Variety (December 1954)

2 a PICTURES Tfdnpwlay, December 13, 1934 Film Reviews S Continued from page 4 s Tl»«» OfSior Woman the bars bring action in the final reels. Haas is told by his father-in- law, the vet producer, that a suc- cessful picture is made up of a dash of sex, some action of thrills, comedy relief and a happy ending. Haas tells his audience he has tried to get all of these into “The Other Woman,” but that he has slipped up on the happy ending since he is shown behind bars. Pic actually has these ingredients, best of which is the femme lure of Miss Moore. Haas is good as the foreign di- rector-producer but deserves a bet- ter story than he wrote for him- aelf. Miss Moore, who is curvae- ©us, appears to be learning how to act and is satisfactory as the un-. successful, scheming extra. Lucille Barkley as Haas’ wife, hints enough promise to justify bigger roles, fiance Fuller, as Miss Moore’s boy- friend, does well enough in the part of a teenage gangster. John Quaien is submerged in a lesser role but handles in his usual capa- ble manner. Jack Macy, as the father-in-law'; and Jan Arvan, as the detective, head the support. Haas’ directing is far ahead of: his scripting. Robert S. Eisen has edited skillfully while the lensing Of Eddie Fitzgerald is firstrate. Wear. Carrington V.C. (BRITISH) Sensitive court-martial melo- drama, strong for local audi- ences, with David Niven’s marquee value as mala selling factor for U.S. London, Dec. 9. Independent Klim Distributor* (in as«<> elation with British Lion' release of Ratmia production. Stars David Niven. Margaret I.elfthton. Noelle Middleton. Directed by Anthony Asquith. Screenplay by John Hunter from a play by Dorothy R nd Campbell Christie; editor. Ralph >ftmlen: camera. Desmond Dickinson. At Warner Theatre. London. Dec. S. ’84. Run nine time, 101 MINS. Major Carrington, VjC. ... David Niven Valerie Carrington . Margaret Leighton Capt. AlUon Graham . Noelle Middleton Major Canton Laurence Naismith I.t. Col. Huxford Clive Morton The Prosecutor Mark Dignam Lt. Col. Hennlker Allan Cuthbertson ftgt. Owen Victor Maddern E\an» John Clyn-Jones Major Mitchell Raymond Francis Judge Advocate Newton Blick Adjutant Rawlinson John Chandos The President Geo/frev Keen I.t.Col. Reeve ...... Maurice Denham Major Broke-Smith Michael Bates' Capt. Koljambe Robert Bishop Sgt. Crane Stuart Saunders As a legit production last season, “Carrington, V.C.,” by Dorothy and Campbell Christie, made a definite impact on the West End scene as a subject of dramatic in- tensity. In its translation to the screen, the drama ha* lost none of its basic qualities, but the very nature of the subject, the court- martial of a British Army officer, must limit its appeal outside the United Kingdom. It should do sturdy business in the home mar- ket while David Niven may pro- vide a measure of marquee value to help in its overseas selling al- though its prospects may be re- stricted. The story is an ideal vehicle for the sensitive directorial touch for which Anthony Asquith is noted. He extracts the essential values of the plot, knows when and how to introduce a touch of comedy relief, but never allows the production to be bogged down by too obvious touches of cockney military humpr. John Hunter’s screenplay is basi- cally a carbon copy of the original, taking advantage of fhe broader canvas of the screen but keeping the main action within the con- fines of the barracks, and centered on the courtmartial room. This induoes a static effect which is more acceptable on the stage than in pictures. The plot fochsses on the title character, a wartime hero who has the routine job of commanding an artillery battery in peacetime. It’s no secret that he is constantly feuding with his regimental com- mander, is in serious financial dif- ficulties and is harassed by a wife who fs desperately clamoring lor money. The army authorities owe him a substantial sum on his ex- pense account, but partly through the lack of support from his c.o I this cash is not forthcoming. And in a moment of crisis, he helps himself to army funds “to adver- tise a grievance.” His commander orders a courtmartial and the main incident of the pic is concerned with this trial. By keeping strictly lo procedure, there is little opporlunitv for the- atrical dramatization. The drama has to he an inherent quality o' the xtorv unfolded in the court- room. There are the familiar side Issues—the woman officer who tries to cover up and eventually I admits an affair with the accused; and the hard, unsympathetic wife who deliberately falsifies her evi- dence when she learns of her hus- band’s infidelity. Although there is a guilty verdict, the story ends on a confident note. David Niven gives one of his best performances in recent times as tiie accused V.C. Some of his courtroom exchanges with prosecu- tion witnesses, notably with his superior officer, are dramatic high- spots of the plot. Margaret Leigh- ton appears a bit ili-at-ease as the unsympathetic wife. Noelle Mid- dleton. a newcomer recruited from tele, displays bright promise as the other woman. Mark Dignam turns in a smooth portrayal as the prosecuting attorney while there is a neat comedy gem from Victor Maddern. Stuart Saunders, play- ing court orderly, is a little larger than life as an army NCO who is a stickler for the drillbook. Allan Cuthbertson is a too obvious heavy as the regimental commander. Desmond Dickinson has done s sterling job with the cameras while Wilfred Shingleton's barrack settings have a genuine look. Two military advisers have steered the director and scripter alone ortho- dox lines. Myro. 00/15 (GERMAN) Berlin, Nov. 30. Gloria rsltaw of Dlvina production. Feature* Huns Christian Bl*ch. Eva Insc- borir bebop and WTlfrled Seyferth. 1)1- rerled by Paul May. Screenplay, Ernst von Salomon, adaptad from novel by H. H. Kiret: camera. Main* Hoelscher; music, Rolf Wilhelm; sets. Peter Scharf. At Gloria Palast, Berlin. Running time, 110 MINS. Lore Kchuli Helen Vita KlUaheth Ereitag... Eva Ingeborg Scholz Ingrid Asrh Gundula Korte Vlerbein Paul Boeslger Asch Joachim Kuchsberger Kowalski Peter Caraten Unteroiiizier Lindenberg Relnhard Glemnits Unternffi/.ler Wunderlich Dietrich Thoms Unteroffizler Bumpier Rudolf Rhomberg Wuchlmeister Werktreu Hans Elwenspoek W'achtmelster Platiek liuns Christian Blech llauptwachmeister Schulz Emmerich Schrenk This German film might be com- pared with “From Here to Eter- nity,” although lt doesn’t quite reach the high standard of the latter. With particular regard to acting, photography and other technical contributions, “08/15” shapes as one of Germany’s best postwar pix. It’s a terrific money- maker here, being the most talked- about German film currently. Pic may also appeal to the U. S. mar- ket although a number of scenes, particularly some love scenes, may have trouble with the censors. This was adapted from the same- titled German bestseller by H. H. Kir.st. The title refers to the num- ber of a German army pistol. Pic deals with German postwar army barrack life in 1939 and comes to a close shortly before the outbreak of the Last world war. Mostly the film concentrates on soldier Vier- bein (Paul Boesigei*). the man who just doesn't Tegiment easily, and who finds himself often at odds with his superiors. Unlike ’^Eternity” with its dramatic climax, this German pro- duction has a happy ending, even if untrue in real life. The soldier who started a private mutiny would, in the German army, cer- tainly have ended up in stockade and not, as depicted in this pic, have been promoted to corporal. To make it even more untrue, the various ill-treaters get their pun- ishments via transfers, while the weak soldier Boesiger finally de- cides to become an officer. Story obviously attempts at a message but this is not quite clear. It's actually neither pro nor con. Most of German crix and those who dislike German militarism would have preferred a clear anti- militaristic attitude. But the film- makers apparently attempted to shock no one, particularly not those who are in favor of a new Wchrmacht. While the pic’s first half is thor- oughly realistic, it slides more into a military farce in the second part. Nothing but praise goes to the actors most of whom are either newcomers or unknown in films. Although it is chiefly an ensemble achievement, some deserve special mention. Such as Hans Christian Blech. Emmerich Schrenk and the late Wilfried Seyferth. Paul May directed with much spirit and im- agination. Topnotch camera work is con- tributed by Heinz Hoelscher. Also other technical jobs are way above the German average. Incidentally, “08 15” will soon have a sequel (“08/15” At War” which has al- ready been published) with much the same cast. Hans. Feuerwork (Fireworks) (GERMAN—COLOR) Berlin, Nov. 30. Schorcht release of NDE production. Stars LiUi Palmer. Karl Schoanboeck. Di- rected by Kurt Hoffmann. Screenplay, Herbert Witt, Felix I.uetikendorf and Guenther Neumann, after musical comedy of same name by Eric ChareU and Juerg Amstein; camera (Eastmencolor). Guen- ther Andera; music, Paul Burkhard; lyrics. Juerg Amxtein and Robert Gilbert; sets, Werner Sehlichting; costumes. Al- fred Buecken. At Klkl. Berlin. Running time. H MINI. Iduna I.mi Palmer Obolski Karl Srhoenboeck Anna Homy Schneider Robert Claus Blederstaedt Albert Oberholzer Werner Minx Uncle Gustav Rudolf Vogel Kathle Margarete Haagen Uncle Wllhelnt Ernst Waldow Aunt Bertha Lleal Karlstadt Karollne Kaethe llaack Aunt Paula Lina Carstens Here is a Teutonic film which has strong possibilities of luring the non-German public to the box- office. The Lilli Palmer name and the qualities of enjoyable film fare will help. Biggest ballyhoo pegs, however, are tills film’s songs, notably “Oh, My Papa” and the Pony-song, which have become popular in many parts of the world. “Fireworks” is West German filmaking at its current best mak- ing this one of Germany’s best postwar musical comedies. A well done screenplay after the same-titled stage hit by Eric Charell and Juerg Amstein de- picts the household of a middle- class family with father celebrating his 50th birthday. All his relatives show'up. As a surprise to everyone, the bad brother who ran away 20 years ago returns as a top circus director. Film’s climax sees the 18-year-old niece insisting on leav- ing her family to become a mem- ber of her uncle’s circus. There is a romance neatly woven in, some circus numbers, jealousy, slapstick and a satisfying ending. Production offers a nice, partly witty contrast between the circus world and the middleclass folks. Its biggest plus factor is Miss Palmer. As the wile of the circus director, she turns in a charming performance. Her broken German, genuine sentiment and, in particu- lar, her “Oh, My Papa” numbers are a rare treat. Local crix opined that no Local top performer would have registered a like success. Werner Ilinz is excellent ax the provincial-minded father as is Karl Schoenboeek as his brother (the circus director). Able supporting S layers include Rudolf Vogel, rnst Waldow and Claus Bieder- staedt. Kurt Hoffmann directed with a sure hand, being nicely helped by the well-balanced script which has enough satirical dialog to go along with the comedy situations. Guen- ther Anders’ camera work is fine. A weakness of this production is the color <Eastmancolor) photog- raphy. Colors are often too reddish and not always clear enough. Hans. The .Sea Shall Not Have Them (BRITISH) % Sincerely told drama of war- time air-sea rescue operations; ■tout local b.o. proposition, with strong chance in U. S. market. London, Nov. 30. i Ero* Films r»l«w of Daniel Ansel Pro- duction. Stars Michael Redgrave, Dirk Bogarde. Anthony Stoel, Nigel Patrick. Bonar Colleano; featured Jainea Kenney, Sydney Tafler. Griffith Jonea. Jack WatUng. Directed by LewU Gilbert. Screenplay. I-enla Gilbert and Vernon lUrria from novel by John Harrla; cam- era. Stephen Dade; editor, RuateU IJoyd; inuaic, Malcolm Arnold. At Gaumont Theatre. London, Nov. 30. ‘84. Running time, 01 MINS. Air Commodore Waltbv . . Michael Redgrave Flight Sergeant Mackay.. Dirk Bogarde Sergeant Kirby Bonar Colleano Flying Officer Harding., Jack Walling Flying Officer Treherne ...Anthony Steel Flight Sergeant Slthgaby Nigel Patrick Corporal Skinner lama* Kenney- Corporal Robb Sydney Tafler A.C.2 Mllllken Ian W’hlttaker Group Captain Todd Griffith Jonea Squadron Leader Scott... .Guy Middleton Squadron T.eader Craif.,.. Jack Lambert Lieutenant Patrick Boyle..Paul Carpenter Petty Officer Porter Eddie Byrne German Pilot Anton Dlffring Mra. W’altby Rachel Kempson Tebbltt George Rant Mrs. Tebbltt Joan Sims Kirby’* Fiancee Ann Gudrun A sincere graphic story of the air-sca rescue service in the last world war, "The Sea Shall Not Have Them” has several basic in- gredients of a boxoffice success; tough but believable plot, a cast too big for the average theatre marquee and exciting action se- quences in the climax when the missing air crew is picked up with- in range of enemy shore batteries. It’s quota rating is a plus factor for local exhibitors, and ihe pic has the quality to merit general presentation in the U. S. The picture has been adapted from a novel by John Harris by Lewis Gilbert and Vernon Harris and their screenplay tells the story with typical British undertones, al- though they have etched some | fruity service characters and intro- duced welcome bits of service hu- mor. Gilbert’s crisp and vigorous direction is well served by the taut editing by Russell Lloyd. Action takes place during the fall of 1944 and is centered on the crew of a Hudson aircraft forced down in the North Sea after a tus- sle with an enemy fighter. Most important member of the crew is an air-commodore returning from enemy occupied territory with a brief case full of secrets, and when the plane is reported overdue, the whole rescue sendee swings into action. Bad weather halts the search from the air and engine trouble hampers a launch. But after two days and a night of ex- posure the four airmen are res- cued off the coast of Belgium while shells are bursting all around them from the coastal artillery. Story’ is adroitly unfolded as the emphasis switches from the dinghy to the launch, with occasional sketches from the shore station. The scenes of the four men drift- ing aimlessly and hopelessly in their small rubber craft are mainly grim and unrelieved, but the hu- mor content is admirably provided by the assorted crew of the rescue launch. Acting by a nearly all-male cast attains an all-round standard, led by Michael Redgrave, as the offi- cer with a bagfull of secrets;' Dick Bogarde and Bonar Colleano, as two of his fellow passengers, and by Anthony Steel and Nigel Pat- rick, as the skipper and his No. 2 of the rescue launch. Featured roles are expertly filled. Myro. ObiMMuilon (FRANCO-ITALIAN; COLOR) Paris, Nov. 30. Pathe rfU*M of Glbo-Kranco-London FUm production. Star* Michele Morfin, Raf Vallone; feature* Jean Gaven. Robert Dalban. Olivier Huasenot. Martha Mar- cadter. Jacquea Caatelot. Directed by Jean Delannoy. Screenplay. Antoine Blondin. Roland Laudenbach. Delannoy. from novel by William Iriah; camera (Eastraan- color). Pierre Montazel; editor. Jamea Cuenet. At Marifnan, Pari*. Running time, 1*1 MINS. of film lensed in waters off south- ern California, lower California and the Bahamas. Highlights of the picture are excellent shots of skirmishes with sharks as well as scenes of other man-eaters such as barracuda. The six cameramen who made the pictorial account painstakingly record the varied types of gear required by divers to explore the mysteries of the deep. Special underwater guns are put to good use by the sub-surface investiga- tors when sharks become menac- ing. and the value of newly devised breathing equipment is also stressed. An off-screen commentary, writ- ten by Allan Dowling and producer Gries, and engagingly narrated by Dan O’Herlihy, augments the camera in throwing light on a world seldom seen. Film is not without humor for it amusingly shows the efforts of one member of the finny tribe to politely dis- courage a starfish from trespassing on his bailiwick. As the footage unreels, the accent is entirely on the fish. Few closeups are made of the Intrepid divers for the underwater scenes are apparently regarded as para- mount, and rightly go.- While sequences lensed in California coastal waters are absorbing what with an abundance of manta rays, octopi, sea lions and the like, the shots in the Bahamas are better photographically probably due to clearer water in that semi-tropic area. Lensmen who toiled on the venture include Harry and Verne Pederson; Robert Dill and Conrad Limnaugh of the Scrlppg Institute of Oceanography; William Fortin of the Hancock Institute, and Martin Akmakjian. Their color work is very good in light of the difficult circumstances. Musical score, composed and conducted by George Antheil, at times becomes too noisy and distracts from O’Herllhy’s narration. Gilb. Helena .. Aldo .... Alex .... Arietta .. Loula Inspector Lawyer . ,. Michele Morgan Raf Vallone Jean Gaven Vtarthe Marcadler Olivier Huaeenot .. Robert Dalban Jacques Caatelot “Obsession” is an attempt at a pyscho-murder thriller replete with various ironic twists, but lacks the suspense and movement necessary to make a sock pic. As is, it has names of Michele Morgan and Raf Vallone for the Franco-Italo mar- ket, but there is little in this for the U. S. except for dualers or special spots on name, color and circusy locale. Otherwise it shapes as Gallic soap opera and not for the arties. Miss Morgan and Vallone have a high trapeze act. He loves her but refrains from confessing it to her until she tells him she is going to marry. Then he blurts out he once killed a man in a fight, and that is why he never spoke to her of love. She accepts him anyway, and they are happy until a sprained arm cafls for a replacement in the form of Alex, who w-as one of the friends of the man Vallone killed, but who was passed off as a suicide. Then the drama unfolds as Alex is killed and a friend of theirs is convicted. Miss Morgan is sure it is Vallone and turns him over to the police, only to have the man confess it was he after all. She has unwittingly given away the previous murder, and pic ends on note of justice ready to crack down on their happiness. Director Jean Delannoy has given this a turgid mounting, and love affair is never real enough to give the film any poignance. This detracts from any suspense and action that was inherent in the pic. Miss Morgan is much too vague and stilted, and Vallone supplies only an intense silhouette to the drama. Color is superfluous in this drama, but is of even hue, and editing is fair, as is supporting cast and production gloss. Mosk. Hunter* of the Deep (DOCUMENTARY-COLOR) Exploitable entry on under- water marine life. Distributors Corp. of America release of Tom Gries production: associate pro- ducer, Geza De Roaner. Written bv Allan Dowling and Gries; narrated bv Dan O’Herlihy; camera (Eastman Color), Hub- ert Dill, Verne Pederson. Harry Pederson, Martin Akmakjifin, William Fortin, Con- rad Limbaugh; editor. Bill Naylor: music, George Antheil. Tradeshown N.Y. Dec. 13, ’54. Running time, 42 MINS. Marine life under the sea is interestingly photographed in “Hunters of the Deep,” a docu- mentary in color, which represents the initial release of the newly organized Distributors Corp. of America. While there is no cast as such to provide marquee values, the film is an exploitable entry Hnd should produce profitable returns if properly sold. Reportedly three years in the making, this Tom Gries production was culled from some 25,000 feet Treu International (Valparaiso Express) (ARGENTINE) Buenos Aires, Nov. 80. CINCO production and releaae. Star* Mirth* Lcgrand and Alberto Cloaaa; fea- turts (»lorla Giaman, FJorindo F^rrario, Tomaa Simari. Enrique Chaleo, Hermlnlk Franco. Diana Inrro. Joaquin Petroaino. Directed by Daniel Tinayre, from hia own atory, acripted in collaboration with Arturo S. Mom. Camera. Humberto Peruzzi; aeta. Alvaro Duranona y Vedia; editor. Nicola* Proeerpio. At Gran Rex, Bueno* Aire*. Running time, 11* MINS. As a comedy whodunit, sprinkled with sparkling and at times star- tling dialog, this is a welcome change from the usual overly dramatic story choices of local studios. As second of tlie state- inspired “Big Five” Amalgamation of five ace directors, it marks a change for the better in native production. There is suspense, lively action and interesting locales in a switch from Buenos Aires to the snowy peaks of the Andean frontier near Chile and sea-front suburbs of Chile’s port of Val- paraiso. A strong cast also helps, with both stars standout. Vet legit comedienne Gloria Guzman, in a small bit, reveals qualities which should insure a future on the local screen, while Tomas Simari, also recruited from the front ranks of legit, shines as a train conductor. Joaquin Petrosino, a newcomer, in a gangster role, is reminiscent of the late Sydney Greenstreet, but imitates the Ilollyw’ood player in a familiar mopping of the head to the point of annoyance. Weak spots of pic are disjointed editing perhaps resulting from faulty story construction. There is also an imperfect acquaintance with socialite manners. Guests would not be so unfamiliar with evening dress as to comment point- edly on the ladies’ bosoms or put their hands down them to search for lost jewels. Closas is cast as an international crook, posing as the “Count Al- iieri” while Mirtha Legrand is the Mrs. Cheney of a rival gang, who travels in his compartment across the Andes from Buenos Aires to Valparaiso. She tries to steal the necklace he has snatched from a flirtatious socialite. A psychopathic murder convict on the same train breaks loose, and when the train* is held up in the Andes, the pair capture the murderer. Closas finds himself falling in love with the rival thief. After many misunder- standings. the two wed in a Chilean fishing village. According to the American code, a defect in the story is that at no time is there sufficient stress on the axiom that crime doesn’t pay. The extent to which the govern- ment here is prepared to help na- tive producers is shown in the use of reception and banqueting rooms of the Foreign Ministry for the socialite mansion set. The picture was entered at the Berlin Film Festival last July and at the Mar del Plata Festival previously. Its prospects are good in Spanish markets. Aid.