Variety (March 1956)

TCCTCKES t^A-METY Wednesday, March 14, 1956 Film Reviews The Stool Jangle ulath>n, but the freshness of the casting is a help. Lopez, married to the expectant Missj Garland, is a smalltime bookie royal to the syndicate. This loyalty has him going to prison rather than spill what he knows, even though his wife needs him at home. Re¬ mainder of the plot deals with how he gets himself straightened 9 lit and learns the bookie combine holds no loyalties except to itself. Some prison fight scenes de¬ velop the proper suspense feel and the 86 minutes of footage is fairly well paced through the unfold- ment. even though Doniger’s scripting doesn’t always hold wa¬ ter, Walter Abel plays the warden for moderate • results and Ted de Corsia is the menace as the com¬ bine head who rules his bookies from behind prison bars. Kenneth Tobey fares well as the prison psy- ' chiati'ist and Allison Hayes shows up nicely in a small spot. Gregory Walcott, a crooked guard; Leo Gordon. Kay Kuter, Bob Steele and Ralph Moody are among others with formula characters to Play, Lensing, editing, scoring and other technical points are made satisfactorily for budget. Brog. Singing in the Dark (SONGS) Continued from page < ir , ■ 'n' <~i . — The Creature Walks Among Us Third time around for U’s amphibious monster, the Gill Man. Exploiteer offering. Hollywood, March 13. Universal release of William Alland production. Stars Jeff Morrow, Rex Rea¬ son, Leigh Snowden; features Gregg Palmer, Maurice Manson, James Hawley. Directed by John Sherwood. Screenplay, Arthur Ross; camera, Maury Gertsman; special photography, Clifford Stine; edi¬ tor. Edward Curtiss; music, Joseph Gcrshenson. Previewed March 1, '56. Run¬ ning lime, 78 MINS. „„ ,, ' Dr. William Barton . Jeff Morrow Dr. Thomas Morgan . Rex Reason Marcia Barton . Leigh Snowden Jed Grant . Gregg Palmer Dr. Borg . Maurice Manson Dr. Johnson . James Rawley Captain Stanley . David McMahon Mortcno . .,f aul ‘?. rr< ? Mrs. Morteno . Lillian Molicri State Trooper . Larry Hudson Steward . Frank Chase Creature . Don Megowan and Rico Browning Moishe Oysher-Joey Adams in modest entry for biff city nabes. Budsam Distributing Co. release of A. N. O. (Joey Adams) production. Stars Moishe Oysher and Adams; features Phyllis Hill, Lawrence Tierney. Directed by Max Nosseck. Screenplay, Aben Kan- del, Ann Hood, Stephen Kandel, from story by Aben Kandel based on idea by Oyslier and Nosseck; camera, Boris Kauf¬ man; editors. ' Leonard Anderson, Marc Sorkin. At Midtown, Ascot and St. Mark’s Theatres, N.Y., week of March 7, ’56. Running time, 84 MINS. Leo . Moishe Oysher Joey Napoleon . Joey Adams Ruth . . Phyllis Hill Biff . Lawrence .Tierney Lull . Kay Medford Barry . Mickey Knox Larry . Dave Starr Fran . Cindy Heller M’Sieu La Fontaine . A1 Kelly Dr. Neumann . Henry Sharpe Stan . Stan Hoffman Refugee . Paul Andor- Thug . Abe Simon Rise of a onetime' Nazi concen¬ tration camp inmate from wartime misery to happiness through a new life in America is haphazardly un¬ reeled in “Singing in the Dark.” A modest entry, it has little b.o. potential aside from minor pros¬ pects in metropolitan area nabe houses. In those sites name of co-star Moishe Oysher, vet of the Yiddish theatre, will help. His marquee partner, comic Joey Adams, may also generate biz at . the wicket in sectors where he’s known. Although the story is credited to . Aben Kandel, longtime toiler in Hollywood’s script mill, it does not emerge with the clarity and polish that one would expect from such a writer. For he, along with fel- low scripters Ann Hood and Stephen Kandel, has whipped up a curious screenplay that at times borders on the inane. Oysher, after surviving a Hitler camp, is • troubled with amnesia but man¬ ages to succeed in the U. S. as a hotel clerk, nitery singer and eventually a cantor. His ability as a vocalist Is dis¬ covered by chance by Adams, a “Broadway chiseler” who takes him under his wing. Oysher’s voice, it seems, pours forth only when stimulated by liquor, hence the phrasing of a Variety review of his performance as “Leo Drinko Singo Soeko.’’ Sandwiched in the footage before Oysher beepmes a cantor are a number of situations and routines reminiscent of bur¬ lesque blackouts. Oysher’s thesping is much to be desired but his singing voice manr ages to rise above the mediocrity of the material handed him. As for Adams, he seems more at home on a nitery floor than before the ^ cameras. Among other players in- ^ volved in this low-budgeter are ■ Phyllis Hill, who portrays Oysher’s W romantic interest with a wistful touch; Lawrence Tierney, tough bookie to whom Adams is in hock; A1 Kelly, who does his famed doubletalk routine; Kay Medford, cast as a nitery op, and Cindy Heller, as a moll who’s pleasant to look at. Rambling script and meagre production values appear to be too much of a hurdle for Max Nos- seck’s direction to jump. Boris Kaufman’s lensing is adequate but editing of Leonard Anderson and Marc Sorkin is rather choppy. Film, incidentally, makes liberal use of stock shots and at 84 min¬ utes the footage is overlong. Gilb. Universal’s Gill Man, an amphib¬ ious monster twice seen before tin 3-D), is back for another session of chills and thrills for the program exploitation market. To get “the monster on land, the plot has him captured by a scientific expedition headed by Jeff Morrow, Rex Rea¬ son, Gregg Palmer and Leigh Snowden. During the capture the creature’s scales and gills are de¬ stroyed by fire but the clever medicos discover he has a land animal’s lung structure so a quick tracheotomy is performed and the sea monster is evoluted into an air-breathing thing. Things are going along fairly well until Mor¬ row gets jealous of Palmer’s atten¬ tions to his wife, Miss .Snowden, and kills the rival, wounding the creature as well. The latter es¬ capes and is last seen heading for the Pacific Ocean. The scripting by Arthur Ross is shadowy irt detailing some of the human relations and motivations but still holds together sufficiently in keeping interest centered on the main character. The trouping of the lead foursome, as well as that by Maurice Manson, James Rawley and others, comes off acceptably enough for this type of show under John Sherwood’s direction. Don Megowan does the creature on land while Ricou Browning is seen in the underwater shots. The William Alland production goes in for quite a bit of under¬ water footage in the earlier se¬ quences'during the hunt for the creature. Miss Snowden is the beauty among the male beasts in these. Lensing by Maury Gerts¬ man and special photography by Clifford Stine head the competent technical credits. Brog. assigned to truck driving duties for the Japs, and over a shared cigaret and an exchange of minor confidence, a bond develops be¬ tween Virginia McKenna and Peter Finch. He was formerly a cattle farmer in a district known as Alice Springs and he paints a picture of his home town which captures Miss McKenna’s imagination. After one meeting he promises them chicken for the next day’s lunch and when he’s charged with stealing the bird, the Jap officer orders him to be crucified. The order, however, is not fully canned out and after several hours nailed to a tree he is taken away and sent to hospital. Some years later at the end of the war, Miss Mc¬ Kenna hears that he survived the ordeal and follows him to Alice Springs for the inevitable reunion. The subject matter is necessarily grim, but wherever possible the script and Jack Lee’s direction en¬ deavor to infuse a touch of lighter relief. The focus, however, is al¬ most constantly on the trials of the women and children as they fight against famine and disease. Mainly, their Japanese conquerors are por¬ trayed unsympathetically; only the guard who escorts them is shown to have human instincts. From a technical standpoint, the film is beyond reproach. The act¬ ing is on a consistently high level, the direction is smooth and the camerawork is firstclass. In a big cast, in addition to the stars, there are tender performances by Marie Lohr, Renee Houston, Joan Ander¬ son and Maureen Swanson. Myro. Don Jnan (AUSTRIAN—COLOR) So-so telescoping of Mozart’s 'Don Giovanni’ with ballet added. Okay for some U.S. arties. A Town Like Alice (BRITISH) London, March 6. Rank. production and release. Stars Virginia McKenna and Peter Finch. Di¬ rected by Jack Lee. Screenplay, W. P. Lipscomb and Richard Mason; camera. Geoffrey Unsworth; editor, Sidney Havers; music, Matyas Seiber. At Odeon Theatre. Leicester Square, London. Run¬ ning time, 117 MINS. Jean Paget . Virginia McKenna Joe Harman . Peter Finch Japanese Sergeant . Takagi Captain Sugaya .Tran Van Khe Miss Horscfall . Jean Anderson Mrs. Dudley Frost . Marie Lohr Ellen . Maureen Swanson Ebbey . Renee Houston Airs. Frith . Nora Nicholson Mrs. Holland . John Fabian Ben . Vincent Ball British Sergeant .......... Tim Turner Captain Yanata ..Vu Ngoc Tuan Captain Takata .. Yamada Captain Nishi . Nakanishi KemDtei Sergeant .. Ikeda Solicitor . Geoffrey Keen Picturization .of incident from last war when Jap conquerors forced British women and chil¬ dren to march across Malaya; spotty returns. Times Films release of Akkord Film production Stars Cesare Danova, Jose£_ Meinrad, Evelyne Cormand; features Hans von Borsody, Lotte Tobisch, Jean Vinci, Marianne Schoenauer, Fred* Hennings, Senta Wengraf. Directed by H. W. Kolm- Veltee. Adaptation by Veltee, Prof. Alfred Uhl, Ernest Hfenthaler; camera (Agfa color), Willy Sohm-Hannes Fuchs; choreography, Dia s Luca. Sung by mem¬ bers of the Vienna State Opera. Danced by the Opera Ballet. Previewed in N.Y.^ Feb. 22, ’56. Running time, 89 MINS. This Actors Don Giovanni . Cesare Danova Leporello . Josef Meinrad Zerlina . Evelyne Cormand Masetto .Hans von Borsody Donna Elvira . Lotte Tobisch Don Ottavio .. Jean Vinci Donna Anna .Marianne Schoenauer Commendatore . Fred Hennings Elvira’s maid . Senta Wengraf The Singers Don Giovanni . Alfred 'Poell Leporello . Harald Progelhof Zerline . Annie Felbermayer Masetto . Walter Berry Donna Elvira . Hanna Loeser Don Ottavio.Hugo Meyer-Welfing Donna Anna . Annie Felbermayer Commendatore . Gottleb Frick (In German—English Subtitles)' Private’s Progress . (BRITISH) Life In the British army circa 1942, depicted in lighthearted vein. London, March 6 . British Lion release of a Charter Film (Boulting Brothers) production. Stars Richard Attenborough, Dennis Price, Terry-Thomas and Ian Carmichael. Di¬ rected by John Boulting, Screenplay, Frank Harvey, John Boulting; camera, Eric Cross; editor, Anthony Harvey; mu¬ sic, John Addison. At Rialto Theatre, London. Running time, 102 MINS. Cox .Richard Attenborough Bertram Tracepurcel .Dennis Price Major Hitchcock .Terry-Thomas Stanley Windrush Ian Carmichael Egan . Peter Jones Sgt. Sutton .AVilliam Hartnell Capt. Bootle .. .Thorley Walters Prudence Greenslade . Jill Adams Private Horrocks .. Ian Bannen Private George Blake ... .Victor JVIaddern Private Dai Jones .Kenneth Griffiths Sgt.-Maj. Gradwick . John barren Padre . George Coulouris Pat .Derrick De Marney Gerald .David King-Wood Windrush Senior .Miles Malleson A reconstruction of a true epi¬ sode in the last war but using fic¬ titious characters, “A Town Like Alice” can best be described as a worthy picture made more with an eye on prestige than the boxoffice. In good class situations, it should do fairly well, but generally speak¬ ing, can only hope for spotty re¬ turns. Filmed largely on location in Malaya and Australia, story is based on Neville Shute’s novel of the same name. Film describes how a handful of women and chil¬ dren were forced-marched through Malaya at the hands of the Jap¬ anese. For months on end they tramped from one camp to an¬ other, through swamp and storm, through dust and heat. Many died on the roadside, but the few sur¬ vivors eventually found refuge in a village after their guard had succumbed. y During the period of their cross¬ country march the women and kids are befriended by a couple of Aus¬ tralian P.O.W.’s who have been Somewhere along the line in “Don Juan,” director H. W. Kolm- Veltee should have made Up. his mind whether he wanted to have Mozart in his film or not. He failed to do. this, and the result is something of a handsome hodge¬ podge that serves as a dim re¬ minder that once there was a charming opera called “Don Gio¬ vanni.” “Don Juan,” acted out by one cast and sung by another, undoubt¬ edly represents a considerable in¬ vestment and in its more spec¬ tacular moments carries with it considerable visual impact. On the whole, it’s a disappointing film that’s neither here nor there and will need some concentrated sell¬ ing even in the arties since it is, in a manner of speaking, neither fish nor fowl; neither opera nor action-romance. Apart from that, the sound recording isn’t up to snuff. Story of “Don Juan,” essentially following the opera yarn, needs no retelling. In the lead role, Cesare Danova cuts a handsome figure, but goes in for some excessive pos¬ turing. Alfred Poell does, the sing¬ ing and his “Reich mir die Hand, mein Leben” is a delight. In the smaller parts, Josef Mein¬ rad is a comic Leporello; Evelyne Cormand a pretty Zerlina and Lotte Tobisch a commanding and sorrowful Donna Elvira. Among the biggest assets of the picture is its Agfa color lensing. Tint effects are dramatic, particu¬ larly in the final scene when the mad Don Juan perishes in the flames. Fencing bit looks staged but has some excitement. Party sequence incuding the dancing, as well as the final ballet, are done in good taste, and here again the vivid Agfa color hues are a help. Kolm-Veltee r s direction seems handicapped by the confusion of purposes but comes up with some good effects. Costumes are hand¬ some and some massive sets are used for scope. Film is aimed obviously below the highbrow level, but lands shy of its target. Herman Weinberg’s titles keep pace with the German. Hift. As a lighthearted satire on Brit¬ ish army life during the last war, “Private’s Progress” has moments of sheer joy based on real authen¬ ticity. But it is not content to rest on satire alone and introduces an unreal melodramatic adventure which fobs the story of much of its charm. In its present form it Should get by adequately enough in the home market; overseas pros¬ pects, particularly in America, are little more than modest. Up to the point where they con¬ fine themselves to situation come¬ dy, the Boulting Brothers rarely miss. But they obviously felt there must be some point to the plot and.) they’ve added an adventure tail¬ piece in which a War Office briga¬ dier invades enemy territory to bring back valuable art treasures to Britain. The basic comedy, however, de¬ rives from the depiction of, the typical misfit into the army way of life. Ian Carmichael is shown as the earnest University student who interrupts his studies to join the forces. He is a lamentable failure in training, fails his officer’s cadet course and then is wheedled into the worst habits of the army private. Many weaknesses of the yarn are surmounted by the -allround per¬ formances of the cast. Carmichael has the biggest single role and does remarkably well. Richard Atten¬ borough is in confident mood as a private Who soon gets to know his way around. Dennis Price gives a smooth study as the brig¬ adier and Terry-Thomas contri¬ butes an amusing- cameo of an army major. Only femme role of any . note is gracefully filled by Jill Adams. Expert British players take good care of the supporting parts. Technical credits are up to standard. Myro. porters are in the outer ■ party. There are ministries of Love and Thought, anti-sex leagues and rec¬ ord divisions where the speeches of the great are rewritten from time to time to suit the needs of contemporary events. The story is built around the illegal romance of two members of the outer party, Edmund O’Brien and Jan Sterling; they meet furtively, join the under¬ ground headed by Michael Red¬ grave (a big shot of the inner party) and are eventually caught and put through a brain-washing process. Orwell’s picture of the ultimate in totalitarian ruthlessness is faith¬ fully presented. Television “eyes” keep a day and night watch on party members in their homeland tv screens are to be found every¬ where, blurting out the latest re¬ ports on the endless wars with rival powers. The city is plastered with pesters warning that “Big Brother is watching you” and with slogans that “war is peace” and “freedom 'is slavery.” The atmo¬ sphere throughout is chilling ard forbidding. As Orwell, saw i\ there is no brave,, new world ahead. The characters are dressed in drab party uniforms and .are obliged to participate in compul¬ sory two-minute “hate” sessions, as well as in organized hate weeks. With such an atmosphere, it is a welcome relief to have the tender exchanges between 03rien and Jan Sterling. Their'eventual mur¬ der by party guards brings the pic¬ ture to an inconclusive end. Redgrave’s portrayal of the top party man is in his usual polished style, David Kossoff contributes a neat twist as a junk shop man who is actually in the pay of the thought police. Mervyn Johns and Ronan O’Casey, as two party mem¬ bers who are purged by Big Brother, and Carol Wolveridge, as a member of a kids’ espionage group, are best of the competent support. Michael Anderson has directed the piece officially and technical credits are up to stand¬ ard. * Myro. 1984 (BRITISH) George Orwell’s glimpse into the future emerges as a grim, depressing picture; obvious marquee values, but subject will demand special promotion. Si Tous Les Gars Du Monde • • . (If All The Guys In The World) (FRENCH) Paris, March 6 . Cinedis release of Ariane-Filmsonnr- Francinex production..' Directed by Chris- tian-Jaque. Screenplay, Jacques Rem.v; adaptation, H. G. Clouzot, Jean Ferry. Jaque; camera, Armand Thlrard; editor, Jacques Desagneaux; music,. Georges. Van Parys. With Andre Valmy, Jean Gaven. Marc Cassot, Georges Poujouly, Doudou- Babet. Helene Perdriere, Jean-Louis Trigntignant. At the Paris, Paris. Run¬ ning time, 110 MINS. Captain . Andre Valmy Joos . Jean Gaven Mohamed . Doudou-Babet Mate ... Marc Cassot Wife ... 1.Helene Perdiere Jean . Jean-Louis Trignignant Cabin boy ...». Georges Poujouly London, March 6 . Associated British-Pathe release of a Holiday (N. Peter Rathvon) production. Stars Michael Redgrave, Edmund O’Brien and Jan Sterling. Directed by-, Michael Anderson. Screenplay, William P. Templeton and Ralph Bettinson; cam¬ era, C. Pennington Richards; editor. Bill Lewthwaite; music, Malcolm Arnold. At Warner Theatre, London. Running time, 90 MINS. O’Connor . Michael Redgrave Winston Smith . Edmund O’Brien Julia . Jan Sterling Junk Shop Owner....David Kossoff Jones. Mervyn Johns Parsons . Donald Pleasence Selina Parsons . . Carol Wolveridge Outer Party Announcer... .Ernest Clark Inner Party Official. Patrick Allen Rutherford . Ronan O’Casey Outer Party Orators.Michael Ripper, Ewen Solon Prisoner . Kenneth Griffiths A sinister glimpse of the future as envisaged by George Orwell, “1984” is a grim, depressing pic¬ ture. It has little entertainment value in the accepted sense of the word, but it has a distinct curios¬ ity value which can be sparked by carefully planned promotional campaigns. A' BBC« teleplay of the book a ■ couple of seasons back provoked a horror reaction from the press, and a "repeat performance effec¬ tively emptied picture theatres. There is considerable doubt, how¬ ever, whether the film version will operate in a reverse trend. The production has substantial mar¬ quee strength, but the b.o. lure of the stars could be negatived by the subject-matter and word-of-mouth. The action takes place after the first atomic war, with the world divided into three major powers. London, the setting for the st.ory, is the capital of Oceania and is run by a ruthless Regime, the heads of which, are members of the inner party while their sup- Thread of this film uses the dedicated work of a group of radio hams to get needed serum to a fishing boat' (off . the banks of Norway) whose crew has been poisoned by bad meat. Call for help is picked up by an amateur opera¬ tor in Africa who gets in touch with one in Paris. Then the serum goes through Germany, the Rus¬ sian Zone, Norway and finally to the dying crew members. Suspense Us whipped up, but the film is primarily sketchy and lack of char¬ acterization throws the brunt of appeal on the chase aspects. This is well maintained. Pic shapes as an off beater of .interest for special spotting in the U.S. Shipping boat is French and the crew a rugged group of Normans who have taken on an Arab this trip. The sickness sets off feeling against the Arab. Film deftly .fills out the attempts of the various hams all over the world to bring aid to people they do not know. Here the cumulative effect is cheapened somewhat by dragging in obvious effects to try to build up,, a suspense which should have been inherent in the very nature of the drama. Serum gets into the Russian Zone into which an Ameri¬ can soldier, alerted by a buddy who is the boyfriend of the daugh¬ ter of the German amateur radio man, goes to reclaim it from a Polish airline stewardess. He is picked up by the Russians, but on confirmation about the need for the serum, the Russians rush it to the French. All turns out well as the Arab sailor swims out to reclaim the dropped serum and all are saved. The theme of human solidarity is commendable but needs a more direct and'sober treatment. How¬ ever, director Christian-Jaque has kept this moving 1 with the good chase melodramatic. Playing by a nameless cast is good and tech¬ nical credits are fine. This shapes as a heavily exploitable pic, and will have its chances on the U.S. market via its theme and treat¬ ment. Mosk.j