Variety (December 1954)

6 FILM REVIEWS Wednesday, December 15, 1954 20*000 League* Under the Sea (COLOR—C’SCOPE) A special event for any man’s theatre. Buena Vista release of Walt Disney production. Stars Kirk Douglas. Janies Mason. Paul Lukas, Peter Lorre; sup- ported by Robert J. Wilke. Carleton Young. Percy Helton, Ted de Corsia, J. M. Kerrigan. Ted Cooper. Directed by Richard Fleischer. Screenplay, Earl Fen- ton; from the classic by Jules Verne: camera (Technicolor), Frani Planer; spe cial effects photography, Ralph Ham- meras; underwater photography. Till Cutbbani: special processes, Ub lwerk*' special effects, John Hench and Josh Meador; editor. Elmo Williams; music. Paul Smith; song. "A Whale of a Tale.” by A1 Hoffman and Norman Gimbel. Pre- viewed Beckman Theatre, N.Y., Dec. 9. '54. Running time, HO MINS. Ned Land Kirk Douglas Captain Nemo James Mason Professor Aronnax , - s. Paul Lukas Conscil Peter Lorre Mate on ’•Nautilus’*,... Robert J. Wilke John Howard Carleton Young Captain Farragut Ted de Corsia Diver Percy Helton Mate on "Lihcoln” Ted Cooper Shipping Agent Edward Marc Casey Moore Fred Graham Btlly J. M. Kerrigan (Aspect ratio: 2.55-1) the men of the Nautilus In close- quarter combat with a giant squid. Earl Fenton’s screenplay looks to be a combination of the best in the Verne original and new material to suit the screen form. It’s a fine job of writing stimulating pic fare. Technical credits — underline the underwater photography — are ex- cellent. Of the supporting players, Robert J. Wilke is the most promi- nent. doing a competent job as Mason's mate. Gene. Young at Heart (SONGS-COLOR) Topflight romantic drama with songs, Doris Day, Frank Sinat- ra and prosperous b.o. pros- pects. Hollywood, Dec. 21. Warner Bros, releaae of Henry Blanke (Arwin) production. Stare Doris Day. Frank Sinatra. Gig Young, Ethel Barry- more. Dorothy Malone;' features Robert Keith. Elisabeth Fraser, Alan Hale Jr., Lonny Chapman. Frank Ferguson. Di- rected by Gordon Douglas. Screenplay. Julius J. Epstein. Lenore Coffee; adapta- tion. Liam O’Brien; from a story by Fannie Hurst; camera tWarnerColor), Ted McCord; editor. William Ziegler; new ... u o ( *ongs, Paul Francis Webster and Sammy \\ itlt Disney is at hand With a , Cam. Ray Heindorf, Charles Henderson now cinema wonder. and Don Pippin, Floyd Huddleston and Hi* nrnrlnrtinn nf ”20 000 T pnpnp<; ■ A1 Rinker. Mack Gordon and James Van rr a P ,w a ..iivua H«u«n. Previewed Dec. 7. '54. Running Under the Sea is very special kind time, lit MINS. Of picture making, combining pho- Laurie Tuttla Doris Day togiaphic ingenuity, imaginative Barney Sloan Fra ") t Sinatra story telling and fiscal daring. That ilfnt Ethel Bi?rymo'?f last, conversely, might also be \ Fran Tuttle Dorothy Malone termed confidence in the business. Disney went for a bundle tsay $5,000,000 in negative costs) in fashioning the Jules Verne classic. But it's the end result that Price Waterhouse wants to know about and this can be kingsized up in glamorous* terms: Ultra high box- office around the world. • A mean man with a crystal ball. Verne penned “Leagues” in the Gregory Tuttle Robert Keith Amy Tuttle .. : Elisabeth Fraser Robert Neary Alan Hale Jr. Ernest Nichols Lonny Chapman Bartell Frank Ferguson Mrs. Ridgefield Marjorie Bennett (Aspect ratio: 1.65-1) Romance in drama and song is effectively sold by Doris Day and Frank Sinatra in this slickly framed Warner Bros, offering. It . .. i looks headed for prosperous box- nf it*office, particularly in view of its "'kIT' .k?! appeal to the family «nd younger wondrous submersible ship and the awesome powers of the universe. To truly capture this great adven- ture in a film meant an undertak- ing of rare dimensions; there were few precedents to be guided by. The project has been a success. For Disney and his army of col- laborators have packaged a grand assortment of exciting entertain- ment values. The story of the “monster” ship Nautilus, astound- ing as it may be, is so astutely de- veloped that the audience imme- diately accepts its part on the ex- cursion through Captain Nemo’s underseas realm and partakes of its thrills and terrors. There’s no quibbling about plausibility. James Mason is the Captain, a genius who has fashioned and sets among the ticket buyers, who should take to the good new songs and the sock old ones, as well as the sentimental romantics that make up the story. For both Miss Day and Sinatra, ”Y«ung At Heart” is a topflight credit. They give the songs the vocal touch that makes them solid listening, and score just as strong- ly on the dramatics, seemingly complementing each other in their scenes together to make the dra- matic heart tugs all the more effec- tive. She Is first heard on “ ’Til My Love Comes Back To Me,” with lyrics by Paul Francis Webster to Felix Mendelssohn’s “On Wings Of Songs," and follow's it with guides the out-of-this-wond craa. | Kirk Douglas is a free-wheeling. I Huddleston and A1 Rinker, roguish harpoon artist. Paul Lukas is a kind and gentle man of sci- ence and Peter Lorre is Lukas’ "Hold Me In Your Arms,” by Ray Heindorf. Charles Henderson and Don Pippin; and “There’s A Rising fretting apprentice. They have the JlJ 0 ? 11 , *\ or falling Star, by major roles and are on camera .V eb «!. e , I V? n ^c>, a 7!.T y t :inol n '«h Be ^Ji n ir 90 ' o of the time, each registering J be Cle ^4f Sinatia sings the title asset to the east and Keith makes his father spot a real winnig job. Ted McCord’s cameras are used to advantage on the footage and players and the other technical contributions are good. Brog . Bad Day at Black Kock (COLOR—C’SCOPE) Tight suspense drama with western setting but no oater. Spencer Tracy, Robert Ryan to help prospects generally. Hollywood, Dec. 14. Metro release of Dore Schary produc- tion. Stars Spencer Tracy, Robert Ryan; co-atais Anne Francis. Dean Jagger, Wal- ter Brennan. John Ericson. Ernest Borg- nine. Lee Marvin. Russell Collins. Walter Sande. Directed by John Sturges. Screen- play, MiUard Kaufman; adaptation. Don McGuire; based on a story by Howard Breslin; camera (Eastman Color), William C. MeUor; editor. NeweU P. Kimlin; music. Asdre Previn. Previewed Dec. 8, '54. Running time, II MINS. John J. Macreedy Spencer Tracy Reno Smith Robert Ryan Liz Wirth Anne Francis Tim Horn .. Dean Jagger Doc Velie Walter Brennan Pete Wirth John Ericson Coley Trimble Ernest Borgnine Hector David . Lee Marvin Mr. Hastings Russell Collins Sam Walter Sande with conviction. But it is the production itself that is the star. Technical skill was lavished in fashioning the fabulous Nautilus with its exquisitely ap- pointed interior. The underwater iensing is remarkable on a num- ber of counts, among them being tune, following up later with "Someone To Watch Over Me,” “Just One of Those Things” and “One For My Baby.” Miss Day and Sinatra pair on the finale “You My Love,” by Mack Gordon and James Van Heusen. The Henry Blanke production wi \ wum.1, UIIIV11K I1ILIII UVIlik | * , # . . , the vivid Technicolor tinting and bas been smoothly fashioned so special designing of aqualungs and j j bere 1S ,f* ot *° 0 a r * sem- other equipment to match Verne’s 1 L en< -f to the f ° uf Daughters ' pro- own illustrations , duction on which it was based. Story opens in San Francisco. The ^ls *n that 1938 release have w here maritime men have been! be< : n , c duced to three, W arner- terrorized by reports of a mon-! ^°* or ,' ias bcen , added for gloss strous. denizen of the seas which, an ”- course, the songs are new- hns been sinking their ships. An comers to the plot. Script credit armed frigate sets out in pursuit fp r t*)is ve c slon Soes to Julius J. and is itself destroyed, with Lukas, i Epstein and Lenore Coffee, who Douglas and Lorre the survivors. They’re picked up by the Nautilus did the first from a story by Fannie Hurst, and Liam O’Brien did the w hich, they learn, is the nemesis i adaptation. The writing for this of the sea merchants, an uncan- nily devised vessel used by Mason to satisfy his hate of warring na- tions and men. TV Bally as Alien Salvation Spotting of foreign film stars on national television shows in the United States may serve as the “open sesame” for the general acceptance of pictures from afcroad in the American market. The exposure of the foreign personalities on tv, It’s felt, will build nationw ide recognition tor such stars. And once they become know n via the video medium, it’s maintained, the public would be willing to buy foreign pictures in which these personalities appear Up to now, the films from abroad, while critically accepted for their artistic and entertainment content, have languished in art houses. Few have received circuit or general bookings and then only as secondary features. version is firstrate, being well- diaioged and plotted. Gordon Douglas’ direction give the picture responsible guidance. Thus the audience is introduced He mak es every use of the tale’s to the wonders of Captain Nemo’s! sentiment, but never lets a scene and his men’s life below the sur face of the water. There are some light moments. get sticky, and the able cast re sponds to his handling with ex- cellent work. Story details how including a frolicsome chantv bary- romance comes to each of the toned amusingly by Douglas. Hu- th ree Tuttle sisters, played by Miss morous bit has Mason hosting a Day, Dorothy Malone and Elisa- dinner that’s enjoyed by Douglas beth Eraser. The trio lives with and Lorre until they learn the del-1 tbe father, Robert Keith, and the k-acies of the table are sea snake, aunt - Ethel Barrymore, octupus, etc. i The different angles the romanc- “Leagues” and Cinemascope, in 8 lakes as the various males prove Highly compatible. Wide- oomes into the girls’ lives color screening was a must in this wide-1 the footage, but the main concen- screcn era for the story and back- tration is on Miss Day and Sinatra, grounding are of vast scope and a the latter a moody, frustrated mu- limited cone of vision would have sician called in by Gig Young to meant loss of some of the pictorial Considerable excitement is whipped up in this suspense drama, and fans who go for tight action will find it entirely satisfactory. With the names of Spencer Tracy and Robert Ryan bellwethering the marquee values, it looks likely to give a good account of itself in the overall release if well-sold. While the story spins off in a western setting, it is not of the oater school, being a gripping drama in modern dress with a 1945 dateline for the action. Besides telling a yarn of tense suspense, the picture is concerned with a social message on civic com- placency, whether in a whistlestop or city. Fortunately for entertain- ment purposes, the makers have wisely underplayed this social angle so it seldom gets out of hand except in those few sequences that are inclined to be overtalky. The fact that it’s there isn’t likely to bother those who wouldn’t receive the message anyw’ay since they’ll be pretty well wrapped up in the good plotting to be found in Mil- lard Kaufman’s script, in the taut- ness of John Sturges’ direction that makes for exciting expectancy, and in the really sock performances turned in by the entire cast. Basis for the smoothly valued Dore Schary production is a story by Howard Breslin, adapted by Don McGuire. To the tiny town of Black Rock, one hot summer day in 1945, conies Spencer Tracy, w r ar veteran with a crippled left arm. He wants to find a Japanese farmer and give to him the medal won by his son in an action that left the latter dead and Tracy crippled. Instead of help in his mission, Tracy is greeted with an odd hos- tility and before the bad day is over his own life is endangered when he puts together the reason for the cold, menacing treatment. At the height of anti-Jap feeling after Pearl Harbor, the farmer had been killed by Robert Ryan, rancher, in a mob scene in which the other townsmen had partici- pated. Film is paced to draw suspense tight and keep expectancy mount- ing as the plot crosses the point where Tracy could have left with- out personal danger and plunges him into deadly menace when he becomes the hunted. Windup, how- ever, finds the killer dead and the participants in the mob on their way to justice. There’s not a bad performance from any member of the cast, each socking their characters for full value. In addition to Tracy and Ryan, credit goes to Anne Francis, Dean Jagger, Walter Brennan, John Ericson Ernest Borgnine. Lee Marvin, Russell Collins and Walter Sande. Scene in which the one- armed Tracy beats to a bleeding pulp the gross, bullying Borgnine is one of several real tough action sequences. The Cinemascope photography in Eastman Color by William C. Mellor is standout for showing the stark, magnificent beauties of the desert location with its mountain backdrop. Andre Previn’s score is good, although overemphasized on occasion. Editing and other techni- cal assists are expert. Brog. THIn 1m Your Armv (COLOR; DOCUMENTARY) the part of the Army, it rates more attention than the usual Govern- ment handout simply because it’s got an interesting story to tell and it tells it well. “This Is Your Army” deals with the latest in weapons and person- nel. It’s a post-Korean War study of the service and explores every avenue of offense and defense, from the “sky-sweeper” radar-con- trolled anti-aircraft guns to the new atomic cannon. The 55-minute film shows the training and devel- opments in every branch of the service from infantry on up to the Rangers. There’s much that’s new' in it to the American public, and much that is comforting. Topping off the content is an outstanding production job by Fox Movietone. Color footage, shot by Movietone cameramen Jack Painter and William Storz, is right in the middle of the action, and the color is excellent. Editing by Bill Kosh and John Hughes crams a maxi- mum of information into the 55- minute running time. The James Altieri-Joseph Kenas script, though besplattered by the usual cliches, is tightly written, and Joe King’s narration is excellent. Jack Shaindlin’s score rides well with the footage. COMPO can take a bow' for its participation too. Chan. Jack Kelly, King Donovan, Dick Jones, Pepe Hern and Leo Gordon, among the prisoners, and Richard Loo and Keye Luke, chief North Korean officers, contribute cap- ably to the makebelieve. Bryan Foy’s production super- vision gives the picture all it needs to carry it in its market and the t^'-hnical assists are expertly han- dled. , Brog. D(*vir» Harbor The Bamboo Prison P.O.W. melodrama located in North Korea. Good actioner for the programmer market. Hollywood. Dec. 14. Columbia release of Hryan Foy produc- tion. Stars Robert Francis. Dianne Foster, Brian Keith; features Jerome Courtland. E. G. Marshall. Earle Hyman. Jack Kelly, Richard Loo. Keye Luke, Murray Mathe- son. King Donovan. Dick Jones. Pepe Hern, Leo Gordon. Weaver Levy. Directed by Lewis Seiler. Screenplay. Edwin Blum, Jack DeWitt; story by DeWitt; camera, Burnett Guffey; editor. Henry Batista. Previewed Dec. 2, '4. Running time, 79 MINS. Sgt. Bill Rand Robert Francis Tanya Clayton Dianne Foster Corporal Brady Brian Keith Arkansas Jerome Courtland Father Francis Dolan E G. Marshall “Doc” Jackson Earle Hyman Slade Jack Kelly Hsai Tung Richard Loo Li Chung Keye Luke Clayton Murray Matheson Pop King Donovan Jackie Dick Jones Ramirez Pepe Hern Pike Leo Gordon Meatball Weaver Levy Metaxas George Keymns Cockney Denis Martin (Aspect ratio: 1.85-1) excitement. Some of the filming ob- viously was done under difficult conditions, yet all of the finished arrange a musical comedy the latter is writing. Miss Day and Young are engaged, but she and Sinatra elope. With no faith in product comes through with excel- himself, he can never believe she lent clarity. The sterophonic really loves him and it is only sound is a plus, too, adding to the ! alter a near-fatal, planned auto onlooker’s sense of participation, accident that almost costs his life, Richard Fleischer's direction does he come to recognize the keeps the Disney epic moving at a truth. smart clip, picking up interest; The Misses Malone and Fraser right from the start and deftly de- come over strongly as the sisters, veloping each of the many tense | as do Gig Young, Alan Hale Jr., moments. Unusual’y well staged is and I >nny Chapman, assorted a pulse-quickening scene show ing j suitors. Miss Barry more is a big Movietone News production in coopera- tion with the United Stales Army spon- sored by Council of Motion Picture Or- ganizations. Produced by Edmund Keck. Associate producer. John J. Gordon: nar- rator, Joe King; script, James Altieri. Joseph Kenas; editors. Bill Kosh, John Hughes: cameras (Technicolor). Jack Painter, William Storz; music. Jack Shaindiin. Previewed in New York, Dec. 8, '54. Running time, 5S MINS. This Technicolor documentary on today’s army, which will be exhibited as a public service, is more than satisfactory theatre fare. Although it’s obviously a studied public relations effort on A timely topic gives this pris- oner-of-war action melodrama a good chance as an entry for the general program market. It does an entertaining job that is up to all release intentions, as well as showcasing the newer talents of Robert Francis, Dianne Foster and Brian Keith, w ho form a starring j trio that comes off acceptably in putting over the film. While time of the action is laid during the peace treaty negotia- tions at Panmunjon. plot projects the thought that some of the seem- ing collaborators among the Reds’ American prisoners are actually intelligence men carrying on dan- gerous assignments even now. Erancis plays one of these, a man scorned by his fellow prisoners be- cause he has succumbed to Com- munism as a means of getting in- formation useful to the peace nego- tiations. Windup has him still stay- ing with the Reds to continue his dangerous mission, even though it means he has to give up Miss Foster, a Russian who had aided him. The usual prison camp antics, although with less stress on bru- tality, are shown during the film- ing under Lewis Seiler’s direction. He moves the show along at a good pace, mixing the values in the script by Edwin Blum and Jack DeWitt with a practiced hand and getting easy performances from his cast. There are several twists to the story, such as having a priest a prisoner along with the soldiers, and then revealing him as a fraud hiding behind a dead father’s garb to spy on the P.O.W.’s. Working with Francis in the deadly spying job is Keith and both do w-ell, as does Miss Foster, wife of an American traitor now propagandizing for the Russians. Murray Matheson does the traitor and E. G. Marshall appears as the phony priest. They along W'ith ] Jerome Courtland, Earle Hyman, Mediocre British-lensed metier ' for lesser bookings. Hollywood. Dec. 14. 20th-Fox release of Charles Deane pro- duction. Stars Richard Arlen. Greta Gynt, Donald Houston. Mary Germakie; fea- ttures Elspet Gray. Vincent Ball. Howard Lang, Anthony Vicars, Edwin Richfield. Directed by Montgomery Tully. Screen- play, Charles Deane; camera. Geoffrey Faithful; editor. Peter Seabourne. Pre- viewed Dec. 10. '54. Running time, 70 MINS. John Richard Arlen Peggy Greta Gynt Mallard Donald Houston Margaret Marv Germaine Mrs. Mallord Elspet Gray Williams t. .-. Vincent Ball Marne ... Howard Lang Inspector Hunt Anthony Vicars Daller Edwin Richfield Bennett Michael Balfour Mark Arnold Adrian Enson Sidney Bromley Ryan Stuart Saunders Fat Patricia Salonika Susie Doreen Holliday Sam Peter Bernard (Aspect ratio: 1.33-1) The melodramatics in this Brit- ish-made thriller that 20th-Fox is distributing come off poorly and it is best suited for fill-in bookings in the lesser situations. Only famil- iar name is that of Richard Arlen, balance of cast being Britishers. Charles Deane both produced and scripted a story that tells of how Arlen. operator of a Thames River freight boat, accidentally breaks up a gang that has been stealing medicine and drugs. Arlen stops a dock fight one night and comes into possession of a mysteri- ous package. Efforts of the gang to get it back eventually lead to the denouement. The basic plot idea furnished a good enough spring- board for a program meller, but it falls apart in the script develop- ment, giving the players little to work with. Montgomery Tullv’s di- rection Is no help, either, so there’s no plausibility to the action. The technical contributions are substandard. Brog. The Other Woman Hugo Haas low-budget sex thriller, again starring Haas and Cleo Moore. Looms as moderate grosser but can be circused. 20th-Fox release of Hugo Haas produc- tion. Stars Hugo Haas and Cleo Moore. Directed and written by Haas. Camera, Eddie Fitzgerald; editor, Robert S. F.isen: music. Ernest Gold. Tradeshown in N.Y., Dec. 10. '54. Running time, 81 MINS. Harman Hugo Haas n err . y Cleo Moore Ronnie I.ance Fuller Mrs. Darman Lucille Barkley Lester Tack Ma ( y £ a P.? sha John Qualen Collins .I an Arvnn Marion Carolce Kelly First asst, director Steve Mitchell Second assistant Mark Lowell Actress Melinda Mar key This is about the seventh Hugo Haas screen production to come from this independent producer who, as in this one, generally stars, directs and produces besides script- ing. Most recently, Cleo Moore has been co-starred, which is all to the good. “The Other Woman” sug- gests that Haas, perhaps should not try to star, write and direst but delegate some of these tasks to others. Because this might have been much better If he had not tried to do it all by himself. De- spite this criticism, this pic should suffice, has enough sex and drama for lesser situations. Haas is a foreign director-pro- ducer, who has insured himself a job with an American film com- pany by marrying the daughter of the producing company proxy. Ac- tion revolves around Miss Moore’s efforts as an extra to get even with Haas because he rejected her work in a bit role. She gets him into what appears to be a com- promising situation, and then de- mands $50,000 to hush up the so- called affair, A tricky strangling scene and efforts by the police to land Miss Moore’s slayer., behind (Continued on page 28)