Variety (March 1955)

Wednesday, March 30, 1055 w VAriety FILM REVIEWS 9 mediately knocks off one of the six and then goes after the others upon their return to New York upon Army discharge. After the violent deaths, of two of the lads, each with snake venom discovered *in the autopsy, the police begin to believe the> theory propounded by Richard Long, one of the GI’s, that a strange young woman, Faith Domergue, with whom his room- mate, Marshall Thompson, has fallen fri love* actually is the Snake Goddess come to exact ven- geance. Windup shows Thompson pushing-a cobra about to attack Kathleen Hughes, Long’s fiancee, in her theatre^ dresSingroom out of the window, and "thd snake trans- forming into Miss Domergue. as she dies on the street below, Francis D. Lyon’s direction is responsible for plenty of eerie mo- ments, further heightened .by in- ' teresting optical Effects as the cam- era becomes the eye of the strik- ing cobra whenever Miss Domer- gue changes into the snake. v Script by Jerry Davis, Cecil Maiden and Richard Collins real- , istically develops the plot, in which the femme star is a standout in an exotic role. Thompson lends - conviction to his part in a well-en- acted characterization, and Long is okay as the man interested in the transformation theory. Miss Hughes delivers as his fiancee, and capable support is provided by William Reynolds, Jack iCelly, Da- vid Janssen and others. Russell Metty’s photography is firstrate, Whit. Tills Island Earth (COLOR) Socko science-fiction thriller, one of best outer-space film entries to date. Plenty of ballyhoo angles and large b.o. prospects. Hollywood, March 29, Universal release of William Alland production. Stars • Jeff Morrow, Faith. Domergue. Rex Reason features Dance Fuller, Russell Johnson. Douglas . Spencer. Robert Niehols, Karl L. Lindt. Directed by Josenh Newman. Screenplay, Franklin. Coen. Edward G. O’Callaghan; based on" the novel by Raymond F. Jones; camera (Technicolor), Clifford Stine; editor, Vir- gil Vogel; special photography, David S. Horsley and. Stine; music supervision, Joseph Gershenson. Previewed March 22, ’55. Running time, 17 MINS. Exeter . ,.v Jeff Morrow Ruth Adams Faith Domergue Cal Meacham ............. Rex Reason^ Brack Lance FuUer -Steve Carlson .......... RusSell Johnson The Monitor Douglas Spencer Joe Wilson Robert Nichols Dr. Adolnh Engelborg ... WiM L."Lindt (Aspect ratio : 2-1) Special effects of the most real- istic type rival the Story and char- acterizations in capturing the in- terest in this exciting science-fic- tion chiller, one of the most imag- inative, fantastic and cleverly-con- ceived entries to • date in the outer-space film field. It may be exploited for boffo returns both in; the general and exploitation mar-1 kets. { Impressive use is made of Tech- | nicolor in catching the full values i of these effects, which give off J sometimes brightening qualities in ; the William Alland production, I which receives vigorous direction j by Joseph Newman. Also, film is a particular achivement for David S. Horsley and Clifford Stine, who handled the ^special photography assignment, as well as for the en- tire list of studio technical depart- ments who collabbed on all its ee^'e ingredients. Plot motivation in the Franklin Coen - Edward G. O’Callaghan screenplay, based on the novel by Raymond F. Jones, is derived from the frantic efforts of the men of the interstellar planet, Metaluna. to find on Earth a new source of atomic energy, This is needed to set up'an isolation layer complete- ly around Metaluna to protect it from the continuous attack by forces of the more powerful planet, t Zagon, both lying beyond the constellations known to earth scientists. For the accomplishment of this goal, the outstanding scien- tists in the field have been re- cruited by a character named Exeter, who has set up. a complete- ly-equipped laboratory in Georgia. Two of these scientists are Rex Reason and Faith Domergue, ex- perts in nuclear fission. Becom- ing suspicious of the true motives of Exetor they try to escape in a small plane, but the craft is drawn up into' Exeter’s giant space ship (a flying saucer) 'and they are flown to Metaluna to. complete their ex- periments. They arrive too late, the enemy having nearly destroyed this planet, and they barely make their escape back to earth in the space ship. One of the most thrilling se- quences occurs as huge meteors at- tack the space ’ ship as it is working its way to Metaluna, In- geniously-constructed props and equipment, together with strange Aojipd. cffeotB,, also .are. responsible for furthering'irtterest, which is of the. edge-of-the-seat variety during the latter half of the film.. For an added fillip, there’s tf* Mutant, half human, half insect, which boards the ship as'it escapes from Metaluna. i Jeff Morrow enacts the role of Exeter in a most credible fashion, and Miss Domergue arid Reason likewise are excellent. Newman handles his- characters very per- suasively to make them convincing, never missing a trick in the build- ing'up of his subject. Strong de- lineations, also are registered by j Lance Fuller and Douglas Spencer, both Metalueans, Russell Johnson, as a scientist, and Robert Bichols as Reason’s assistant. Technical credits are tops and meriting high mention , are: Alex- ander Golitzen and Richard H. Riedel, art direction; Russell A. Gausman and Julia Heron, set' decoration; Joseph Gershenson for a particularly atmospheric score;! Virgil Vogel’s fast editing; the sound by Leslie I. Carey and Rob- ert Pritchard. Stine also handled the film’s regular lepsing. Whit Jungle Moon Men Routine Johnny Weissmuller jungle entry for program situ- ations. Love In tlie €Hy (Araore in Citta) This Italian Faro Film pro- duction, released in the U. S. by I.F.E. Releasing Corp., was reviewed by Hawfc from Genoa in the Variety issue of March 10, ’54 and then comprised six unrelated episodes directed by some of Italy’s top directors. Said he: “This episoder is a completely unconventional se- ries of probes into the various aspects of love in the * city. More a Social document than pic entertainment, its export values appear highly specula- tive.’’ (For U. S. release, iFE has edited the pic down to 90 min- utes from an original 110 and has effectively tied fine stanzas together into a mag format that makes sense. Harry Hen- derson supervised the new edi- tion. Unfortunately, he couldn’t add what the film didn’t have in the first place. Content- wise, despite clever combina- tion of commentary and titling, this is still a patchy, entry with doubtful ^-commercial ap- peal. Title ii among its big- gest‘assets.) , Hift. Hollywood, March 25. Columbia release of a Sam 'Katsman production. Star* Johnny Weissmuller; features Je&n Byron. Helene Stanton, Bill Henry, Myron Healey, Klmba. Di- rected by Charles S. Gould. Screenplay. Dwight V. Babcock, - Jo Pagano, from story by Pagano; camera, Henry Freullch; editor, Henry Batista. Previewed March 23, ’55. Running time, *9 MINS. Johnny WeissmuUer. Johnny Weissmuller Ellen Marston ■ Jean Byron Oma Helene'Stanton Bob Prentice Bill Henry Mark Santo Myron Healey Damu . Billy Curtis Nolimo Michael Granger Max ............ Frank SuUy Marro..........Benjamin F, Chapman Jr. Link Kenneth L. Smith Regan Ed Hinton (Aspect ration 1.85-1) Writers of this Johnny Weiss- muller jungle starrer borrow gen- erously from H. Rider Haggard for plot material, but film fits into the groove of past offerings in the Sam Katzman series and should do the same type of biz in program situations. ' Weissmuller this time becomes involved with a high priestess who discoverd the secret of eternal' life during her existence with the an- cient Egyptians and has lived down through the ages. Now she’s queen of a tribe of Pygmies known as the Moon Men.. Johnny meets , her When he and a femme writer do- ing research on a white Civilization supposed to have flourishecLm the region centuries before, force their way into the temple to rescue a white-man taken to be her high priest. Star is up to the usual demands of his title role, and Helene Stan- ton attractively portrays the .priest- ess, afraid to leave the temple for fear that Ra, the.Sqn God, will de- stroy her the same as he killed all her people in .ancient times. Finale shows her emergence into the open and crumbling to dust when Ra -beams his rays upon her. Jean Byron does a good' Job with the writer role, and Bill Henry is the kidnapped victim. Myron Healy is in as a heavy out to get the dia- monds from the temple, killed by guardian lions, and Billy Curtis handles his Pygmy leader role in okay fashion. Kimba, of course, ap- pears for usual amusing footage as the star’s chimp companion. Charles S. Gould had his work cut out for him to bring any realism in his direction to the Dwight V. Babcock-Jo Pagano screenplay, but manages occasionally in between unintentional laughs. Whit The Nlglit My Number Came Up (BRITISH) Tense. Ealing production of aircraft passengers Who’ve been warned, via a dream, that their plane is doomed to crash. Sturdy b.o. ^ Londoii, March 22. General Film Distributors release of ■Ealing Studios-Michael Balcon production. Stars Michael Redgrave, Sheila Sim, Alex- ander Knox, .Denholm Elliott. Directed by Leslie Normanj screenplay by R. C. Sherriff; camera, Lionel Banes; editor. Peter Tanner; music, Malcolm Arnold. At Odeon, Leicester S4uare, London, March 22, '55, Running time. 94 MINS. Air Marshal Hardle.... Michael Redgrave Mary Campbell SheUa Sim Gwen Robertson Alexander Knox F/ Lt. McKenzie Denham Elliott Mrs. Robertson Ursula Jeans Wamwright ... Ralph Truman Lindsay Michael Hordern Pilot Nigel Stock Soldier Bill Kerr Soldier Alfie Bass Bennett George Rose Engineer Victor Maddern Co-Pilot David Orr Navigator Dave Yates Miss Robertson Doreen Aris Wireless Operator Richard Davies A variation of the time theory, this Ealing production popes the question;- fc&n the future 5 bd fibte told? A highly competent piece of filmmaking, it is packed with sus- pense and excitement and looks geared for hefty grosses in most situations. The plot is based on a dream-in which a naval officer sees a Dakota aircraft crashing at a remote point off the coast of Japan. In the dream there are eight passengers, one of whom is a girl and another a VIP. The story is told to an air marshal who is due to fly the next day to Tokyo with his personal as- sistant, but there’s no real similar- ity, as their plane wiil be a Libera- tor carrying Only two passengers. By.bakeoff time, however, the situation is radically changed. A Dakota is substituted for the flight, and there are eight passengers, in- cluding one VIP and one female j secretary. And from the moment; the plane becomes airborne, theJ yarn unspools with almost unre- lieved tension as ail the events am ticipated in the dream come to pass. ’ ■ . - R. C, Sherriff has fashioned a taut screenplay which allows for •mounting tension as the plane runs into an electric storm, has a radio blackout and then gets lost high above the clouds while the passengers are gasping for breath because of the lack nf oxygen. Les- lie Norman’s incisive direction sustains the tension and Liones Banes has lensed the production with commendable, skill. With the yarn keyed to sus- pense, the cast refrain from over- emphasis. The standard is set by Michael Redgrave’s impressively quiet portrayal of the air marshal who cannot alter course to suit a dreamer, yet remains uneasy. Sheila Sim has only a^modest role as the secretary but fills it with her usual competence, and Alex- ander Knox gives a standout per- formance as a. civil servant scared out of his wits as he. sees the dream pattern taking shape. Den- holm Elliott impresses as the air marshal’s aide, and there is ster- ling support from a fine team of British performers. Myro. That Lady (BRITISH-COLOR) Olivia De Havilland and Gil- bert Roland starred in histori- cal Spanish romantic drama; spotty returns likely. London, March 15. 20th-Fox release of Atalanta produc- tion. Stars Olivia d<, Havilland, Gilbert Roland; features, Paul Scofield, Fran- coise Rosay, Dennis Price. Directed by Terence Young. Screenplay by Anthony Veiller, Sy Bartlett from novel by Kate O’Brien; camera (Eastmaricolor), Robert Krasker; editor, Raymond Poulton; music, John Addison. At Carlton Theatre, Lon- don. March 15, '55. Running time, 100 MINS. Ana de Mendoza Olivia de Havilland Antonio Perez Gilbert Roland Philip of Spai Paul Scofield Bernadina Francoise Bosay Mateo Vasquez Dennis Price Don Inigo Anthony Dawson Cardinal Robert Harris Diego Peter Illing Don Escovedo Jose Nieto Captain of King’s Guard Christopher Lee Fernando ♦ Andy Shine ( Aspect ratio: 2.55-1) ^ , ■ - “That Lady,’’ the film that ran into trouble with the Spanish cen- sorship, is quite an Innocuous en- tertainment. It follows the conven- tion established for historical ro- mantic dramas. Its lavish mount- ing, picturesque settings and high acting standards are the pic’s main assets. Strong marquee values should give it b.o. emphasis, al- though spotty results seem likely in most situations. Its British quota tag will be a valuable asset for local theatre owners who are wired for .Cinemascope. Filmed on location in Spain, with studio work at Elstree, the film is notable for the screen de- but of Raul Scofield, a British legit actor of repute, whose per- formance as King Philip Is one of the acting hlghspots.. He brings a dignity and sincerity to the char- acterization and. succeeds in sur- mounting the ineptness of the dia- log. Adapted from the novel by Kate O'Brien, the plot desefibes the in- trigue at the court of King Philip as two private secretaries jostle for power to become first minister. ■ Centrepiece of the story is the one- eyed princess (Olivia de Havil- lahd) whose late husband was the unofficial ruler of the country. At the behest of her king,‘she extends a welcome to one of the contend- ers (Roland Young) but the scan- dal which ensues lands them both in jail. Although handsomely lensed in Eastmancolor, this anamorphic en- try moves only at a leisurely pace and the dramatic incident is fre- quently marred by banal conver- sational passages. The direction rarely gets to grips with the sub- ject, and the editing looks all too casual. Nevertheless, there is a-consist- teqtly high standard of perform- ance. Miss de Havilland’s inter- pretation of the widowed princess combines vitality and charm. Gil- bert Roland looks right for the role of the great lover but doesn’t quite act up to it. Dennis Price gives a sterling portrayal as his rival for power. Francoise Rosay contributes a touching cameo Ss the princess's faithful servant while Robert Harris displays a full measure of dignity as the cardinal. Myro. Tlie Impostor (JAPANESE) Lightweight Nipponese import with below par art house b.o. values. Brandon Films release of Shochiku (Shi- geki Sugiyama and Koichi Takagi) pro- duction. Stars Utaemon Ichikawa. Di- rected by Tatsuo Osonc. Screenplay, Hyogo Suzuki, based on original story by Mitsuzo Sasaki; camera, Aaaruo Takeno; music, Seiichi Suzuki. Previewed N.Y., March 3. ’55. Running time, 90 MINS. Baron Mondonosuke Sotome Utaemon Ichikawa Kyoya Chikako Miyagi Kikuji Keiko Kishi Jokai- Kokichi Takata Naizen Fijlro Yanagi MatsUdaira Kodiyu Ichikawa Iiaglno Kuniko Ikawa Kojiro - ‘ Minoru Okl Nanae Ayuko Saijo Tokugawa Jogi Kaieda (In Japanese; English Titles) While a few Japanese pictures have won a niche of late on the American entertainment scene due to their charm and pageantry, “The Imposter’’ fails to measure up to the quality of its predecessors. Hampered by a rambling and often confusing story, this Shochiku Film production appears destined for a lukewarm reception in the art houses. ^ Mbreover, the picture contains little oh which an exhibitor can draw for exploitation material. Cast is peopled with several* stars of the Kabuki, Japan’s native thea- tre, but it’s questionable whether their presence will impress the average art house patron. Based on a story by Mitsuzo Sasaki, the film unreels a 17th cen- tury tale of rivalry for the throne of Japan. Two aspirants claim to be sons of the ruling Shogun. One is a genuine heir while the other is a pretender. There’s much sword- play, chicanery and comic opera touches before the phony is ex- posed and the rightful claimant installed in the palace. Under Tatsuo Osone’s direction, the players make an' earnest at- tempt to bring realism and move- ment into 90 minutes of footage. But. possibly they were trying too hard for serious scenes frequently verge on the. satirical and heavy drama takes on comedy propor- tions. Star of this Brandon Films im- port is Utaemon Ichikawa. A Ka- buki theatre veteran, be portrays a shrewd samurai of the imperial guard. Although believable when wielding a swordlr there are times when his thesping, by Yank cri- teria, borders on the droll rather than dramatic. Miss .Chikako Miyagi, however, is effective as a spy and Keiko Kishi is sweet and demure as a kidnapped sister of Ichikawa. Other performances are best de- scribed. as routine including those of Kokichi Takata and Minoru Oki, as the pair who aspire to the Sho- gun’s mantle. Black-and-white photography of Aaruo Takeno is fair. Seiichi Suzuki’s music is adequate and physical values supplied by pro- ducers Shigeki Sugiyama and Koichi Takagi are on par with the average Japanese picture. Judicious editing could have safely trimmed at least 10 minutes from this im- port in the interest of getting t the .point faster. Gill). Contraband Spain (BRITISH—COLOR) Modest British aetioner of U.S. Federal agent unmasking smuggling - and conterf eiting gang. Okay dualler, r _ _ - r • London, March 16. Associated British Pathe release of Diadem Films (Philip Gartside) produc- tion. Stars Richard Greehe. Anouk, Michael Denison; features Jose Nieto, John Warwick, Philip Seville. Directed by Lawrence Huntngton; screenplay, Law- rence Huntngton; camera, Harry Wax- man; editor, Tom Simpson. At Pavilion, London, March 15,. '55. Running time, 12 MINS. Lee ' Richard Qreene Elena ’ Anouk Ricky - Michael Denison. Pierre ■ Jose Nieto Bryan John Warwick Martin ' Philip Seville Marcos Alfonso Estclla Lucien Antonio Almoros JUan Conrado San Martin Preventive Officer Arnold Bell Colonel Insdcby George Mulcaster Mrs. Ingleby Olive Mllbouvne. U. S. Embassy Official. Robert Ayres Although lavishly staged and ex- pertly filmed in Eastmancolor, this British pic rates only as a modest entry, but should serve as a good action dualler in most situations. It’s quota tag is a prime. asset for the local market. .Set on the Franco-Spanish bor- der, the plot describes the methods of an American Federal* agent (Richard Grqene) in rounding up a gang of smugglers and counter- feiters after his own brother, him- self one of the smugglers; is mur- dered. Aided by a nitery thrush (Anouk) and a British customs offi- cial (Michael Denison), his in- quiries take him through France on to a cross-channel ferry, lead- ing to the final roundup in Dover harbor. Action moves vigorously against attractive continental backgrounds, compensating largely for weak- nesses in plot structure and for slight • confusion in story develop- ment. Direction is bogged down by overplus of dialog in opening se- quences, but is otherwise standard. Greene gives an energetic perform- ance as the agent and Anouk con- tributes a dash of glamor as the enigmatic singer. Denison portrays the Englishman abroad in the style of a -caricature. Subsidiary parts are adequately filled and technical credos are up to average, Myro. Napoleon Bonaparte (FRENCH) Paris, March 22. Cinelde production and release. Stars Albert Dieudonne. Directed and written by Abel Gance. Corners, Kruger, Hubert; editor, (, Marguerite Beauge; music, Henri Verdun. At Studio 28, Paris. Running time, 135 MINS. Napoleon Albert Dieudonne Danton Samson Fclnslllber Marat >. Antonin Artaud Charlotte Darnia .Josephine Annabella Saint Just Abel Gance Although this pic was made in 1927, as a silent vehicle and re- vamped in 1934, it is reviewed again.for it has just been reissued here before the recently completed Sacha Guitry panoramic of the life of Napoleon and “Desiree.” Film also has a 15 minute segment which utilizes the tryptych, three screens akin to presentday Cine- rama, for massive effects. Thomas Brandon has this for the U.S., and may also give it a special reissue in the arties. There is no doubt that it packs a load of curio value in its resources, treatment and technique. Film may well turn out to be a grosser in the offbeat ’arty spots here and in the U.S. ' Original pic ran for eight hours, but this has been hacked down to 135 minutes by director Abel Gance himself. Except for a few scenes, photo quality is fine. Story is told by a group of Bonapartists during Napoleon’s imprisonment on Elbe. As sprawling and gigantic as is the subject, Gance was able to transfer its feel of grandeur and sweep to the screen plus the es- sence of the greatness of Napoleon. Even in its cutdown version, this transcribes the intensity of the young Napoleon, the tumbling tumbril terror of revolution, and the men who worked and tried to transform it into a meaning. Although this beats patriotic drums blatantly, it is interesting in story and aim. Such morsels as intercutting between Napoleon trapped in a small boat, after his escape from Corsica, with the seething unrest of the Assembly by having the camera swooping over the crowds, the rapid cutting of crowd scenes and orgies, arid the final use of the triple screen with its intercutting in each sec- tion for a rousing finale, makes this of interest for film patrons looking for the unusual. Here it also marks the belated’ recognition of one of the great film pioneers—Abel Gance—now mak- ing pix again after a 15 -year hiatus. Acting in pic is surprisingly accept- able today. Albert Dieudonne’S sharp, commandijng Napoleon hits sterling heights despite a few tendencies to exaggeration, • Mask.