Variety (January 12, 1955)

FILM REVIEWS Wednesday, January 12, 1935 Vnderaaler! (SU PERSCOPE-COLOR) Treasure-hunting under the Caribbean with aqualung- equipped Jane Russell; deep- sea diving excitement and good b.o. prospects. Hollywood. Jan. 10. RKO release of Harry Tatelman pro- duction. Star* Jane Russell; costars Gil- bert Roland. Richard E*an. Lori Nelson; features Robert Keith. Joseph Calleia. Eugene Iglesias, Ric Roman. Directed by John St urges. Screenplay, Walter New- man :ba.«ed on a story by Hugh King and Robert B Bailey; camera (Technicolor!, Harry J Wild; underwater photographv Lamar Boren; editors. Stuart Gilmore. Frederic Knudtson: music. Roy Webb. Previewed Jan. 6. '55. Running time. 9» MINS. Theresa Jane Russell Dominie Gilbert R«dand Johnny Richard Egan Gloria Lon Nelson Father Cannon Robert Keith Rico Joseph Calleia Miguel Eugene Iglesias Jesus Ric Homan »Aspect ratio: 2 1) Svengali (BRITISH—COLOR) British film version of Gerald du Maurier yarn with Hilde- garde Neff and Donald Wolfit starred; sombre melodrama most suitable for arty houses. London, Jan. 4 . Renown Pictures release or George Minter production. Stars Hildegarde Neff. Donald Wolfit. Terence Morgan. Directed by Noel Langley. Screenplay. Noel Lang- ley. from story by George du Maurier; cjmera lEastmancolor I, Wilkie Cooper; editor. John Pomeroy: music, William Alwyn. At Gaumont, London. Running time. II MINS. Trilby Hildegarde Neff Svcngali Donald Wolfit Hilly Terence Morgan Laud Derek Bond Taffy Paul Rogers Gecko David Kossoff Durien Hubert Gregg Patrick O'Ferr'l Noel Purcell Carrel Alfie Bass Barizel Harry Secombe Police Inspector Peter llling Mrs. Bagot Joan Haythorne Dubose Hugh Cross l)odor David Oxley Lambert Richard Pearson head of the air rescue squadron, part of whose job is to convince his pilots that they're on airborne missions of mercy and not to en- gage in grandstand heroics. Arthur Franz, as a former jet jockey now under Hayden’s command, is the one who'd rather take on the enemy in combat, until he learns— without surprise to the audience— the wisdom of Hayden's counsel. Direction by Herbert L. Strock is commonplace, and the script similarly allows no ingenuity to come through. Music and editing contribute little. Gene. One Ivood Turn (BRITISH) Norman Wisdom’s second Brit- ish comedy; Fine for the home market but unlikely in the U.S. I This tale of high adventure un- der the Caribbean puts together a number of salable entertaintnent features that can mean money at the boxoffice. Not the least of the commercial aspects is an aqualung- equipped Jane Russell mermaiding in the ocean depths. Her name and the generally okay excitement stirred up by'the treasure-hunting plot should attract good business. Film is HKO's first SuperScope release. The 2-to-l aspect ratio produces a big picture excellently proportioned to show off the pic- torial splendors achieved by Harry J. Wild's lensing above the water and by Lemar Boren’s under the ocean. SuperScope's versatility was further demonstrated at the pre- view by the use of a CinemaScope projection lens, point being that the RKO-sponsored optical pro- cess is adaptable to houses already equipped for anamorphic projec- tion. Picture is a production first for Harry Tatelman and the showman- ly round of commercial values as- sembled gives him a good initial credit. Even stronger overseeing could have cured some script flaws, and the sometimes slack pacing could have been helped by eliminating several unnecessary sequences. Overall, though, it’s the b.o. worth that carries the most weight, and the payoff for this one should be profitable. While Miss Russell is the main cast attraction as far as name value goes, the story is slanted towards Richard Egan, her husband, and Gilbert Roland, adventurer, who are diving for the treasure aboard a sunken galleon. Miss Russell is a fetching sight, whether plumbing the depths or lounging comfortably aboard ship. On her, skin-diving equipment seems almost superflu- ous, but good taste in the produc- tion doesn't make an overly obvi- ous point of her natural attrac- tions. Egan and Roland handle the masculine spots easily, both having the kind of muscles that look good when hared, as well as enough acting skill to take ample care of the story heroics. Robert Keith, good as a priest with a knowledge of sunken treasure who is along on the cruise, and Lori Nelson, scantlv used but good, to look at. are the other principals in the treasure-questing group. Suspense is whipped up by John Sturges’ direction in detailing the threats to the little group, both above and below the waters of the I Caribbean. Underneath lurk sharks and the danger the galleon will slip from its precarious perch on a submerged ledge and sink beyond reach, taking some or all of the diving trio with it. On the surface the treasure-hunters are threaten- ed by Joseph Calleia, Cuban shark fisherman and his crew, who sec the possibility of hijacking easy • riches. Calleia and his crew are j effective. Sturges’ direction is hampered i for the first half of the footage by more dialog than the picture’s pace can comfortably assimilate, but once the unnecessary talk and ex- traneous sequences are out of the way. the pace tightens and thrills : are consistent. Work of the divers around and in the old wreck while blasting out treasure is often hackle-raising in its thrills and the Technicolor photography shows it all up in sharp, detailed beauty. The good basis for high adven- ture was scripted by Walter New- man from a story by Hugh King nature of and Robert B. Bailey. Rov Webb’s being the score, directed by C. Bakaleinikoff is excellent, as are the Latune numbers injected here and there by Perez Prado and a small crew. Underwater sound effects add to the entertainment. Brog. This is a heavy, sombre and dated melodrama, based on George du Maurier's well-known novel- in which Hildegarde Neff makes a highly attractive British film debut in the role of Trilby while Donald Wolfit is a very sinister Svengali. Its boxoffice prospects are ques- tionable but this British-made pic should get by if carefully sold. It may be a difficult proposition in America where its main appeal will be in arty houses. Wolfit took over the title role after Robert Newton walked out in the early stages of production. This is a shrewd replaeeent because his rich interpretation of the dominat- ing Svengali proves a solid basis lor the* production. At all times he suggests the dirty, swarthy and un- wholesome character whose grip on the girl remains until his last gasp. Miss Neff, in her first British film, gives a warm and sympa- thetic performance as Trilby, the girl who's taken out of a saloon to become an. artist’s model. She falls in love with a young Eng'ish artist, the plans of marriage being ruined by an interfering parent. There is some vagueness as to the way in which she falls under Svengali's power and how he makes her an internationally famous singer. But even so there is dramatic force in these sequences, particularly in the climax when the grip is relaxed and she is unable to utter a note at a Covent Garden concert. a Lovenx uaraen concert. Terence Morgan seems a little out of character as the British artist with whom she falls in love but Derek Bond and Paul Rogers are entirely believable as his two British friends. David Kosvoff gives a solid and reliable performance as Svengali's friend and violin-ac- companist. with Hubert Gregg. Noel Purcell. Alfie Bass and Harry Secombe heading a safe support- ing east. Noel Langley has vigorously di- rected the piece from his own script while Wilkie Cooper has done an excellent job of color lens- ing. William Alwyn’s music is first rate and Elisabeth Schwarz- kopf's singing for Miss Neff's solo recitals is one of the artistic high- spots. M\/ro. London, Jan. 4. General Film Distributors release of Two Cities (Maurice Cowan) production. Stars Norman Wisdom. Joan Rice. Shirley Abicair, Thora Hird. Directed by John Paddy Carstairs. Screenplay, Maurice Cowan. John Paddy Carstairs. Ted Willis; camera. Jack Cox: editor. Geoffrey Foot; music, John Addison, with music and lyrics by Norman Newell and Norman Wisdom. At Dominion, London. Running time. 90 MINS. Norman Norman Wisdom Iris Joan Rice Mary Shirley Abicair Cook Thora Hird Alec William Russell Biglev Richard Caldicot Tuppmy Marjorie Fender Jimmy Keith Gilman Matron Joan Ingram Igor Petrovltch Harold Kasket Cinema Manager Fred Kitchen Jr. Prof. Dofee ... David Hurst Hypnotist’s Stooge Michael Balfour Gunner Mac Ricky McCuUough Norman Wisdom’s first entry into the British film scene a year back, in Maurice Cowan's production of “Trouble in Store’’ was one of the top grossers in the domestic mar- ket. The b.o. formula has been repeated in “One Good Turn” and the results locally probably will assume the same proportions. Not- withstanding its great hopes in the home market, the film is a dim prospect for the U.S. Once again Wisdom is cast as the “little man" but the script gives him none of the opportunities to develop his potentialities as a British Chaplin and he has to rely on one slapstick incident alter another for the laughs. In the main, these are frequently un- related although there is a thin sort of story thread of how the star, as a sort of general factotum, saves the orphanage. There is good measure of comic incident but little invention. The direction allows the star to run riot through a sequence of events starting with the losing of his pants and unconsciously becoming the hero of the London to Brighton walk, to a forced climax. There is plenty of pathos from Wisdom but only a small measure of artistic talent from the remainder of the cast. Joan Rice, Shirley Abicair and Thora Hird in the principal roles are bogged down by the script. A couple of numbers, one by Norman Newell and the other by the star, provide a pleasing diver- sion. Myro. outstanding are the dramatic close, ups of the moment when Auclair, in search of the “wife” he believes is somewhere in Germany, realizes he is truly a man without identity, and the moving scene in which he and Simone Simon first encounter after the war. Vicas, whose direc- torial talents will shortly be on view In the U.S. with the opening of “No Way Back,” has already been signed by 20th-Fox for his unusual work. There are two standard perform- ances. Miss Rutting, winner of the German Oscar for her acting, plays the "other woman” with such sen- sitivity that the audience almost yearns for Auclair to remain with her. Bernard Wicki. as her brother, the teacher who returns from cap- tivity in Russia, is exceptionally fine. Miss Simon, proves a looker capable of'a warm performance. The film is a pioneer in French- German co-production which nicely balances the delicacies of national tastes. Musical and technical credits are apt supports. Haze. Votre Dev«ie Blake (Tours Truly Blake) (FRENCH) _ . , Paris, Jan. 4. ~,. Coc i5.°^ rel#M# ol Cocinor Chaillot Film Production. Stan Eddie Constantine features DanlaUa Codet, Colette Doreal! Simone Paris. Jacques Dynam, Robert Dal ban. Directed by Jean Laviron: lethni- cal advisor. Jerry Epstein. Screenulav, Epstein, Jacques Vilfrid; camera, Jacques Lemare; editor, Andree Feix: music, Jef| Davis. At Balzac, Paris. Running time. 100 MINS. . Blake Eddie Constantine i Michele Danielle Godet i Stella Colette Doreal Gaxton Jacques Djnatn | Inspector Robert Dalban i Eliane Simone Paris Emperor and Ihe (iuIpiii (CZECHOSLOVAKIAN-COLOR) Overlong fantasy-comedy with slim b.o. chances in the U.S. Artkino release of Czechoslovak Stale Film Studio production. Features Jan Werich, Marie Yasova, Natasa Gollova, Jiri Plashy. Directed "My Martin Fric. Screenplay. Jiri Brdecka and Werich: camera. Jan StaltTch: music. Julius Kalas. At Stanley. N.Y., Jan. 8. '55. Running time 110 Mins. The Emperor. The Baker Ian Werich Countess Strada Marie Vasova Kathy Natasa Gollova Kelley Jiri Plashy Haillp Ta.\l Commonplace. Script duction makes this a ond half. and dull pro- sec- L'nited Artists release of Ivan Tors-Art Arthur production. Stars Sterling Hay- den: features Arthur Franz and Marshall Thompson. Directed by Herbert L. Strock. Screenplay. Malvin Wald: camera. Lo- throp B. Worth: editor, Jodie Copelan: music, Herman Sukman. Previewed Jan. 3. '55. Running time. 13 MINS. Capt. Russ Edwards Sterling Hayden Lieut. Pete Stacy Arthur Franz 2nd Lieut. Titn Vernon Marshall Thompson S Sgt. Slate Klein Leo Needham I.t. Col. Stoneham Jay Barney- Wounded G! John Goddard Lieut. Joe Kirk. Robert Sherman Lieut. Marty Staple Joel Marston M Sgt. Joe Murdock. John Dennis Blue B-iy, Three-Gen*... .Dale Hutchinson Lazy Joker Two Andy Andrews Lieut. Smiley Jackson... Vance Skarsted Medic Capt. Larsen .... Michael Colgan Co-Pilot Harry. .Capt. Vincent McGovern Da» Zupiip Lolien (Double Destiny) (FRENCH-GERMAN) Frankfurt, Jan. 4. Columbia release of Stuart Schulberg and Gilbert de Goldschmidt production (for Trans-Rh«'in and Madeleine Film). Stars Simone Simon, Michel Auclair. Bar- bara Rutting. Directed by Victor Vicas. Screenplay, Frederick Grendel. Dieter Werner, based on Jean Giraudoux story; camera. Andre Bac; editors, Ira Over- berg, Georges Klotz; music, H. M. Majew- ski. At Universum Theatre, Stuttgart. Running time, 90 MINS. Siegfried Michel Auclair Francoise Simone Simon Sybil . Barbara Rutting Reinhard Bernard Wicki Professor Rolf Gonnauckhoff Mittelmeier Gert Froebe Garreaux Yves Brainville “Dou- likely Howard Dietz to the Coast to Join Metro homeoffice execs con- ierring with studio chief Dore Schary. Sights are on the Korean war but this time the requisite combat wallop is in short supply. “Battle Taxi” refers to the U. S. Air Res- cue Service in action. Undoubted- ly there was plenty of screenplay potential in the operations of this heretofore unspotlighted adjunct to the fighting forces but “Taxi” doesn't deliver. Ivan Tors-Art Arthur production lias some exploitation value in the the subject matter, this exploits of a helicopter element. Further, there's the line about the film having been made in cooperation with the Depart- ment of Defense. However, the finished product emerges as a lower-case programmer at most, with stock footage used liberally and in some instances not fitted in smoothly. Overall result is a pic of limited conviction, the story be- in? no help. Sterling Hayden has the lead as For patrons of arty films, ble Destiny” shapes as a contender for 1955. Based on a Jean Giraudoux story of the last World War, called “Siegfried,” it became a hit play in Paris back in the 1920’s. It is planned as a stage entry in its original version this winter on Broadway. With a some- what altered script, written by Frederick Grendel and Dieter Wer- ner, this was done in French and German. It appears to have a good chance for U.S. arty theatres. Plot concerns Michel Auclair, as Siegfried, a young French painter who is called into the army in the first World War. He's in love with Francoise. sweet-voiced Simone Simon. But before he can marry her, the wedding bureau closes and he plants a ring on her finger with promises of eternal love and rushes off to war. where he is shell-shocked and loses his mem- ory. Although the plot seems based on some unlikely coincidences 'considerably lightened from the original drama which was a highly political! the excellent direction of Victor Vicas makes the story come across with feeling. Particularly As the first Czechoslovakian film to play the Stanley Theatre. N.Y.. in five years. "The Emperor and the Golem" is an^ interesting im- port. For the picture as such affords an insight on the Czech film industry. As entertainment it's another matter since this overlong fantasy-comedy is tedious fare despite a few humorous scenes. Writers Jiri Brdecka and Jan Werich drew upon Jewish legend to unfold a tale of a crazed Czech emperor enamoured of women, eternal youth, alchemy and the Golem. Latter is an artificial man. fashioned from clay, who was popularly believed around the 16th century to be a giant that would protect the Jews in times of ad- versity. But instead of developing the story purely around the emperor and the Golem as the French-made version did in 1937, the Brdecka- Werich screenplay creates a situa- tion in which a baker successfully poses as the real sovereign. Through this device the scriplers attempt to introduce a variety of levity, most of which falls in the slapstick category. Co-scripter Werich. who essays the dual role of the aging emperor and the lusty baker, provides some amusing moments and shows gen- uine thesping talent whether he’s quaffing the elixer of youth or training a lascivious eye on a bevy of cuties who frequent the royal menage. Marie Vesova, as the bona fide emperor’s vis-a-vis, is suitably shapely and Natasa Gollova has ample feminine charms as a magi- cian's aide who carries on a ro- mance with the baker. Jiri Plashy scores nicely as the magico. Com- petent support is provided bv a long cast. Direction of Martin Fric frequently wavers as though he’s undecided to stress the come- dy aspects or concentrate on the narrative. Curiously* this Czechoslovak State Film Studio production con- tains little propaganda in contrast with the unsubtle messages usually- found in Soviet-made films. How- ever. the “message” in the “Em- peror” if it can be called that tends to fit in with the present Kremlin regime’s theory of “co-existence.” For prestidigitator Plashy at one point sings a little jingle which goes something like this: “We’ll all live better when we share what we have . . . when we live in peace the world will be a better place for you and me.” Lines such as that, of course, can be found in most children’s story books. Those looking for social significance might be impressed with the final scene where- the baker harnesses the Golem to provide heat for the ovens in order that the poor might have bread. Insofar as the film's technical aspects are concerned the camera- work is of poor quality and the editing faulty. Lensed in color i 'presumably Sovcolor). the tints don’t measure up to Technicolor , or Eastman Color. Frequently the ! hues on print screened at the ! Stanley appeared washed out and ill defined. Moreover, the action and story could have been sped up considerably if 15 or 20 minutes j had been trimmed from the foot- age. Costumes of Jiri Trnka are 1 eye-catching. Gilb. There is no doubt that Eddie Constantine, U. S. singer, has be- come a pic b.o. name to reckon with here. His series of pix. filled with mayhem and all the attributes of the U.S. gangster films, have caught on and these cheaply made films are reaping a b.o. harvest. However, the character and situa- tions are getting repititious and a change of pace is called for. Films have the production aspects of the U.S. “B” film, and, as such, , have little value for any possible | Stateside chances. U.S. original is 1 still too superior to enable these j to make the necessary inroads, but : this looks to follow its predecessors 1 in take here. 1 In this one, Constantine is a pilot who gets mixed up in a murder case in Paris during a three-day vacation. He picks up a film star one. night and next day she is accused of murder. He goes after the killers and after a record num- ber of fights and chases proves her innocence and flies off into the blue. Story telling is simple, but bowls along merrily, which is what they want here. Director Jean Laviron has not been able to breathe the feel of suspense and character into this, and it remains a knock- about type of gangster pic. Con- stantine drinks less and has fewer women in this, but his phlegm and insouciance are still the same, and he grins and batters his way through this in acceptable fashion. Danielle Godet has a hard time convincing that she is a film star, and heavies and molls are accept- able. Lensing and editing are good, and peppering of script with many visual gags pay off in some spots but are too often cliche and gra- tuitous. Mosk. Aleko (RUSSIAN—COLOR) Aitkino release of LenLvn production. Stars A. Ognivisev, M. Reizen. I. Zubkov- skaya. Directed by Sergei Sidelov. Screen- play, A. Abramov, G. Roshal, based on poem by A. S. Pushkin: camera. A. Naza- rov; music, Sergei Rachmaninoff. At Stan- ley, N.Y.. starting Dec. 23, ’54. Running time. «1 MINS. Alcko A. Ognivisev The Old Gypsy . M. Reizen Zemph.vra I. Zubkovskaya Young Gypsy S Kuznetsov Old Gypsy Woman B. Zlatogorova (In Russian; English Titles) “Aleko” is described as a color- film opera based on A. S. Push- kin’s poem, “Gypsies.” It boasts music by Sergei Rachmaninoff and Pushkin’s name, which has been associated with the better-known Russian pictures. The music often has tremendous sweep. But this picture is so badly directed and so statically produced, it’s appeal will be confined to the few Russian- language arty houses in the U.S. Basically, the yarn is this. A fresh gypsy youth loves girl. Girl is already married. But she doesn't let that deter her—so the husband kills them both, and the gypsy band moves on. The acting and lack of any action excepting the slaying scene does not in any way enhance this simple plot. The cast is dotted with Russo prize-winning actors, three of them having copped Stalin awards. May- be the director was jealous, for he seldom permits the thespian tal- ents to shine. The three Russian prize grabbers, A. Ognivisev, as Aleko; M. Reizen, cast as the girl’s father; and I. Zubkovskaya, the girl (wedded young woman), sing with charm, all three having excellent voices. Whole picture plays like a filmed opera, only with even less action. One of the redeeming factors is that the color (Sovcolor) looks like the best to date, with the director 'Sergei Sidelov) and cameraman A. Nazarov apparently striving for pictures—que color portraits. But that’s all they are—inanimate tinted portraits. Wear. John Forsythe to Par John Forsythe, currently starred in “Teahouse of August Moon” on Broadway, has been signed by Paramount for one film a year for seven years. First is to be "The Maverick,” which Michael Curtiz will direct. Forsythe will leave the play Feb. 12 and reDorts to Par March 7.