Variety (September 1956)

not lEvmwi ' Wednesday* S^rteinber ^ £956 The Vagabond King (MUSXCAI^ COfcOK >V*VISION) Lavish remake of venerable Rudolf FHmli operetta a Techni- colorful spectacular. ; Paramount release of Pat Duggan pro- ’ ductlon. Stars Kathryn Grayson* Oreste. Bita Moreno, Sir Cedric Hordwicke, Wal¬ ter Hampden. Directed by Michael Curtiz. Screenplay, Ken Englund 8c Noel Langley, from the operetta by Rudolf Friml (music) and William H. Post & Brian. Hooker (book and lyrics); additional songs by Friml and Johnny Burke; cam¬ era (Technicolor), Robert Burks; special effects, John P. Fulton; asst, director, William Me Garry; costumes, Mary Grant; score, Victor Young; arrangements, Charles Henderson, Leo Shuken, Gus Levene,. Albert Sertdrey; dances* Hanya Holm. Tradeghown .N.Y., Aug. 30, '56. Running' tlihe, 0g MINS. Catherine De Vaucelles. .Kathryn Grayson Francois Villoh . Oreste Huguette ... Rita Moreno Tristan . Sir Cedric Hardwlcke King Louis XI-. Walter Hampden Thibault .. . .. Leslie Nielsen Rene ... William Prince Ferrebouc .. Jack Lord Jacques .. *<s ... Billy Vine Colin :.Harry McNaughton Laughing Mttrgot.Florence Sundstrom Margaret . Lucie Lancaster The Scar ..... Raymond Bramley Gen. Antoine De Chabannes , Gregory Morton Quicksilver . Richard Tone Bishop of Paris & Turin.. Ralph 9umpter Burgundy .G. Thomas Duggan -JWajordomo... Gavin Gordon . Sergeant ,.. Richard Shannon 1st Soldier ..-... Larry Pennell ' Ladies in Waiting.......Frances Lansing, Jeanette Miller Duke of Normandy.. Joel Ashley * Duke of Anjou .;.Ralph Clanton Duke of Bourbon.\ Gordon Mills One Eye ... Sam Schwartz Lulu :. Phyllis Newman Blanche Nancy Bajer Belle . ... ...Rita Maria Tanno Jehan *The Hook*. . David Nillo Jeannie Albie Gaye lady,in. Waiting.. Laura Raynair Specialty Dancers....... David Nillo, _ ^ Dolores Starr Jehan (The. Wolf) . Slim Gaut "The Vagabond King” -is a hardy perennial whose basic production goes back to 1902 when Justin Mc¬ Carthy's "If I Were King” bowed in London .(jyith George Alexander as Francois Villon) but it was not until 1925 that the William H. Post-Brian Hooker libretto to Ru¬ dolf Friml’s durable score debuted on Broadway. It has been remade a couple of .times but the latest version—"in Technicolor and Vis- taVision”—is the lushest recrea¬ tion yet. It's an eyefilling - blue- chip investiture which, if the cus¬ tomers take it in proper stride, should acquit itself profitably at the boxoffice. There are spots, however, where in this sardonic age and idiom the gusto of Villon's derring-do may strike a disturbing note. By and large, however, the 15th century French;, romance, with its pageantry, splendor, royal intrigue, ducal treachery, regal wisdom, courtly graciousness and vox pop vagabondia; adds up to excellent escapist fare. A tiptop cast is on a par with, the . ultra production. Its arrest¬ ing, richly.... landscaped exteriors arid palatial court appointments Contrast to the fluid mob scenes as director Mike Curtiz has handled ' them. These include the 'rowdy tavern scenes, the military on- - slaught, not to mention Hanya Holm’-s skillful integration of her ballets. This 1 marks hef* Holly¬ wood debut. “Someday,” "Huguette's ‘ Waltz,” "Only A Rose” and “Song of the Vagabonds” have been re- tained. from the original score- durable standards all—and Friml reaffirms his skill as a composer . With a. set of excellent new songs, lyrics by Johnny Burke. Titles are This Same Heart,” "Bon Jour r ” "Viva La You,” "Comparisons” and “Watch Out for the Devil;' the latter incidentally keying one pt the more imaginative ballets by Miss Holm. There is also an inter¬ polation titled 'Lord, I'm Glad I Know Thee” "by V. Giovane and -K. C. Rogan, both, probably phoney bylines: "Rogan” is one* of* Burke's noms-de-plume. Victor Young* dirf the okay musi¬ cal score. Kathryn Grayson and Oreste have the romantic leads. Miss Grayson is too wellknown for ex¬ traneous encomiums; she is a looker and a soprano of fine cali¬ bre, ideal for the- role of Lady Catherine. The mono-billed Oreste is a European import, an opera tenor of exceeding skill and trained voice and,, matching Miss Grayson's pulchritudinous 4 endow¬ ments, also a highly personable gent. • He takes his place with Dennis King, who created the Broadway role at the old Casino on Broadway and who also sang it in Par’s first filmusical version in 1930. (The basic story was re¬ made once more in 1938 with Ron¬ ald Colman in the title role, Frances Dee in the Grayson part, and Basil Rathbone as the canny, not unkindly King Louis XI, well played here by Walter Hampden. Prestpn Sturges wrote that ver¬ sion, directed by Frank Lloyd). Rita Moreno is capital' as Huguette, # loyal tavern wench, who regards jherself as 1 Villon's "girl,” playing the part with the heces- ’ Sary verve- and spirit in the dra¬ matic scenes; and also contribut¬ ing an okay Mnf-and?danc« Itint (tilt now standard "Huguette's YTaltz”) In this rogues' hangout wher#. tho ox-riitery performer is cast as dual-duty entertainer and barmaid. This was the role Lil¬ lian Roth played In the first Par version. (Jane Carroll ' Created it on Broadway) when Jeanette Mac¬ Donald had the femme lead of Catherine De Vaucelles. Miss Mo¬ reno endows, her characterization! with" greater spitfire values. Sir Cedric Hardwicke contrib¬ utes another good, personation as the crusty but loyal Tristan Cheva¬ lier,, councillor to the King. Leslie Nielsen is effective as the traitor¬ ous provost marshal; Billy Vine and Harry-McNaughton, from the ntteries and the varieties, -make their roguish roles hold up as pals of Oreste'a Francois Villon; Greg¬ ory Morton is the disloyal general; G. Thomas Duggan is the Burgun¬ dian rebel duke; Florence Sund¬ strom is standout in her robust role, David Nillo and Dolores Starr _„. .. . are the terp specialists whom Miss «*». Strieker .. Holrh gives their opportunities in'®**- Peters ........... t .. Dana Horne the court banquet "theatre." Jack Lord, from legit, also makes his bit stand up as a loyal king’s officer. " , Ken Englund And Noel Lang fashioned, a colorful script, /re¬ plete with the flowery dialog tp match the "poet of the streets” characteriaztion of Frapcois Vil¬ lon. The turns of phraseology, are frequently barbed with metaphors of compelling flights Vpf language. Oreste gives credence in these lit¬ erary ripostes to matchNiis basic characterization as "the king of the vagabonds.” It is in theSeNprose passages, that the now datefi der¬ ring-do story-line treads a fine line in its possible miscued audience reaction. .. , ^ .. ’ Director Michael Curtiz and pro¬ duce? Pat Duggan handled them charges well, with no cheating op the bankroll. It’s lavish in everyU sense. The corps of extras noiM to mention the rolling livestock for ' the "invasion” along with the costly costuming—undoubtedly au¬ thentic to the 15th century of Pans and Burgundy to the last degree— gives this latest remake of The Vagabond King” beaucoup^ size and stature, gilt and glamour—in¬ gredients that defy any television road company cinematic entertain¬ ment. This is another biggie for the new selling season. Abel. Lust lor I4fe IC'SCOPE—COLOR) Class production, interesthitr, but long and wordy. Properly set for art theatre showcasing. Metro release of John Houseman pro¬ duction. Stars K&k Douglas; features Anthony Quinn, James Donald, Pamela Brown, Everett Sloane# Niall MacGinnis# Noel Purcell, Henry DanifclL* Madge Ken¬ nedy. Directed, by Vincente Mineili. Screenplay, Norman Corwin from the novel by Irving Stone; camera (Metro- color), F. A. Young arid Russell Harlan; editor,. Adrienne Fazan; music, Miklos Rozsa. Tradeshown N.Y.# Aug. 30,.' *50. Running time, 122 MINS. . , Vincent Van Gogh...Kirk Douglas Paul. Gauguin ..Anthony Quinn, Theo Van Gogh . James Donald Christine . Pamela Brown Dr. Cachet .....Everett Sloane Roulin .. i . Niall. MacGinnis Anton Mauve.. Noel Purcell Theodorus- Van Gogh.HenreDanlell Annfc Cornelia Van Gogh. .Madge Kennedy Willemlen ......... Jill Bennett .Dr, Peyrpn .. Lionel. Jeffrie^ Dr. Bosmah..... Laurence• Naismith Colbert .. Eric Pohlmani>< Kay .,. Jeanette Sterke Johanna . Toni Gerry Rev. Strieker .. Wilton Graff Commissioner • Van Den Berghc Noel Hewlett Commissioner De Smet.... .Ronald Adam Ducrucq .John Ruddock Rachel ... Julie Robinson Camille Pissarro..... David Leonard Emrie-'Bernard . William Phlppd Seurat .David Bond Pere Tanguy .Frank Pferis Waiter ... Jay Adler Adeline Ravoux .. Laurence Badie Strange Intruder (SONG) Familiar . cast • in fair meller for program bookings. Hollywood, Sept. 4. Allied Artists release of Lindsley Par¬ sons production. StaTs Edmund Purdorti, Ida Lupino# Ann. Harding* Jacques Ber¬ gerac. Directed by Irving Rapper. Screen¬ play, David Evans, Warren Douglas; from novel by Helen Fowler; edltqr^ Maurice Wright; music, Paul Dunlap; song. Car- roll Coates. Previewed Aug. 28, *56. Run¬ ning time, 12 MINS. Paul Quentin .. Edmund Purdom Alice .... Ida Lupino Mary Carmichael.Anri Harding Howard ..Jacques Bergerac Meg .. Gloria Talbott James Carmichael.Carl Benton Reid Parry ./... Douglas Kenriedy Adrian .,.. Donald Murphy Violet . Ruby Goodwin Libby . Mimi Gibson Johnny ... Eric Anderson Joady ......*. Marjorie Bennett •A familiar cast will do its.part in carrying “Strange Intruder” through. its. program bookings. Playing is generally competent, but a story that doesn’t project much convection results jn only fair entertainment for release pur¬ poses. Edmund Purdom plays a battle- fatigued G. I. with a strange mis¬ sion. He had promised a now- dead war buddy to kill the latter’s two kids so that an unfaithful wife and her lover cannot have them. The script. by David Evans and Warren Douglas, from the novel by Helen Fowler, isn’t too con¬ vincing in working out the prob¬ lem and Irving Rapper's direction unfolds the plot at a pace too slow for much suspense. The mission is never accom¬ plished because in meeting the wife, Ida Lupino, and the dead buddy's family, Purdom finds miti¬ gating circumstances, as well as affection, and manages to recover from* his psychiatric trouble that had sent him on the strange er¬ rand. Purdom and Miss Lupino handle their roles acceptably, as do Ann Harding, the mother; Carl Bentpn Reid, the father, and .Gloria Talbott,- -the sister. Jacques Ber¬ gerac^ appears as the blackmailing ex-lqver who had. tempted Miss Lupino In her loneliness. Douglas I&rimedy, family attorney; Donald Murphy, the war,buddy who exacts ’the crazy promise from Purdom, and others are okay. ' Lindsley Parsons' production has good technical assists from Ernest Haller’s, lerising, editing'’ arid set¬ tings. Paul Dunlap. contributes a sentimentally themed Score and Carroll Coates cleffed^'the tune, "Bad ‘for Each Other" heard via a record. • Brog . Metro’s decision to launch "Lust for Life” in specialty, or art, thea¬ tres is an immediately understand¬ able one. For this study of Vincent Van Gogh will need time to catch on, being without the elements of action and pace that can attract an audience right off. John Houseman has provided a tpp-calibre production setting and Norman Corwin contributed a highly literate script. But this is a slow-moving picture whose only action is in the dialog itself. Basi¬ cally a faithful, portrait of Van Gogh, "Lust for Life” is nonethe¬ less unexciting. It misses out nn [^conveying the color and entertain¬ ment of the original Irving Stone novel. It’s a tragic recap that Stone penned, of course, but still there was no absence of amusing incidents.' . , Lensed in Holland and France, “Lust for Life”, will have its ap¬ peal, initially at least, for the soph¬ isticates. It’s largely conversation plus expert tint photography, and both on a high level. Manning the cameras under Vincent Mineili’? direction, F. A. Young and Rtissell Harlan devote liberal amounts of footage to Van Gogh’s originals; these being interworked with story points as they are registered." ■ Kirk Douglas plays the title role with undeniable understanding of the artist He’s a competent per¬ former all the way, conveying tm frustrations which beset Van Gogh in his quest for knowledge of life and the approach to putting this on canvas.. But somehow the measure of sympathy that, should be engen¬ dered for .the genius* who was to turn insane is not realized. To draw a comparison, Jose Ferrer in "Moulin Rouge” made Tdillouse- Lautrec "closer” |p the audience. Anthony Quinn as Paul Gauchin, James Donald as Theo Van Gogh, and Pamela Brown, Everett Sloane, Niall MacGinnis, Noel Purcell, Henry Daniel! and Madge Kennedy contribute uniformly .competent performances. ’ The color, billed as Metrocoloi!, is outstanding throughout,^ This, along with the Cinemascope pho¬ tography, arid the vivid settings place the stamp of quality on the Houseman production. Music and technical work are fine too. But this telling of the story of Vincent Van Gogh—of his struggles In Hol¬ land and southern France, of! his impoverishment . ’and ’* handouts from'a kindly brother, of the men¬ tal distress that impels'him to cut off an ear and, finally his death, is not the stimulating, pictur'e, it should have been. Cutting is un¬ usually sharp but even this doesn't. mer which* may be exploited for satisfactory returns, particularly With the juve trade. Film covers the subject thoroughly, simultane- ously offering a few thrills and a story that holds water. The John McGreevey script focuses on a cop who has been waging a one-man crusade to stop teenage speed violations by promo¬ tion of a patrolled drag strip where hot rodders may let off steam. After an older driver withdraws his . support from the project, as a consequence, of his kid brother's death in a street race, the cop begins tb ; lose ground. Appearance of a troublesome newcomer, who tries to take oyer leadership of the bot rod element further compli¬ cates matters, which finally resolve themselves following a fatal road accident and the rodders return to the drag strip. Leslie Martinson maintains a fast pace, in his direction of the Norman Herman production, building good suspense in staging a chicken race, which consists of two cars racing head-on towards each other. Cast is generally okay, good, typing’all the way. Chuck Connors registers as the cop, John Smith plays the elder brother, and Lori Nelson is pretty as his girl friend. Mark Andrews impresses in the trouble¬ maker role. Frank J. Gorshin and Ed Reider rate as a couple of young drivers, and Roxanne Arlen and Carolyn Kearney as their sweeties. Sam Leavitt’s photography and Leon Barsha’s editing lead off, the standard technical credits. Whit. The Shc-Creaftnre give it sufficient pace. Gene . - Hot Rod Girl Well-knit programmer juve interest. with Hollywood, Sept. 4. American-International release, of Nor¬ man Herman (Nacirema) production. Stars Lori Nelson* John Smith, Chuck Connors; features F nnk J. Gorshin, Rox¬ anne Arlen, Mark Andrews, Carolyn Kearney, Directed by Leslie M ar tin$on. Screenplay, John McGreevey; camera. Sam Leavitt; editor, Leon Barsha. Pre¬ viewed Aug, 29, *50, Running time, 7> MINSr Lisa .... Lori Nelson Jeff . John Smith Ben . Chuck Connors Flat-Top .. Frank J. Gorshin L. P. . Roxanne Arlen Bronc .... *.. Mark Andrew*. Judy . Carolyn Kearney Two Tanks...Ed Rfeidfer Steve . Del Erickson Yo-YO . Fred Essie* Logan .. Russ ThovsOri Pat ... Charles Keane Hettry .... .... Dabbs Greer Hot rodders provide a topical theme for this well-knit program- It’ll » Wmderfal World (SONGS)’ •' , (British-SpectaScope-CoIor) ’ Brightly: spun Tin Pan Alley romance featuring TedL Heath Orch with_ Terence Morgan, George Cole and attractive Parisienne newcomer Mylene Nicole, Good for siting music fans. London, Aug. 28. Renown release of George Minter pro¬ duction. Stars Terence Morgan, George Cole, Kathleen Harifison and. Ted Heath & His Music; Direction and screenplay by Val Guest, .Camara, Wilkie Cooper: editor, John Pomeroy; - music, Ted Heath 8c Robert Farnon. ‘ At Leicester' Square Theatre, London. Aug*' 28, *56. Running time, t9 MINS. Ray Thompson . .Terence Morgan Ken Miller . George Cole MU&.Gilly .. Kathleen Harrison Ted Heath .. Himself Bert Fielding* .James Hayter Georgie J,...Mylene Nicole Mervyn Wade . Harold Lang Professional Manager. .Reginald Beckwith Dennis Lotis ... Himself Paul Taylor . Maurice Kaufman Sir Thomas van Broughton..Charles Clay Arranger Derek Blomfield Mixed salad of the Bridey Murphy, Monster-From-The Past and Svengali themes, aimed at unpretentious bill¬ ings; * Hollywood, Aug. 29. American-International Pictures release of Golden State (Samuel Z. Arkoff-Alex Gordon) production. Stars' Chester Morris, Marla English, Tom Conway; features Cathy Downs, Lance Fuller. Ron Randell, Frieda Inescourt, Frank Jenks, El Bren- del. Directed by Edward L, Cahri. Screen¬ play and story by Lou Rusoff; camera* Frederick E. West; editor, Ronald Sin¬ clair; music, Ronald Stein. Reviewed at Iris Theatre, Hollywood, Aug. 29, *56. Running time, 74 MINS. Carlo Lombardi . Chester Morris Andrea ' .'. Marla English Timothy Chappel ... ..Tom Conway Dorothy ....; Cathy Downs Ted Erickson .. Lance Fuller Lieut. James .. Ron Randell Mrs; Chappel . Frieda Inescort Police Sergeant . ."Frank Jenks Olaf \E1 Brendel Johnny.... /Paul Dubov Bob .. Bill Hudson Marta ... . Flo Bert Mrs. Brown .....Jeanne Evans Prof. Anderson.Kenneth MacDonald Creature ................. Paul BlaiSdell A lossed green salad of /the Bridey Murphy theme, mixed, with helping of monster-from-the-past, and served up with, a dash of Sven¬ gali, thisl>ic is aimed at unpreten¬ tious billings, in keeping with its very modest budget, and should serve well in these situations. Chester Morris portrays a side¬ show hypnotist who can call up a prehistoric monster frQm the past with the aid of ; his assistant, looke£ Marla English, But upright psychic researcher Lance Fuller be¬ comes interested, in her, and helps her fight off Morris' malevolent in¬ fluence. . During, the struggle over Miss English* psyche, ambitious pro- ihoter Tom Conway latches on to Morris and builds him into a na¬ tionwide craze, to gain a fast buck. In the end, Morris beckons the creature and unlooses it on the cast, depopulating most of his co- pTayers before Miss.English gains . the upper hand, and: turns the crea¬ ture on Morris himself. With this, the creature shambles back to the sea, presumably forever. All. this is related in a disjoint¬ ed, haphazard manner in the Lou Rusoff script, which utilizes a fair share of this genre's cliches before the final reel. However, director Edward L.' Cahn manages to mix in a good quota of chills, especially for impressionable small fry. Chester Morris* is’too able an ac¬ tor to be entirely submerged in this shoddy material, and manages a capable performance, although he relies much on the baleful glare and the muttered threat for.effect. Miss English, with eloquent physi¬ cal attributes, doesn’t have much more to Register than horror and a a catatonic- state. Fuller over¬ uses a wide-eyed stare of astonish¬ ment as the skeptical scientist, while Ron Randell. turns in a capable job as a tough cop. Tom Conway is properly suave, as the money-hungry promoter. Cathy Downs makes an attractive in¬ genue, but El BrendeTs comedic .contribution lacks sharp, material. . Technical credits are adequate, except that the monster. becomes ridiculous when viewed in the Strong light of the kliegs. Kove; Starting off through the blare of Ted Heath's orchestra, and the crazy gyrations of . screaming swing-mad teenagers, this comedy develops into a gay satirical yam. The maestro’s recent U.S. trip places him among the known quan¬ tities in the U.S., and from this angle it should prove suitable there also. His personality dom¬ inates the lively story of a com¬ poser’s search for a niche in Tin Pan. Alley, with a diverting script and good direction to speed it along. Its prospects in the home market are surefire for the type of audience it was obviously intended. Terence Morgan and George Cole play a couple of back room starvelings with one shirt between them, a near-unshakable faith in their future, and a charmless rooming-housekeeper bent on their eviction. Morgan gets an accom¬ panist’s job in a publishing house which tides them over until Cole pulls off a harebrained scheme that sets them skyrocketing. He foists on a gullible public a .new compo¬ sition by a supposedly famed, for¬ eign highbrow now living in se¬ clusion. In reality it is a playback in reverse of Ted Heath's band recording of "D’ye Ken John Peel”. The , facial expression ’ of the. audience during the first, perform¬ ance at Albert Hall, and the fren¬ zied despair of the titled musical director make for some of the fun¬ niest shots seen in years. The snob critics won't admit they don't un¬ derstand the appalling cacophony and sheeplike follow the crowd of longhairs in acclaiming it as a masterpiece. Intruding gracefully into all this hokum isJ^yienr NicoleTa 'fieliiht^ fully fresh young French blonde, making her debut in British pix who plays the gal across the street, with resulting jealous friction. Eventually she brings fame to the composer by singing his unpub¬ lished song with Ted Heath at the Royal Command Performance, having gatecrashed an audition and won a place with his band. Morgan is satisfying as the plod¬ ding musician, gaining equal amounts of sympathy and .laughs, but it is 1 to George Cole, With his dry humor and expressive face, that most of the best lines fall.' Kath¬ leen Harrison is her sturdy cock¬ ney self as the adamant house¬ keeper and James Hayter and Reg¬ inald Beckwith give sterling char¬ acterizations of the music publish¬ ing boss and his chief aide. Harold Lang injects the right amount of opportunism as a snooping colum¬ nist, and Dennis Lotis croons soul- fully in his oiyn personality. Band grouping and good lighting effects form a colorful, melodious back¬ ground to what is, first and last, for the lowbrow appetite. Clem. Gukk Brothers Standard outdoor feature done in okay style for action mar¬ ket. Hollywood, Sept. 4. United Artists release of Grand pro- ductlon. Stars Buster Crabbe, Ann Robin* son, Neville Brand; features Michael Ansara, Walter Sand*, Lit* Milan. Di¬ rected by v/Sidney Salkow. /Screenplay# Gerald Drayson Adams, Richard Schayer. from story by Adams; camera, Kenneth Poach; editor# Arthur Hilton; music. Irving Gertr. Previewed Aug. 30, '50. Running time# 7» MINS. Chad ....... Buster Crabb* Rose Fargo ... Aim .Robinson Jubal . Neville Brand ShaWnee- ...'.. Michael Ansara Yellowstone ... Walter Sand* Meeteetsc . Lita Milan Blackjack Silk . James Seay Sheriff-Jergen ........ i.... Roy Barcroft Moose MacLaJn .Slim Pickens Molly ... Dorothy Ford A Cain and Abel plot themes this western actioner and • it’s wrapped up in okay style to satisfy the demands of the general out¬ door market. Buster Crabbe- and Neville Brand carry off the good and bad brother characters. with (Continued , on page 16)