Variety (August 1955)

FILM REVIEWS Wednesday, August 17, 1955 The McConnell Story (C'SCOPE—COLOR) Alan Ladd, June Allyson In topflight story, of America’s first triple Jei ace; strong en- tertainment, strong grosses. Hollywood, July 26. Warner Bros, release of Henry Blank* production. Stars Alan Ladd. June AUy- Jon, James Whitmore; features Frank Faylen, Robert Ellis, Willie Boucliey, Sarah Selby, Gregory Walcott, Frank Ferguson. Directed by Gordon Douglas. Screenplay, Ted Sherdeman, Sam Rolfej. story by'- Sherdemani .camera <Warner Color), John Selta; editor, Owen Marks;. ^ • «■> Oi. - a AaaUmI *nl AHfriAAVe * music. Max Steiner; technical advisers, William L. OrriB, Col., USAF; Manuel "Pete” J. Fernandez, Capt., JJSAF. Pre- viewed July 19, '55. Running time, 104 MINS. Mac Alan Ladd Butch ■ June Allyson Ty-Whitman James Whitmore Sykes Frank Faylen Bob Robert Ellis Newton Bass WUlls Bouchey Mom Sarah Selby 1st M.P. Gregory Walcott A Mechanic ............ Frank Ferguson The story of America’s first triple jet ace, Captain Joseph Mc- Connell Jr., has become a tasteful, thr illin g motion picture under the Warner Bros, banner. Strong grosses loom. There’s a contem- porary flavor- in the presentation to attract the attention of the coun- try’s younger picturegoers, and. a lot of heatt and humaness to make it figure as entertainment for all ages, male or distaffer. It has marquee importance, too, in the star names of Alan Ladd and June Allyson. ... Even while the production was being prepped the hero of the story lost his life when the experimental jet aircraft he was flying at Ed- wards Air Force Base in California crashed. This incident, like many others in his career as a soldier and then navigator during World War II, and as a jet ace over Ko- rea, is thrillingly depicted, as well as being used to give an inspira- tional note to a very moving cli- max. Under the production super- vision of Henry Blbnke and the equally good direction by Gordon Douglas, the film has humor, romance, action and convincing performances that make the foot- age very real. Ladd is not called upon for the usual brand of screen heroics and does a sock job of playing-a real person,- With this elimination of. the stock “into the wild blue yon- der” type of hero, picture gains in punch. There’s nothing fanciful about . the McConnell exploits, thanks to good judgment in the scripting by Ted Sherdeman and Sam Rolfe. In fashioning the.’ character of the girl who married the ace while” he was still a sorry GI in the medical corps sneaking private flying lessons, the script stays on believeable grounds, too. Considerable humor is played up in the early footage over McCon- nell’s determination to be a flier and his meeting with Pearl Brown, a girl to henceforth be'known as “Butch” and a loving helpmate to a young soldier. From medical corps to air force, but as navigator, not pilot; the piling up of 25 mis- sions in World War II in a big htirry so he could take pilot train- ing; the call back to war’when, the Korean situation arose and his rise to captain and jet ace, and then the test piloting that took his life are sequences so well blended that attention is always held. Backing theme are the few moments back home with wife and family that add to the touching humaness which is an important part of the film. James Whitmore scores as Mc- Connell’s friend and commanding officer. A pip of a sergeant charac- ter is developed by Frank Faylen, sparking the humor of earlier se- quences. Others registering well include Robert Ellis, Willis Bou- chey, Sarah Selby, Gregory Walcott and Frank Ferguson. The Cinema- Scope photography in Warner- Color by John Seitz figures as a major credit. So does the second unit lensing by Ted McCord under the direction of Russ Saunders. A good score by Max Steiner, concise editing by Owen Marks, count to- wards the entertainment. Brog. Case Of The Red Monkey Routine foreign intrigue mclo for program market. Hollywood, Aug. 10. Allied Artists release of a Tony Owen fAlec C. Snowden) production. Stars Rich- ard Conte, ‘ Rona Anderson; features Rus- sell Napier, Colin Gordon, Arnold M'-irle, Sylva Langova, -Donald Bissett. John King-Kelly. Directed by Ken Hughes. Screenplay, .James Eastwood, -Hughes; camera, Josef Ambor; editing. Geoffrey Muller, Inman Hunter. Reviewed Aug. 10, *35. Running time, 71 MINS. Bill Locklin Richard Conte Julia • • Rona Anderson Supt. Harrington ......... Russell Napier Martin Colin Gordon Dushcnko Arnold Mario Hilde .................... Sylva Lnngova Editor ». Donald Bissett Andor John King-Kelly Efforts of Soviet agents in Lon- don to kill a top Russian scientist who has swunjr over to the West, as lie’s under the security of Brit- ish police ca route to the U.S., motivates this Tony -Owen-Todon production, filmed entirely In Eng- land for Allied Artists release. Like many British-produced pic- tures, it lacks American-type pace and is a routine entry in the pro- gram market. Owen used almost a complete English setup, Richard Conte being the only other Ameri- can connected with the venture. Conte portrays a U S. State Dept, officer detailed to escort the scien- tist from London back to the States, but exhibits little of the dash and ingenuity such a part calls for. James Eastwood-Ken Hughes’ screenplay shows him breaking up the Communist gang out to mur- der the sefentist, but it’s strictly mechanical in tone and Hughes’ di- rection fails to insert any hardhit- ting action which might have lifted interest a notch. Pic takes its tag from a little monkey seen on the scene of a rash of murders of cele- brated scientists by the Reds. Rona Anderson co-star$ with Conte for faint romantic interest and Russell Napier is the Scotland Yard superintendent assigned to safeguard the scientist, portrayed by Arnold Marie, both okay. Part of a British newshawk , who learns what’s going on^atid is a thorn in the side of the police is played, fairly interestingly by Colin Gor- don. Sylva Langova and John King- Kelley make the most of their Communist roles, Alec C. Snowden as producer gives picture certain scenic values via London back- grounds. Whit. The Naked Street Fair program melodrama for * regulation - playoff . in dual market. , V , Hollywood, Aug. 12. United Artists release of Edward SmaU production. Stars Farley Granger, An- thony Quinn, Anne Bancroft, Peter Graves; features Else Neft, Sara Berner, Jerry Paris, Mario SilettL Directed by Maxwell Shane. Screexfplay, Shane and Leo Katcher; from a story.by Katcher; camera, Floyd Crosby; editor. Grant Why- . tock; music, Emil Newman. Previewed Aug. 10, '55. Running time. 13 MINS. Nicky Bradna . ......... Farley Granger PbU Regal Anthony Quinn PhU Regal Anthony Quinn Rosalie Regalzyk Anne Bancroft Joe McFarland ........... Peter Graves Mrs. Regalzyk ................. Else Neft Latzi Franks Jerry Paris Nutsy Frank Sully Big Eddie John Dennis Janet Angela Stevens' Margie Joy Terry Mr. Hough G. Pat Collins Antonio Cardini Mario SUetti Attorney Blaker Whit Bissell Evelyn Shriner .' Jeanne Cooper Millie Sara Berner. Attorney Flanders James Flavin Judge Roder Harry Harvey Alex Campbell Judge Stanley Francle Jackie Lotighery Ollie ......... Frank Krelg Shimmy Joe Turkel Barriclcs Harry O. Tyler Lepnie Sammie Weiss Satisfactory performances and a twist to the usual crime-doesn’t- pay plot give “The Naked Street” a fair rating as program entertain- ment. Film does a workmanlike, if not particularly inspired, job "of wrapping up its. story and all loose ends in 3 minutes of footage, mak- ing it an acceptable meller for gen- eral playdates. Helping to give substance to the characters involved are Farley Granger, Anthony - Quinn, Anne Bancroft and Peter Graves, the principals- involved in the Leo Katcher story, which he scripted with. Maxwell Shane and which the latter directed. Plot has Quinn, racketeer, saving. Granger, a cheap young hood,, from the electric chair so the latter can marry the gang- ster's sister. Miss Bancroft, who s pregnant. When the baby difffc and Granger turns out to be a bad hus- band, Quinn frames him for a new killing, so back to the chair he goes. Not, however, without expos- ing Quinn’s operations to Graves, newspaperman. The baddies all get their just deserts and Graves gets Miss Bancroft, Quinn and Miss Bancroft are both excellent in • handling the characters assigned them. So is Graves, the reporter who does some bridging narration as the story unfolds. Granger, away from films for some- time, turns in ac- ceptable work in a role that calls for him to be hero-heavy without any sympathy to compensate. Among supporting parts, Else Neft as the mother of Quinn and Miss Bancroft, and Jerry Paris, as Gran- ger^ friend, do best. Shane’s direction of the Edward Small production keeps the pace moving fairly fast. Lensing, back- ground score and other technical factors are okay. Brog . ^4 Value for Money (British) (COLOR—V1STAVISION) •is * . North country comedy, okay for domestic market, but Yorkshire dialect may prove obstacle to extensive U. S. ex-* hibition. London, Aug. 9. Rank VistaVislon (Sergei Nolbandov) production and release. Stars John Greg* son, Diana Dors, Susan Stephen, Derek Farr; features Frank PettingeU, Jill Adams. Directed by Ken. Annakin. Screen- play, R. F. Delderfleld and William Fair- child; camera (Technicolor). Geoffrey Unstvorth; editor, Geoffrey Foot; music, Malcolm Arnold; "Toys for Boys” and. "Dolly Polka” music, Jhn Pritchett. At Odeon, Leicester Square! London, Aug. 9, *55. Running time, *3 MINS. Chayley Broadbent ....... John Gregson Ruthine West .. . Diana Dors Ethel Susan Stephen Duke Poppiewell Derek Fart Higgins - Frank- PettingeU Joy -. Jill Adams Lumm Charles Victor Oldroyd James Gregson Llmpy Donald Pleasance Mrs. Perkins Joan Hickson Mr. HaU Hal Osmond Mrs. Hall Sheila Raynor Mr. Gldbrook Charles Lloyd ^Pack Walter ■ Ferdy Mayne Arkwright John Glyn Jones Robjohns - Leslie ^Phillips Mrs. Matthews MoUy Weir Lord Drewsbury ». Ernest Thesiger For its second production in VistaVision, the Rank Studios has chosen a north-country comedy; which will give considerable amusement to unsophisticated lo-! cal audiences, but which, may find it tough sledding in the Overseas territory. . In the U. S,, particular- ly, the Yorkshire dialect will not be a selling aid. i This is a" modestly* amusing piece, staged on a bigger scale than the story would seem to war- rant, and offering a touch of spec- tacle in a couple of song and dance numbers. The plot revolves around John Gregson, who .inherits his father’s fortune, rag business and meannesses, and then has the mis- fortune to get involved' with a blonde show girl (Diana Dors). He forgets the girl he left behind (Susan Stephen). Around - this basic situation; the yarn moves from one preposterous situation to another until eventually honor . is satisfied, and . each of the girls ends up ip a bridal.gown. As a running gimmick, the voice Film Reviews Paris, Aug. 9. La Castlgllona (FRANCO - ITALIAN; COLOR). Warner Bros, release of Radius- Taurus production. Stars Yvonne De Carlo, Georges Marchal, Rossano Brazzi, Paul Meurisse, Lea Padovani; features Claude. Bolssol, Lucienne Legrand, Llsette Lebon, Tamara Lees. Directed by Georges Combret. Screenplay, Combret, Claude Bolssttl, Pierre Maudrur camera (Eastman- color); Pierte Petit; editor, Geripaine Fouquet. At Marlgnon, Paris. Running time, 9® MINS. Stinting production values show up to make this costumer of the Napoleon III era lacking in big appeal visually. Meandering story, lacklustre direction and uneven thesping are also a detriment towards making this of much value locally. For the U.S., the only possibility is for secondary billing on the Yvonne De Carlo and Ros- sano Brazzi names. Otherwise this drearily told tale will militate against any real bookings. This was held back from distrib over a year here, and is now mak- ing the summer circuit. Detailing the attempts of 19th Century Italy to unite, this is about-the beauteous La Castiglione whose appeal to Napoleon is used to help save her revolutionary lover who is killed anyway. ’ Miss De Carlo looks out of place in court and is called upon to portray a winsome lass which is not her forte. Georges Marchal is uneven and Brazzi manages to etch some character into that of the wily Italian statesman CavoUr. Color appears uneven and washed out. Sets obviously are low grade and direction is too sedentary. Mosk. . ■* ... Berlin, Aug. 9. Th* Doll Merchant (FINNISH). Oy Suo* men FllmltColUsuus (SF) production and release. Stars Merit! Knta.1isto and Hillevi Lagerstam; 'features . Heikkl Savolaineb and Leena Kaprio. Directed • by Jack Wltikka. Screenplay, .Walentin Chorell; camera, Marius Rnichi; editor, Aarro Kol- vlsto. At Film Biibne Wien, Berlin. Run- ning time, 75 MINS. Finland, with its modest re- sources, deserves credit for turning out this offbeat pic. It has a re- freshing charm, lively treatment and an unusual theme. If well dubbed, it should merit a place in American'and British arty houses. The theme, which satirizes dic- tatorships, lias been developed with a fine sense of restrained humor; action takes precedence over dialog and«4fce principal players respond to the sensitive touch of the di- rector. It’s a simple yarn of a rather pathetic doll peddler who is suspected of being an anarchist. Flung into jail, he eventually Is freed by a revolt of all the children in the city. Alongside the main story line, runs a gentle little ro- mance between the peddler and the mistress of the dictator, a lush blond with a passion for dolls. Film has okay technical quali- ties, but would benefit by slight scissoring in western territories. Myro. of Gregson’* dead father is heard littering words of caution to his son, particularly urging him to exercise stronger control of the purse strings. Although amusing at first; it is done too frequently and tends to become monotonous. The two production numbers, ar- ranged and danced by Paddy Stone! and Irving Davis, are neatly dove- tailed into the story line. They are nicely staged and each provide a pleasant contrast in background. Gregson, Miss Dors and Miss Stephen fill the three main roles more than adequately. Derek Farr shares starring honors with them as the character who ends up with the other girl. Frank PettingeU and Jill Adams lead a typically British supporting team. Ken Annakin has directed sympa- thetically and other technical qualities are up to regular stand- ards. Myro. Night Freight Formula action-meller.' for lowercase dual-dating- in the general situation. Hollywood, Aug. 15. Allied Artists release of Ace Herman (Wm. F. Broidy Pictures Corp.) produc- tion. Stars Forrest Tucker. Barbara Brit*' ton, Keith Larsen. Thomas Gomez; fea- tures Michael Ross, -Mytna Dell; Lewis Martin, 'G. Pat Collins. Directed by Jean Yarbrough. Written by Steve Fisher; camera, William Sickner; editor. Chandler House; score, Edward J. Kay. Previewed Aug. 11, .'55. Running, time, 79 MINS. Mike Peters Forrest Tucker Wanda Barbara Britton Don Peters Keith Larsen Haight Thomas Gomez Lome ., Michael Ross 1 Sally Myrna Dell Crane Lewis Martin Kelly G. Pat Collins Gordon Sam Flint Engineer Ralph Sanford Disc Jockey George Sanders Bartender Joe Kirk First Newsman ....' Jim Alexander Workman Charles Fredericks Fireman Guy Rennie Detective Michael Dale Formula action entertainment of lightweight values .is strung -to- gether in. this mild programmer. It will get by as filler material in the general dual situation 9 . Ster- eotyped handling all down the line keeps it from qualifying as an okay entry in its lowercase class. The Steve Fisher screen story deals with a feud between Forrest Tucker, operator of a shortline railroad, and Thomas Gomez, truck line owner who sees Tuck- er’s railway putting him out of business. To further complicate matters, the plot stirs up' bad blood between Tucker and his kid ibrother, Keith Larsen, through the medium of Barbara Britton; gmmill B-girl for whom both the brothers yen. A modicum of meller values are stirred tip tor the climax when the brothers join forces to save a munitions train which Gomez schemes to blow up. The heavy gets his and Tucker gets the girl, with Larsen’s blessing. Ace Herman’s production makes repetitious use of train and track shots, as well as some other scenes that are not too well cut intq the footage. There’s little the players or director Jean Yarbrough can do with the script, which requires the principals to talk out, as Well as act out, the plot action. The foot- age runs overtime at 79 minutes and the technical assist are stand- ard for budget. * Brog. Madilalena (ITALIAN-COLOR) Stunning performance by Marta Toren in Italian village tale of uneven quality. Piety, bigotry and cruelty of the peasantry. Needs careful book- ing. IFE release of -Titanus .Films Italo- French co-produfction. Stars Marta Tolen. Features Gino Cervl. Charles Vanel, and Jacques Sernas, pirectcd by. Augusto Genlna. Screenplay, Gcnina, Aliancllo, Stefani and Prosperi;' from tlie • play “Servant of God”. by Madfeleinfe de Bain- valla, Camera (Technicolor), Claude Re- noir; music, Antonio Verretti. Pre- vlewed^ in N.Y. Aug. 10, '53, Running, time, 90 MINS. Maddalena ................ Marta Toren Don‘Vincenzo Ginp Cervi Giovanni Lamberti Charles Vanel Giovanni Belloni ......... Jacques Sernas Farmer . Folco Lull! Farmer's Daughter Angiola Faranda ( Italian; English Titles) The desire to produce a picture that will win popular appeal both in Italy and the U.S. often results in product with -the stamp of com- promise on it. “Maddalena,” IFE’.s latest import with English-lan- guage subtitles, is in that category. It has many of the qualities of the pictures produced during the Italian industry’s great post-war comeback. However, it deteriorates into a soap operaish tearjerker that far outweighs its many good, points. It's a polished, well-pro- duced Titanus prbduction, height- ened by excellent Technicolor lens- ing. Nonetheless, its story deficien- cies mark it only as a moderate art house entry. On the credit side is an excellent portrayal of backward villagers, their devotion to the church, their bigoted resentment of outsiders, tlieir petty jealousies, their willing* ness to accept miracles, and their susceptibility to mass crowd hys- teria. Director Augusto Genlna has done a remarkable job in capturing on film tbe natives of an Italian mountain village. It’s hard to be- lieve* that many of the types that come within camera range are not professional actors. As a study of an Italian village, “Maddalena” rates highly, but tbe flashback story of the motivations of a pros- tie detracts from an almost so- ciological probe of unenlightened townspeople. The film opens with an interest- ing premise;-A local bigwig who feels that the priest has overshad- owed him as the town’s leader decides to show up the clergyman.- An annual village event is a Good Friday pageant in which a local beauty portrays the Virgin Mary. The local beauty who has had the honor for many years is ineligible because of pregnancy.' Confusion reigns as the parishoners refuse to agree on a new choice, each push- ing his own daughter. Fed up with the bickering, the priest decides to seek an outsider for the role. This gives the bigwig an opportunity to sneak in a prostitute for the part. Although the villagers are un- aware of the girl’s background, they resent the intruder, displaying open hostility to the girl and reg- istering their protests . with the priest. The priest, however, is adamant; She remains to play the role. She wins the town’s accept- ance when it is thought that she is involved in a miracle relating to the recovery of a boy given up for dead. At this point, the villagers she is tortured by the deception. She breaks down and confesses to the priest. She undertook the assignment, she explains, because of a desire to mock the Madonna who she blames for the death of her child. Circumstances make it necessary for her to. continue her pageant role. At the last moment, she is denounced by the bigwig. The townspeople turn again. They become an angry mob, eventually stoning her to. death. Marta Toren, an exceptional good looker, has a tour de force as the prostie and turns in a top performance. Gino Cervi, as the priest, Charles Vanel,- as the lecherous bigwig, and Jacques Ser- nas, as a love-sick admirer, are convincing in their roles, with Cervi’s thesping rating a special nod. Film has exploitable possibilities for theatres Which want to play up the sex angle. There are numerous scantilly clad gals around in many scenes devoted to the prostitute’s place of employment. - Hoil. Pathe Cinema Continued from page 4 ducing quite a number of .“com- mercial” films that were doing well in France but couldn’t be ex- pected to reach the mass audience in the U.S. unless introed - via dubbed versions, “What we need is one good dubbed film to crack open the maxket,” he observed. “But the dubbing has to be perfect It’s as important as the production itself and certainly worth spend- ing money on.” Technicalities The Pathe prez opined that dub- bing from French., or Italian into English had nowhere reached the perfection of ' English into the various other languages and that this obviously represented a handi- cap^ English track for “Dames’* will be recorded in Paris. U>Sv technicians, said McGregor, so- far didn’t have sufficient, dubbing ex- perience to turn out a first-rate job:.- - , . . One of the problems with dub- bing so far, he thought, was that it was jjeing dope too literally from the original script. “With Dames* we’ll follow a different procedure,’* he said, “First we are making an intelligent adaptation, and then we’ll match the lip movements.” . McGregor indicated that Pathe had two pix already picked to start off its distribution activities, but said he wasn’t ready to divulge the titles. As for the. ^ commercial release of Frepch hlnas in the U,S., he thought French producers had .to take a gamble. “You can’t expect to shoyy ’ a . French. original to an American distributor and expect him to make up his mind,” he said. “Thfe French producer will have to dub first and screen his picture later. There is no question in my mind that, once, we start dubbing, the market will open up and that. American distributors handling such pictures will put the proper effort behind them.” x