Variety (May 1956)

JFIOf REVIEWS P&Rigri Wednesday, May .2, 1956 The Man Who Knew Too Much (V’VISION—SONGS—COLOR) Hitchcock pulling suspense strings. Good thriller with James Stewart, Doris Day. Strong b.o. prognosis. Hollywood, May 1. Paramount release of Alfred Hitchcock production. Stars- James Stewart, Doris Day; features Brenda de Banzie, Bernard Miles, Ralph Truman, Daniel Gelin. Di¬ rected by Hitchcock. Screenplay, John Michael Hayes; based on story by Charles Bennett, D. B, Wyndham-Lewis; camera (Technicolor), Robert Burke; editor, George Tomasini; score, Bernard Herr¬ mann; “Storm Cloud Cantata” by Arthur Benjamin and Wyndham-Lewis; songs. Jay Livingston, Ray Evans. Previewed April 23, '56. Running time 119 MINS. Ben McKenna . Jam6s Stewart Jo McKenna . Doris Day Mrs. Drayton . Brenda de Banzie Mr. Drayton .. Bernard Miles Buchanan .Ralph Truman Louis Bernard .;... Daniel Gelin Ambassador . Mogens Wieth Val Parnell . Alan Mowbray Jan Peterson . Hillary Brooke Hank McKenna . Christopher Olsen Ricn—Assassin . Reggie Nalder Asst. Mgr. Richard WatLs ; Woburn . Noel Willrmm Helen Parnell . Alix Talton • Police Inspector . Yves Bralnville Cindy Fontaine . Carolyn Jones With Alfred Hitchcock pulling the suspense strings, “The Man Who Knew Too Much” is a good thriller of boxoffice potential. Star team of James Stewart'and Doris Day means wicket business, too. Playoff should be profitable. Hitchcock backstops his mystery in the colorful locales of Marra¬ kesh in French Morocco and in London. While drawing the foot¬ age out a bit long at 119 minutes, he still keeps suspense working at all times and gets strong perform¬ ances from the two stars and other cast members. Incidentally, Hitch¬ cock did the same pic under the same title for Gaumont-British back in 1935. However, VistaVis- ion, Technicolor and plot updating give it a brand spanking new look for present-day audiences. Stewart ably carries out his title duties—he is a doctor vacationing in Marrakesh with his wife and young son. When he witnesses a murder and learns of an assassina¬ tion scheduled to take place in London, the boy is kidnapped by the plotters to keep the medico’s mouth shut. Stewart's characterization is matched by the dramatic work con¬ tributed by Miss Day as his wife. Both draw vivid portraits of tor¬ tured parents when their son is kidnapped.. Additionally, Miss Day has two Jay Livingston-Ray Evans tunes to sing, “Whatever Will Be” and “We’ll Love Again/ which are used storywise and not just dropped into the plot. Same goes for “Storm Cloud Cantata” by Ar¬ thur Benjamin and D. B. Wynd¬ ham-Lewis, conducted by Bernard Herrmann in an Albert Hall scene in which the assassination is at¬ tempted. Young Christopher Olsen plays the son naturally and appealingly. Scoring strongly as the kidnappers and plotters are .Brenda de Banzie and Bernard Miles. Ralph Truman. Scotland Yard bfficial; Daniel Gelin, the secret agent who is mur¬ dered; Reggie Malder, the assassin; Yves Brainville and Mogens Wieth are others doing well. Alan Mow¬ bray, Hillary Brooke, Alix Talton and Carolyn Jones contribute an amusing sequence as London friends who make things difficult for the doctor’s search for his son. John Michael Hayes’s dialog stands out in the good script Re fashioned from a story by Charles Bennett and D. B. Wyndham-Lewis. Color lensing. by Robert Burke is another entertainment factor in the film and the background score by Bernard Herrmann abets the sus¬ pense unfoldment. Brog. Hilda Crane (COLOR-C’SCOPE). Soap opera pitched to wide¬ screen and femme audience. Indifferent b.o. outlook marks Herbert Swope Jr. debut as film producer. 20th-Fox release of Herbert B. Swope "l- Production. Stars Jean Simmons, Guy Madison, Jean Pierre Aumont; features Judith Evelyn, Evelyn Varden, Pecgy Knudscn, Gregg Palmer, Richard Garrick, Jim Hayward. Directed by Philip Dunne. Screenplay, Dunne; based on play by Samson Itaphaelson; camera (Color by DcLuxe), Joe MacDonald; editor. David David Raksin. Pre- Apr 1 25 ' 56 * Running time, »7 . Jean Simmons ®“ rn , s . ... Guy Madison Lisle....Jean Pierre Aumont Jj£?- Judith Evelyn MT3. Bums .. Evelvn Varrl^n N.11 Bromley .. .„ Gregg Palmer Mr Richard Garrick . . Jun Hayward Cab Driver . Sarnlee" Marriot Ga^rer .. Don Shelton £,{**<* . Helen Mayon ?, I . ai ^ a . • .. Blossom Rock Minister .Jay Jostyn £ince this kind of weepy, ago¬ nized romance has paid off hand¬ somely, for powdered soap flakes over the years, there’s perhaps, no. i doubting “Hilda Crane” aa an en¬ try that’ll appeal to the femme sector of the audience, though quality-wise it leaves a lot to wish for. If* initial venture of an alumnus of CBS radio and video, Herbert B. Swope Jr, serving as* film producer. In color and Cinemascope, pic¬ ture has a slick veneer and an at¬ tractive cast. Samson Raphaelson’s old play, offers only sporadic ex¬ citement in a sea of dialog and has been adapted and directed by Philip Dunne with a modified im¬ agination. The so-called Dunne “touch,” which has been in evi¬ dence in virtually every picture he's made, is unhappily and strangely lacking in this one. Jean Simmons, looking attractive as a neurotic young woman with a “past” who returns to her small hometown determined to “con¬ form,” gives an okay performance that only occasionally catches a sense, of realism. She’s at her best when slightly tipsy. On the whole it's difficult to extend her much sympathy. Also, her costumes aren’t always flattering. As in the unsuccessful play, the treatment never comes off on the screen. Just about every trite sit¬ uation in the book has been thrown into the script, and Miss Simnjons suffers, through a succession of melodramatic situations from be¬ ing discovered by her husband in another man’s hotelroom to at¬ tempting suicide. If her behavior on the whole is strange, it’s all very conveniently explained by the fact that her mother didn’t love her as a child. None of the characters in “Hilda Crane” are particularly likable of believable. There’s Guy Madison as the husband with guilt feeling about his late mother; Jean Pierre Aumont as a French wolf who weaves some sort of strange spell on Miss Simmons; Judith Evelyn as Mrs. Crane, who disapproves of her daughter’s way of life, and Evelyn Varden as Madison’s moth¬ er who wants to stop the marriage. They all try hard without being able to contribute more than just superficial portraits. Scene where Miss Varden offers Miss Simmons $50,000 not to go through with the marriage borders on farce. Miss Varden altogether can’t make up her mind whether she’s there as a heavy or for com¬ edy relief. Peggy Knudsen as Miss Simmons’ friend is fresh and cute. Even nonsophisticates may won¬ der why 20th bothered -making “Hilda Crane." Yet,.as a repeat on a long line of dated melodramas, it may be appreciated. Some may find Miss Simmons’ soul-searing suffering an inducement to wet their handkerchiefs, which rates as enjoyment, too. Dunne’s script, surcharged with frustrated romance in the Helen Trent tradition, is on the soap op¬ era level and the direction matches it. De Luxe color is good and some of the sets are impressive. Joe MacDonald's lensing keeps in mind that this is a tour-de-fojrce for Miss Simmons whose closeups appear frequently. Hift. Revolt of Mamie Stover (C’SCOPE—SONGS—COLOR) Commercial film about a com¬ mercial dame in Hawaii. Hollywood, May 1, 20th-Fox release of Buddy Adler pro¬ duction. Stars Jane Russell, Richard Egan, Joan Leslie; features Agnes Moore- head, Jorja Curtrlght, Michael Pate, Richard Coogan, Alan Reed, Eddie Fire¬ stone, Jean Wllles, Leon Lontok. Di¬ rected by Raoul Walsh. Screenplay, Syd¬ ney Boehm; from the novel by William Bradford Huie; camera (De Luxe Color), Leo Tover; editor, Louis Loeffler; music, Hugo Friedhofer, conducted by Lionel Newman; songs, Tony Todaro, Mary Johnston, and Paul Francis Webster* Sammy Fain. Previewed April 3* Running time, 93 MINS. Mamie Stover . Jane Russell Jim . Richax-d Egan Annalee . Jean Leslie Bertha Parchman.Agnes Moorehead Jackie . Jorja Curtright Harry Adkins . Michael Pate Capt. Eldon Sumac.Richard Coogan Capt. Gorccki . Alan Reed Tarzan . Eddie Firestone Gladys . Joan Willes Akl . Leon Lontok Zelda . Kathy Marlowe Peaches . Margia Dean Bartender . Jack Mather Hackett . Boyd “Red” Morgan Henry . John Halloran Hula Dancers... .Naida Lani. Anita Dano Dance Hall Girls .Dorothy Gordon, Irene Bolton, Merry Townsend, Claire James, Sally Jo Todd, Margarita Camacho 2nd Bartender. Carl Harbaugh Photographer . Richard Collier Hawaiian Cop . Max Reid Hawaiian Waitress... .Mary Lou Clifford Waitress . Eugenia Paul Hostess . Janan Hart JLe Couturier Re Ces ' Raines (FRENCH) , Paris. May 1. Cincdis release of Cite Film produc¬ tion. Stars Fernandel, Suzy Delair. Di¬ rected by Jean Boyer.' Screenplay, Boyer, Gerard Carller, Serge Veber. Jean Manse; camera, Charles Suln; editor, Christian At 1>arl3j Raris. Running time "0 MINS* Fernand.Fernandel Adrelenne .Suzy Delair .Francolse Fabian .Robert Pizani .Berval Model Count Tailor Since the unprecedented success of Fernandel in “The Sheep Has Five Legs,” U. S. distribs have been looking for the likely followup. This does not seem to be It. Tailormade to suit the comic’s tal¬ ents, it casts him as a cutter who inherits an haute couture establish¬ ment and runs it without his jeal¬ ous wife’s knowledge. Basically a bedroom farce, this leads to squab¬ bles as both take up with others. However, face to face in a nitery they realize it is still each other they want and ditch their respec¬ tive suitors to get together again. Fernandel and Suzy Delair bur¬ lesque their roles of husband and wife while a few comic scenes ensue Plenty of pulchritude is trotted out during the model se¬ quences. However, the clowning* and heavyhanded swipes at Gallic insouciance and at the gayer ele¬ ment in couture circles are rather obvious. On the Fernandel mon- K*ker, this could be of value in the U. S. for dualer spots but it lacks the more versatile and unusual comic touches needed to make this an arty possibility. Lensing. di¬ rection, editing are just passable. .. Mps/ff. Even with a Production Code cleanup, “The Revolt of Mamie Stover” still has its naughty impli¬ cations. Therein lies its prospects. Jane Russell is Mamie and cus¬ tomers will make of it what they will. It’s a commercial pic about a commercial lady. It was no easy matter for scripter Sydney Boehm to tone down Wil¬ liam Bradford Huie’s outspoken novel' about a gal who applied assembly-line, time-card methods to the oldest profession. The story compromises that result are okay. Robust direction by Raoul Walsh keeps the Buddy Adler production on a generally entertaining road. The production is attractively glossed in De Luxe Color and CinemaScope, showing off cast and the lush island locales effectively under Leo Tover’s lensing. After Mamie’s booted out of San Francisco for working a confidence game, she hies herself to Honolulu where a dance hostess job awaits. So does a fortune, because Mamie knows how to make her curves grind out dollars. She becomes the I belle of the islands. She adds fur- | ther to the fortune that is in the making by buying real estate un¬ loaded cheaply in the panic that followed Pearl Harbor. That obses¬ sion for money doesn’t get 1 her love, though, and the compromise ending finds her giving the coin away to return to Mississippi, the state of her origin. Physically and acting-wise, the Mamie character is a breeze for Miss Russell. Costar Richard Egan, socialite-writer who meets Mamie aboardship enroutte to the islands and comes to love her, but not enough to forgive her money drive and the way she earns it, does his work well, too, as does Joan Les¬ lie, in briefly as the society girl who loves him. Agnes Moorehead is a standout as the tough dancehall proprietor who makes her girls toe the line. Also good are Jorja Curtright, Mamie’s friend; Michael Pate, sad¬ ist enforcer of Miss Moorehead’s rules; Richard Coogan, an officer on the make for Mamie; Eddie Firestone, pint-sized sailor in a running gag through the 'footage; Alan Reed, Jean Willes, Leon Lon¬ tok and others. Hugo Friedhofer’s score is ex¬ cellent, and there are two good songs, “If You Wanna .See Mamie Tonight” by Paul Francis Webster and Sammy Fain, and “Keep Your Eyes on the Hands” by Tony To¬ daro and Mary Johnston. Former number has been RCA-recorded by the Ames Brothers. Editing, are direction and other technical assists are firstrate, Brog. awhile, “Star of India” could be mistaken for a spoof of other mo¬ tion pictures about 18th century cavaliers and bosomy heroines— a la “Fan Fan the Tulip”— but at the windup there’s no doubt that this Cornel Wilde-Jean Wallace'co- starrer has to be taken straight. The Herbert Dalmas script doesn’t have anything to say on its hackneyed theme. Wilde, hip- booted, lace-frocked, has his for¬ tune filched and later redeemed. Miss Wallace, as the doll in the case, demonstrates neck-bending cleavage, an innocent map and a steel-trap mind. It. turns out that she’s a spy for Holland, living among the even-then decadent French nobility. With Wilde tight- lipped and troubled in his search for an emerald known as the Star of India, and Miss Wallace perfect¬ ly wooden as the femme fatale, it’s all very square. The villain, essayed by Herbert Lorn, makes the most sense. He robs. Wilde of his house, and fortune, with the full knowledge and consent of the self-indulgent Louis XIV, when the victim is away fighting for France, Lom has an odd love for Siamese cats, pre¬ ferring them to women and in a character portrayal bordering on the psychotic he manages an arch charm that contributes the pic¬ ture’s one characterization dimen¬ sion. Chase scenes across the country¬ side (it might, have been either France or Italy) are beautiful and* the movement of the horses. and actors are nicely conceived though the color sometimes becomes a mite fuzzy. - Muir Matnleson’s musical score is workaday, exceeding the sentimental scenes in sentimental¬ ity and the action in its own brand of symphonic violence. Art. The Maverick Queen (NATURAMA—SONG—COLOR) Introing Republic’s anamor- phic system. Acceptable Zane Grey western feature for reg¬ ular outdoor playoffs. While the City Sleeps Modernized “stop the press” newspaper yarn; intelligence and authenticity plus strong names spell audience favor,, , Hollywood, May 1. fin^ K< cfot lea l. e of a * B S rt Frl edlob Produc- dei"s S Thn m ?« an Mi^ 1 i!; d u eWS A ,9 eorRe San- aeis, Thomas Mitchpll, Sally Forrest Rhonda Fleming, Upward Duff, Vincent Barrymore Jr., James Craig n^J d £ , Lupm T 0: wit h Robert Warwick. ?nn Ph M« ter i& H rry „ Blake ’ Edward Hin- ton. Mae Marsh, Sandy White. Celia P?orin y ' rt P ^ n erVladlmi r Soltoloff, Produced ,by Bert Frledlob. Directed by from L Ch^ Scr e6nplay, Casey Robinson if™, Charles Einstein novel; camera, Ernest Laszlo; editor. Gene Fowler Jr : 5 urk ? Gilbert. Previewed April 2b, 1956. Running time, 99 MINS. Mobley ....... Dana Andrews . Rhonda Fleming v ...• Geol ’Se Sanders Kyne . Vincent Price ... Thomas M'itclvell Kaufman . Howard Duff ftritzer . James Craig Manners .John Barrymore Jr. Amos Kyne . Robert Warwick Meade . ... Ralph Peters Police Sergeant . l.avry BJake D'Leary ........ Edward I-I,nton Mrs. Manners . Mae Marsh JuditR Fenton .i. Sandy White Miss Dodd . Celia Lnvsky Bartender . Pitt Herbert George Pilski . Vladimir Soktloff Hollywood, April 30. Republic release of Joe Kane produc¬ tion. Stars Barbara Stanwyck, Barry Sul- livan, Scott Brady, Mary Murphy; fea¬ tures Wallace Ford, Howard Petrie, Jim Davis, Emile Meyer, Walter Sande. Di¬ rected by Kane. Screenplay, Kenneth Garnet, DeVallon Scott; based on the Zane Grey novel; camera (TruColor), Jack Marta; editor, Richard L. Van Enger; score, Victor Young; song, Ned Washing¬ ton, Young; sung by Jonl James. Pre- vjew|d April 27, '56. Running time, 90 Kit Banion .Barbara Stanwyck ... Barry Sullivan Sundance . Scott Brady Lucy Lee . Mary Murphy ... Wallace JF^rd Butch Cassidy.Howard Petrie A Stranger . Jim Davis Malone .. Emile Meyer Sheriff Wilson .... Walter Sande 1 Mancie . George Keymas Loudmouth . John Doucette. Peter Gather . Taylor Holmes McMillian .... Pierre Watkin Star of India Featherweight script and wooden acting, makes indiffer¬ ent secondf feature. United Artists release of Raymond Stross production. Stars Cornel Wilde, Jean Wallace; features Herbert Lom. Yvonne Sanson. Directed by Arthur Lu- bin. Screenplay, Herbert Dalmas; camera, C. Pennington Richards; editor, Russell Lloyd; music. Muir Mathieson. Previewed April 25, '56. Running time, >4 MINS. Pierre .Cornel Wilde Katrina ..Jean Wallace Narbonne .. ...Herbert Lom Madame de Montcspair-.. .Yvonne Sanson Emile ..John Slater Van Horst .Walter Rilla Louis XIV .Basil Sydney. Captain ..Arnold Bell In coloi 4 by Technicolor and scenery by Europe,! producer Ray¬ mond S.trossv via a tieup with Rome’s Titanus Studios, has manu¬ factured a. swashbuckler that buc- . .„ UW1 kies Into unintentional giggles. For [ technical support is good.. Brog. Republic introduces its anariior- phic process, trade-named Natu¬ rama, effectively with this western feature. It shapes as acceptable fare for the regular outdoor mar¬ ket and should give a good account of itself in those playdates. As for Naturama, it’s excellent, and the 2:35 to 1 aspect ratio makes it adaptable to present squeezelens projection installations in any theatre. The familiar Zane Grey story, scripted by Kenneth Garnet and DeVallon Scott, was produced and directed on Colorado locations by Joe Hane, with the scenery coming across as a visual asset to the standard western action that en¬ sues. Barbara Stanwyck, as the wicked lady of the title; Barry Sul¬ livan, the Pinkerton man who poses as a baddie to break up the Wild Bunch outlaw gang; Scott Brady, as Sundance, early-west outlaw, and Mary Murphy, or¬ phaned owner of a ranch, answer up to all requirements of the star¬ ring part& and do their work well. The frontier drama moves along at a good action clip as directed by Kane with, as noted, the rug¬ gedly beautiful location sites doing their share to keep up interest in the plot unfoldment. The title tune 1 , by Ned Washington and Vic¬ tor Young, is effectively sung by Joni James, first behind the title cards and later as a story bridge. The Grey story tells of a South¬ ern-born woman who comes to the west and makes a fortune tieing in with outlaws while operating a hotel-saloon. She’s doing okay until she falls for an. undercover Pin¬ kerton. man and sacrifices her life to save his so he can settle down with a pretty orphan who owns a struggling ranch. Wallace Ford, the ranch owner’s double-crossing cook; Howard Petrie, leader of the Wild Bunch; Jim Davis, the real outlaw whose identity the Pinker- ton man assumes; Emile Meyer, Walter Sande, John Doucette and others provide satisfactory charac¬ terizations in the outdoor plot. Jack Marta uses his TruColor cameras expertly and the other The old-fashioned[ “stop the presses” newspaper yarn has been updated with intelligence and con¬ siderable authenticity, and further brightened with crisp dialog from the pen of Casey Robinson. Presence of an‘“all-star” ca$t of 10 good marquee names also helps. I Robinson’s, screen adaptation of 1 of Charles Einstein’s novel weaves several story lines together. Among them are the murderous activities of a homicidal maniac, played by John Barrymore Jr.; a “Patterns”- like scramble for power among the top brass of a newspaper empire, after the top man dies; and a good- natured love story between the paper’s Pulitzer-prize winning top reporter, played by Dana Andrews, and Sally Forrest, the secretary of one of the contestants. When the empire’s chieftain, played by Robert Warwick, dies, his insecure playboy son, enacted by Vincent Price, decides ta set up a new top, exec post for grabs. Con¬ tenders are three; Tom Mitchell, the canny, tdugh editor of the key¬ stone paper; George Sanders, suave and ruthless head of the em¬ pire’s wire service; and James Craig, dapper photo bureau chief, who’s also playing extra-curricular footsie with the boss’ wife, Rhonda Fleming. Price lets it be known.that the one to crack the wave of murders being committed by Barrymore gets the job. Sanders and Mitchell commence heartily to cut each other’s throats, while Craig puts the pressure, literally and figura¬ tively, on Miss Fleming. Mitchell enlists Andrews’ help and Andrews, in turn, enlists boy¬ hood buddy Howard Duff, a shrewd police lieutenant. Andrews and Duff use Miss Forrest as bait, but Barrymore instead almost murders Miss Fleming in what used to be described as a “love nest,” across the hall from Miss Forrest’s apart¬ ment, before he's caught. Mitchell sends Ida Lupino, San¬ ders’ opportunistic g-f. and the paper’s sob sister, to interview the intended victim, and she spots the real identity. With, this, Price weakly gives Craig the top spot to quiet the -scandal. Andrews tells him off and hies off to a honey¬ moon with Miss Forrest, where¬ upon Price reverses himself, puts Mitchell in the top spot, and sends Craig off on a worldwide “good¬ will” tour. At pic’s end, he’s pag¬ ing Andrews at the honeymoon hideaway to make him mans ding editor, hut Andrews, in a twist on “The Front Page,” muffles the phone to consummate his marriage. Plot intricacies are -deftly inter¬ woven, with director Fritz Lang doing a topflight job of balancing the ingredients without dragging the pace. Sex is treated humor¬ ously and lightly, with patches of sophisticated dialog highlight¬ ing the mutual yearnings of Miss Forrest and Andrews, as well as Miss Lupino’s harder-boiled ap¬ proach, Funniest scene in pic has Miss Lupino attempt to seduce a drunken and half-willing Andrews, on Sanders’ behest. Toplining cast works well to¬ gether, with each In turn getting his inning. All are to be com- 1 * mended equally for skillful acting, but Banymore, perhaps hampered by comparatively less footage, re¬ lies too muqh on eye-rolling his¬ trionics to get hirf dramatic points across. In,, bits, Warwick, Ralph Peters, Mae Marsh, Sandy White and Vladimir Sokoloff are espe¬ cially praiseworthy. Lensing of Ernest LaszTo is of fine quality throughout arid Her- schel Burke Gilbert's music is a definite • asset. All' other technical credits show - careful craftsman¬ ship. Kove.