathias.* Ward Bond; features Melba Mathias...: Howard Petrie, Ann Doran. Directed by Francis D. Lyon. Screerfplay, Richard Col- lins; camera, Ellsworth Fredricks; editor, Walter Hanneman. Running time, 79 ' Mil NS. Bob'Mathias ,,.,....... Bob Mathias Coach Jackson ;.....;. . ...;;. Ward Bond Melba Miathias .... /...,.Melba Mathias Dr. Mathias Howard Petrie Mrs; Mathias Ann Doran Pat Mathias lane . Jergcns Andrews Paul Bryar Allied Artists has a good family programmer in story of Tulare, California, lad who twice won decathlon at Olympics games. With Bob Mathias playing himself, and actual footage from two Olympiads used, some situations may realize extra coin from exploitations op- portunities. Pifc opens with Mathias, aged 17, training for 1948 Olympic tryouts at Bloomfield, N. J., then off to Wembley, England; to win with amazing 7,139 joints; Narrative then carries him to prep school struggling to make up points to enter Stanford. Despite his all round prowess as college athlete on . gridiron,- as well as track, Mathias decision to marry child- hood sweetheart, Melba, also play-, ing herself, nearly caused him not to enter 1952 Olympics at Heir sinki, where he was first athlete to win two. decathlons. Racking up 7,887 points. Narrative closes with his entry into U. S. Marines. . Mathias’ personality is pleasing and he fulfills acting job with less, awkwardness than could be ex- pected. Wife Melba displays good screen presence and scenes of two together are appealing., Francis D. Lyon’s sympathetic direction helped amateurs over hurdles. William E. Selwyn Productions makes good use of Olympics clips of Mathias and other stair athletes for strong sports interest. Story behind track deeds, is told with .minimum schmaltz as scripted by Richard Collins’ ’’Plot” is neces- sarily meagre. Ellsworth Freder- icks lensing is also a sturdy con- tribution. Ann Doran and Howard Petrie, as parents of Mathias; Ward Bond,: as his highschool coach, and Diane Jergens, as kid. sister, are among Casters helping family entertain- ment values. Brog. Flip© Over Africa (COLOR) Authentic background settings of Tangier do riot make up-for unconvincing story. Some rather routine action dra- matics, in an Early California set- ting, are being offered under the misnomer of "Passion.” It has okay star names and Technicolor, but the entertainment is such that only mild boxoffice Shapes. .Cornel Wilde and Yvonne D6- Carlo topline in the Benedict Bogeous production; he as the hero wlio takes a 'vengeance trail after his family is wiped out by terror- ist, and she as his dead wife’s twin who helps pick off the killers^ Allan Dwan’s direction does what it can to keep the 84 minutes of footage moving, but there are too many slow spots for the film to hold interest overall. Script by Beatrice A. Dresher and Josef Leytes,. from a story they wrote with Miguel Padilla, runs to .flow- ery, stilted dialog arid the: charac- ters in it never become real. Terrorists, led by Rodolfo Acosta, are seeking to drive out ranchers from lands claimed by Richard Hale under an ancient grant. They attack friends of Wilde’s, with whom his wife arid baby are stay- ing, during the hero’s, absence arid Raymond Burr, police head, cannot act against the killers because he lacks sufficient evidence. Wilde takes the law into his own hainds and gradually picks off all the killers but Acosta; Climax of the story .takes place in the snow-cov- ered mountains between California and Nevada, with Wilde trapping a fleeing Acosta arid, in turn being caught by . the pursuing Burr. Acosta confesses all in time for Burr to hear and there’s the fade- out promise the hero will go free. The characters ate such tha\ the stars and' others can only turn in regulation performances, adequate to the light deriiiinds made upon them. John. Alton’s Color lensing and the other technical assists, including the background, score by Louis Forbes, are handled c° ably, . Brog. Columbia release of Frankovlch-Sale production. Stars Maureen O'Hara and Macdonald Carey. Features Binnie Barnes, Guy Middleton, Hugh McDermott and James Lllburn. Directed by Richard Sale. Screenplay, Robert Westerby; camera (Technicolor), Christopher Challis: editor, A. S. Bates;:' music; Benjamin Frapkel. Previewed in N.Y. Sept. .23, '53. Running time, 84 MINS. Joanna, Dane Van Logan ...... Frisco ...» Soames Howard Richard Farrell Danny Boy Augie Paul Dupont ...,, Mustapha Pebbles ......... Potts Cronkhite . ...... Rodrigo ......... Signor Amato ... Monsieur Ducloir Maureen O'Hara Macdonald Carey .. Binnie Barnes . . Guy Middleton Hugh McDermott .. James Lidburn ... . Harry Lane ,, Leonard Sachs. Ferdy Mayno .... > Eric Corrie .... Bruce Bceby ..... Gerard Tichy .. Mike Brendall ... Derek Sydney Jacques Cey Macdonald Gafey gets shot once in the head arid twice in the chest 'and, without any apparent medical care, gets up to continue some, hair- raising adventures. A group of cus- toms officials, international police and secret agents from Various countries are stymied iri their forts to uncover a smuggling ring in Tangier when someone gets the bright idea that what the. situation needs is a beautiful femme agent. The American rep says, "Boys, your worries are over. I’ve got just the gal. She’s ori her way here now. We’ll keep this thing real secret. No one will know who she: is. She’ll report directly, to me.” The U.S. rep’s insistence bri se- crecy, however, backfires since he's knocked, off before the Mata Hari arrives iri the person of Maureen O’Hara. This is some of the anachronistic dime magazine stuff dished up in "Fire Over Africa,” a Mike Ffarikq- vichrRichard Sale indie production being released by Columbia. It’s strictly for the bottom rung of dual situations. 1 The only ring of authenticity ih an otherwise incredulous film is the background lensing which ef- fectively captures Tangier and its environs. The streets arid people of this exotic North African city and the scenic splendor of the har- bor are caught just right by the (Continued on page : 22)