Variety (February 1955)

6 FILM REVIEWS Wednesday, February 2, 1955 Baltic Cry (COLOR—C'SCOPE) Action film treatment on life' and love among the Marines. Good boxofflee expectations. Hollywood, Jan. 24. Warner Bros, release. Stars Van lleflin. AUio Hay. Mona Freeman. Nancy Olson. James Whitmore, Raymond Massey, Tab Hunter. Dorothy Malone. Anne Francis; features William Campbell. John Lupton. Justus E. McQueen. Perry Lopez. Fees Parker. Jonaa Applegarth. Tommy Conk. Felix Noriego, Susan Morrow. Carleton Young, All.vn MeLerle. Directed by Raoul Walsh. Screenplay. Leon M. Urls; based on his novel; camera (WarnerColor), Sid Hirkox; editor. William Ziegler; original music. Max Steiner; technical adviser. Col. H. P. (Jim) Crowe. USMC. Previewed Dec. 9. '34. Hanning time, 147 MINS. Major Huxley Van Heflin Andy Aldo Ray Kathy Mona Freeman Pat Nancy Olson Sgt. Mac .. James Whitmore General Snipes Raymond Massey Danny Tab Hunter Elaine Dorothy Malone Rae Anne Francis Ski William Campbell Marion John Lupton L. Q. Jones Justus E. McQueen Joe Gomez Perry Lopez Speedy Fess Parker Lighttower Jonas Applegarth Ziltch Tommy Cook Crazy Horse Felix Noriego Susan Susan Morrow Maj. Wellman Carleton Yount? Enoch Rogers Rhys Williams A Waitress Allyn McLerie Sgt. Beller Gregory Walcott Mr. Walker Frank Ferguson Mrs. Forrester Sarah Selby Mr. Forrester WilUa Bouchey Amatory, rather than military, action is the mainstay of this saga of the United States Marines. This angle, in combination with a good overall service feel, indicates the younger masculine set, and their dates, will give it a profitable run. Jt is good motion picture entertain- ment that sustains interest, even if its 147 minutes running time will prove an endurance contest for the aome viewers. With all its fanciful qualities of Hollywood-staged war and a pat- tern that reminds of the many aueh service features that have gone before, it has definite heart, a sentiment that will help general appeal and usually means better than average returns at the wickets. While overboard in length, this comes from the detailing of several •ets of romantics, each interesting in itself, plus the necessary battle action to indicate the basis is rather grim warfare. The latter is at a minimum, however, since Leon Uris’ screen adaptation of his own novel is more concerned with the liberties and loves of the World War II Marines with whom he served, than with actually winning the fight in the Pacific. It is the story of a group of enlisted men and their officers in a communica- tions battalion, taking them from civilian life, through training and then to New Zealand, from which base the outfit participates in Pa- cific action. . Five males and four femmes draw star billing in the cast. Of the romantic pairings, the most impres- sion is made by Aldo Ray and Nancy Olson, not only because it occupies the main portion of the film’s second half after the two other principal teamings have been completed, but also because of the grasp the two stars have on their characters. Ray should boost his film stock tremendously as the northwest logger, a man as rough and raw as the trees he cuts. Miss Olson is fine as the New Zealander, a widow who already has lost a husband and brother to the war, yeL still tries love again with a fighting man. Tab Hunter gets a big break in the love department, having two femmes. Mona Freeman and Dor- ^othy Malone,. at whom to pitch some torrid wooing. This portion of the plot comes off well, too, par- ticularly because of the ring the femmes put into their characters. Miss Malone as a lonely married woman in San Diego who goes for the young Marine, and Miss Free- man as the girl back home who gets Hunter. The latter’s being alive at the ending is film magic since the definite impression that he is killed is given earlier in the footage. John Lupton and Anne Francis •park the third romance with a sin- cerity that gets through to the viewer. He is a quiet, literary- minded Marine and .she is a party girl. They carry out their court- ship on the ferry plying between San Diego and Coronado. His basic worth even survives disclosure of her profession and a marriage is in the offing until he dies in battle. Van Heflin brings his acting skill to the role of the major who com- mands the outfit, playing a marti- net, who wants his boys to be lough fighting men. with an und*r- lying kindliness that’s just the l ight touch. His death near the end seems almost as unnecessary as Hunters resurrection in the closing scene. James Whitmore is excellent as the master sergeant, and Roy- niond Massey is seen briefly, but etlcctively, as a Marine gene al. William Campbell, Justus K Mc- Queen,- Perry Lopez, Fess Parker, Jonas Applegarth, Tommy Cook. Felix Noriego and Carleton Young each add to the good entertainment values sparked by the entire cast. Raoul Walsh’s direction has the vigor to sustain interest through the long footage. His handling is particularly effective in sharpen- ing the mood and feel of the varied personal stories, and does as well in the broader action. Technically, however, the film is not as realistic as is desirable for this type of sub- ject. The uniform and equipment of the men show up too unmusted and clean to be real, and some of the actual war footage cut in does not blow up well, to Cinemascope size. Otherwise, the cameras do their job well under Sid Hickox’ guidance and the WarnerColor tints show up excellently. Max Steiner’s score is suitable back- ground cleffing. Brog. The lta<**r* (COLOR—C’SCOPE) Offbeat action yam with plenty of exriting car racing footage. Exploitation ceiling unlimited. Twentieth Century-Fox release of Julian Blaustein production. Slurs Kirk Douglas. Bella Darvi. Gilbert Roland; features Cesar Romero. Lee J. Cobb. Katy Jurado. Charles Goldner, John Hudson, George Dolenz. Agnes Laury. Directed by Henry Hathaway. Screenplay, Charles Kaufman; based on the Hans Ruesch novel; camera fcolor by DeLuxe). Joe MacDonald; editor, James B. Clark; spe- cial photographic effects. Ray Kellogg; technical advisers. John Fitch, Phil Hill, E. de Graffenried; song. Alex North; vocals by Peggy Lee. Previewed in N.Y. Jan. 27. ‘33. Running time, 112 MINS. Gino Kirk Douglas Nicole Bella Darvi Dell 'Oro Gilbert Roland Carlos Cesar Romero Maglio Lee J. Cobb Maria Katy Jurado Piero Charles Goldner Miehel Caron John Hudson Count Salem George Dolenz Toni Agnes Laury Dr. Tabor John Wengraf Pilar Richard Allan Chata Francesco de Scaffa Dchlgreen Norbert Schiller Flori Mel Welles Rousillon Gene -D'Arcy Dell ‘Oro's Mechanic Mika Dengate Gattl Peter Brocco Race Official Staphen Bekassy Red Haired Girl June McCall Luigi Frank Yaconelli Janka : Ina Anders Nurse Gladys Holland Dr. Seger Ben Wright Interne James Barrett Teen-age Mechanic Chris Randall Premier Ballerina Anna Cheselka Dr. Bocci Joe Vitale Doorlhan Salvador Baguez Race Official Eddie La Baron Cashier Peter Norman Baron George Givot Race Announcer Carleton Young In his book ‘The Racers," Hans Ruesch drew a sharp and knowing portrait of that hardy, death-defy- ing crew of men who drive in Europe’s dangerous and exciting auto races. Specifically, he wrote about a boy who evolved his own curious code of ethics as he el- bowed his way to the top of the profession, and about the girl who loved him, married him and left him in disillusionment. In 20th-Fox’s expertly fashioned and technically admirable screen version of "The Racers," the out- lines of the basic plot are still there but the accent has. perhaps wisely, been shifted to the races themselves. With Cinemascope a mighty big plus, this makes for a healthy dose of definitely offbeat entertainment that should be a big hit with the action fans. Again and again, the camera catches the sleek, multi-hued little racers roaring from the starting line to attain breakneck speeds over curving roads in France, Italy and Germany. There’s more ten- sion and excitement in some of those shots than in a dozen thrillers combined. Here’s a case w-here the wide screen offers a real sense of audience participation, in some shots almost too much so. Joe MacDonald’s lensing and Henry Hathaway’s direction, whether the sweeping vistas of the Riviera, which has never looked so beautiful, or the remarkably effec- ! tive closeups of the drivers fight- ing tenaciously for every inch of ground, call for great big bows. There are a couple of accidents staged in the picture, and particu- larly the one at the start, that’ll have the audience on the edge of ! their seats. That kind of excite- 1 ment hasn’t been seen on the screen for some time. Unfortunately, with the story barely a factor, there’s a tendency to throw in too much of a good thing. Towards the end, the sight of the autos shooting along dan- I gerous hairpin curves in all kinds of weather and skidding off the ; track becomes a little boring. Where the first ride carries almost unbearable tension, the last one is just one too many. A little prun- ing might be in order still. As The Racer, Kirk Douglas givess an excellent account of him- self. He is the moody, ambitious daredevil that Ruesch sketched in j his book. His restlesness. his tre- mendous drive that makes him drunk with desire for speed ami , success, are communicated with skill and yet with a tendency to- Par*» Socko ‘Trailer* Paramount is the latest ma- jor to produce, for gratis dis- tribution to exhibs, a ballyhoo film dealing with its films. This 20-minute "trailer" was exposed yesterday (Tues.) to the tradepress and proved a socko insight into Par’s Vista- Vision process, plus the up- coming product. Par will have 500 prints by mid-March and sales chief Al- fred W. Schwalberg predicts that 20,000 houses in the U. S. and Canada will play the short. Of obvious trade interest, it seems certain to be of com- parable public interest. Hull. wards underplaying which makes the part stand out clearer. For reasons unknowm, scripter Charles Kaufman has changed the Ruesch plot. Where, in the novel, the girh fresh out of finishing school, meets her hero and mar- ries him, in the film she’s a prima ballerina. And though she quite obviously lives with him all over Europe, she never marries him. That’s hardly an improvement. Miss Darvi, handicapped by a very heavy accent, isn’t given very much to do in the film although she’s "on camera” most of the time. Smartly costumed through- out, her performance leaves much to wish for. Gilbert Roland as Douglas’ friend and competitor hits the right note of bravado and fear and comes through with a rousing por- trayal. Cesar Romero as tHfe racing vet has a gentle manner that is ap- pealing, and Lee J. Cobb puts a lot of drama into the part of the boss man. Katy Jurado as Maria. 'Ro- mero’s woman, is good in a minor role. John Hudson establishes himself as a very promising newcomer as Michel, the new driver, who finally wrests from Douglas not only the racing crown but also succeeds in almost winning Miss Darvi. Charles Goldner as Piero, the devoted mechanic, comes up with a sturdy characterization that has appeal. Julian Blaustein’s production, in very good color by DeLuxe, has many solid b.o. values. Since auto racing is far more popular in Eu- rope than it’s in the U.S., the film may require a special sales pitch that’ll put across the thrill angle. Its settings are a joy to the eye. Ray Kellogg, who’s responsible for the special photographic effects, has done an outstanding job inte- grating live with filmed sequences for sock results. James B. Clark's editing (as every technical aspect of the pic) is standout. Hathaway gets the pic off to a flying start and keeps it at a rea- sonably even pace without being overly imaginative in playing up the romantic angles. Peggy Lee is the vocalist (never seen) for Alex North’s wistful "I Belong to You" which makes a pleasant theme. The most exciting sounds in this one, though, are the roar of the engines and the screech of tires as the racers brave death in their battle for speed. Hift. Many Rivers to Crofts (COLOR-C’SCOPE) Extremely broad, sometimes funny, romantic comedy of pioneer men and women back in early Kentucky. Merits box- office. Hollywood. Jan. 27. Metro release of Jack Cummings pro- duction. Stars Robert Ta.vlor, Eleanor Parker; features. Victor McLaglen. Russ Tamblyn, Jeff Richards. James Arness, Alan Hale Jr. Directed by Roy Rowland. Screenplay, Harry Brown. Guy Trosper; based on s story by Steve Frazee: camera (Eastman Color). John Seitz; editor, Bk*n Lewis; music, Cyril J. Mockridse. Pre- viewed Jan. 21, *53. Running time, *4 MINS. Bushrod Gentry Robert Tavlor Mary Stuart Chernt Eleanor Parker Cadmus Cherne Victor McLaglrn Fremont Jeff Richards Shields Russ Tamblyn Esau Hamilton James Arness Luke Radford Alan Hale Jr. Hugh John Hudson Lige Blake Rhys Williams Mrs. Cherne Josephine Hutchinson Spectacle Man. Sig Ruman Lucy Hamilton Rosemary DeCamp Banks Russell Johnson Sandak Ralph Moody Slangoh ..Abel Fernandez Filmgoers who buy "Many Rivers To Cross" on the assumption it is a pioneer actioner are due for quite a surprise. Instead, it is an extremely broad, sometimes funny, comedy about the romantic di-does of settlers in early Kentucky; more particularly the am;itory byplay between a matrimonially unwilling Robert Taylor and a willing—even eager—Eleanor Parker. The slapstick treatment, in it- self. is well enough handled by Roy Rowland’s direction of the Jack Cummings production, but ! will come as such a shock to those expecting straight outdoor action that considerable footage will have i passed before they warm up to the fun-poking. By the time the climax is reached, however, most viewers will have gotten into the mood. This should mean they will at least walk out chuckling at the hectic finale battle in which, to- gether, Taylor and Miss Parker best some Indians and he sur- renders to the matrimonial advan- tages she has been throwing at him for most of the 94 minutes of foot- ' age. Buckskin-clad Taylor displays a sense of humor in trouping the role of a trapper whose trek to the northwest is cancelled out by Miss Parker’s yen for marriage. She portrays the girl with a mad- ness for mating with on unin- hibited enthusiasm, obviously en- joying the chance to let her hair down. In the Harry Brown-Guy Trosper script, based on a story by Steve Frazee, Miss Parker frames Taylor into a shotgun vved- . ding after he has spurned the j opportunities she gives him to be a willing groom. Taylor doesn’t give up his free- dom easy, though, and still heads for the northwest, but now as the hunted pursued by an angry bride. Adventures along the way, and an encounter with another freedom- loving man now in matrimonial , harness, result in a gradual change of mind and he turns back, in time to rescue the bride from an Indian party and bow to the in- evitable. Playing Miss Parker's family with hoked-up, backwoodsy zest I are Victor McLaglen. Russ Tam- blyn, Jeff Richards. Russell John- son and John Hudson, the father and brothers. Josephine Hutchin- son is a sane note as the mother. The strapping James Arness is the kindred soul already broken to marital harness whom Taylor en- French film pioneer Abel Gance in active production after 12 years of obscurity. It was Gance who gave the French such films as "Beetho- ven" and the sweeping "Napleot * (which used three cameras and projected individually on one mas- sive screen) over 20 years before Cinerama. This pic is a scorching piece of filmic bravura which uses the old Alexandre Dumas melo- drama to pictorial advantage. Full of Rabelaisian truculence, spectacle violence and full-blown thesping and direction, it amply recreates the medieval ages. It should do well here but its frank medieval orgiastic scenes and nudity win make the pic a touchy entry for the U. S. At best, it looks only ripe for specialized arty theatre showings. Sheared of its franker aspects, this would loose some of its blustering appeal. Gance’s firm hand and mounting keep this meller in line, and its period flavor of ruthlessness and vitality plus its superbly hued col- or aspects, make this a solid w hole. However, some scissoring ean make this even more engrossing by eliminating some purely gratui- tous mood aspects. Story concerns the queen who has entered into a strange perver- sity in having noblemen lured to the Tow er of Nesle where they are greeted by three unclad lovelies, the queen being one. After some moments of revel, they are killed by a gang of cutthroats who serve as her executioners. But the blust- ering, colossal Buridan (Pierre Brasseur) escapes from this adven- ture unharmed, and holds it over the queen to become prime minis- ter. Then he discloses that he had been her youthful lover, and it all ends in her going crazy. counters on the trail, and Alan Hale Jr. is the suitor Miss Parker doesn’t want. Others appear brief- ly. Brog. Simba (BRITISH-COLOR) Realistic drama set in Mau Mau country; grim entertain- ment with spotty returns likely. London, Jan. 25. General Film Distributors release of a Peter de Sarigny production. Stars Dirk Bogarde. Donald Sinden. Virginia Mc- Kenna. Earl Cameron. Directed by Brian Desmond Hurst. Screenplay. John Baines, from an original story by Anthony Perry, with additional scenes and dialog by Robin Estridge; camera (Eastmancelor), Geoffrey Unsworth: editor. Michael Gor- don; music, Francis Chagrin. At Odeon, Leicester Square, London. Running time. 99 MINS. Howard Dirk Bogarde Drummond Donald Sinden Mary ... Virginia McKenna Mr. Crawford Basil Sydney Mr*. Crawford Marie Ney Dr. Hughes Joseph Tomelty Karanja Earl Cameron Headman Orlando Martina Klmanl .. Ben Johnson Joshua Huntley Campbell Waweru Frank Singuineau Chege Slim Harris Mundatl Clyn Lawson Thakla Harry Quash Settler at Meeting John Chandos Col. Bridgeman Desmond Roberts African Inspector Errol John W'itch Doctor W'illy Sholank* Spotlighting the present unrest in Kenya, this new British film focuses attention on the terror methods of the Mau Mau and the retaliatory measures for the de- fense of the white farmer and sympathetic Africans. This is a grim, realistic entertainment, de- parting from the conventional b.o. formula of escapist fare. As such, spotty returris loom, both in the home market and overseas. The screenplay has been adapted from an original yarn by Anthony Perry. It tries to portray the anxious problems of the white farmer and loyal natives objec- tively. This treatment is not ap- plied to the Mau Mau whose ter- rorist campaigns brook little sym- pathy. Running through the theme is a plea for better understanding between white man and African. Location lensing on Mount Kenya gives the film a colorful, authentic background. Story "has been briskly directed by Brian Des- mond Hurst and is. expertly played by a skilled local cast headed by Dirk Bogarde, Virginia McKenna, and Donald Sinden. There is a particularly dignified performance by Earl Cameron as the native doc- tor. Other roles are intelligently handled, and round out a compe- tently made picture. Myro. I.a Tour de IVeMle (The Tower of Nesle) (FRANCO-ITAHAN) (COLOR) Paris, Jan. 25. Fernand Rivera release of Fernand Rlvers-Costellazone production. Stars Pierre Brasseur. Silvana Pampanini. Di- rected by Abel Gance. Screenplay. Gance. Fernand Rivera. Fuzelier from play by Alexandre Dumas. Gaillardet: camera (Gevacolor). Andre Thomas; music. Henri Verdun; editor, Louisette Hautecoeur. Previewed in Paris. Running time, 120 Buridan Pierre Brasseur Wueen SilvAna Pampanini Kin* Michel Bouquet Philippe Henri Toia Gaultier Paul Gucrs This film marks the return of Gance has forced this into a mov- ing tapestry of medieval skulldug- gery with both sensational and art appeal. He has elicited line per- formances from Pierre Brasseur, as the mighty and crafty Buridan, and Silvana Pampanini as the con- niving, debauched queen. Costum- ing and production aspetts are fine. Coloi-s are pale Unted and perfect for the film as is the editing and music, conception, sweep and construction are remi- niscent of a bolder and more virile period of filmmaking. Mode. *V*Aval* Sept Fill** (I Had Seven Daughters) (FRANCO-ITALIAN) (COLOR—SONGS) Paris, Feb. 1. ABC in* rdtiM ot Francinalp-Kurn Film production. Stare Maurice Che- valier; feature* Paolo Stoppa,-Della Scaln. Directed by Jean Boyer. Screenplay. Aldo D* Benedcttl. Jean De* Vnllieres. Boyer: dialog, VaUiere*. Serge Veber; camera 'Ferranicolor). Charles Suln; music. Fred Freed; editor. A. Laurent. At Colisce, Paris. Running time. 90 MINS. Count Andre Maurice Chevalier Luisella Delia Scala Linda Colette Ripert Nadina Anniek Tanguy Maria Gabby Basset Antonio Paolo Stoppa Eduard Louis Velle Professor Pasquali Maurice Chevalier’s U.S. visa vindication and thq flood of legit and pic offer* from there, plus his recent boff one-man show' here, insure marquee value on both sides of the brink for this bright, simple comedy. Chevalier charm and a bevy of youthful beauties light up the comers of. this lightweight piece which fades into the conven- tional and ordinary after a bright, intriguing start. However, this makes for pleasant fare. Although not for arty U.S. houses, this could be a nice entry for special situations, and has the general entertainment qualities that might make this a neat morsel, when dubbed for wider bookings. It also shapes as a Hollywood re- make musical possibility with a little working over of the script. It’s Chevalier all the way in this as he incarnate* an aging, royal roue (Count Andre) writing the memoirs of his amorous escapades vaguely connected with the history of France, who gets involved with a troupe of ballet dancers. As long as Chevalier spreads his gaiety and bits of wisdom and he has a chance to chant some personalized ditties to his brood, the film is engaging. Girls are lovely, color is good and production values are fine with the other credits craftsmanlike. The music is tailored to Che- valier’s standards, but there ii some background theme too rem- iniscent of other pix. His beaming, ingratiating self is well set ofl by his tightlipped valet (Paolo Stoppa) who shares vicariously in his mas- ter’s exploits, and acts as moralist. Delia Scala is an eye-filling in- genue while the remaining gals are the answer to an old romanticos dreams. Director Jean Boyer has not suc- ceeded in getting the pace and crispness into this, with the famil- iar situations not helping mm'”: However, as Chevalier sings “J Ai Vingt Ans (I’m 20 Years Old' single-handedly rejuvenates this oldie operetta plot to moc dn tempo. Aio.dc.