Variety (December 1956)

FILM REVIEWS Wtdrie*d*y, Dcctnibe* Sj 19S6 Baby Boll; ‘.J S«x,h«te and revenge wrapped up in* a strictly offbeat yam set vs.: a white-trash South¬ ern background. Controversial but could be b.o. dynamite. Warner Bros, release of Ella Kazan (Newtown) production. Stars Karl Mal¬ den, Carroll Baker, Eli Wallach; features Mildred Dunnock, Lonny Chapman. Eades Hoguei Noah Williamson. Directed by Kazan; story and screenplay by Tennes¬ see Williams; camera. Boris Kaufman, editor. Gene Milford; music, Kenyon Hopkins. Previewed in New York. .Run- Arctic m *' n, . M,N . S ‘.. K.n Malden Baby Doll . C wr°w?ilJeh Silva Vacarro . Wallach .Aunt Rose Comfort .... Mildred Dunnock Hock .Lonny Chapman 'Town Marshal .. • • Deputy .Noah Williamson There’s presumably never been any doubt that another combo of Tennessee Williams and Elia Kazan would produce an explosive, pro¬ vocative motion picture, distinctly oUrof theTiormal screen frame uf reference and probing into emo¬ tional strata not usually touched by Hollywood. “Baby Poll” is pre¬ cisely that kind of film; and if sensationalism in theme, and ex¬ ploitation can put a picture over the top (as it has in most instances in the past), this Kazan entry should make a barrel of dough. Moralists will perhaps fight that result. . ' It is not a pleasant picture. Few of Williams’ stories are, and Kazan is too good a director to allow the negative qualities to be polished into positive ones by the Produc¬ tion Code or anyone else. What some people will be wondering after seeing “Baby Doll” is how it got by, the. Code office in the first place. For this film, while certainly not visually offensive in its -.treatment of sex, nevertheless is probably one of the strongest to come out of Hollywood. It is a raw, shatter¬ ing experience, surcharged with red-hot emotionalism and directed and acted with such skill that some of the soCalled'“sexy” pix of the past seem like child’s play. ‘ There will inevitably be those who will call “Baby Doll” border¬ ing on the obscene, and it has a highly suggestive element in it. Except for moments of humor that are strictly inherent in the char¬ acter of the principals, “Baby Doll” play$ off against S sleazy, dirty, depressing Southern back¬ ground Over it hangs a feeling of decay, expertly nurtured by Kazan who probably here. turns In his greatest^ directing job to date. All of the people in this film are ugly in their own way and eaten up with hate and resent¬ ment. That’s true of the leading characters and it shows up in the flashes of the townspeople, their poker-faced expressions. passing in an unforgettable gallery of the deep South. Out of his actors—Karl Malden as Archie, Carroll Baker as Baby Doll and Eli Wallach as Vacarro— Kazan has drawn superb perform¬ ances. None are marquee names now. All will mean more after this film. Miss Baker in particular shapes as one of t]|e most im¬ portant film finds in decades. “Baby Doll” is based on a 15- year-old Williams vignette, drama¬ tized on Broadway in 1955 as “27 Wagons Full of Cotton.” Williams here has done his own screenplay, taking out some of the more sadis¬ tic aspects of the original story. What’s left is still a gall-bitter, uncompromising yarn that churns In hate and revels in its examina¬ tion of the ugliness and shallow¬ ness of man. For once, ads will not disappoint those who come ex¬ pecting hardhitting screen *are. Some may consider this a luge and welcome step in the screen’s road towards maturity. Others may violently object to it as thinly- disguised smut. Whatever the point-of-view— and it is usually determined by how strong are one’s moral inhibi¬ tions—“Baby Doll” ranks as a major screen achievement and de¬ serves to be recognized as such. Whether it rates as “entertain¬ ment”-in the traditional sense of the word is another question. Story briefly has Miss Baker, an immature teenager, married to middleaged Malden who runs a cotton gin. When their on-credit furniture is carted £^way, Malden sets fire to the Syndicate cotton gin in town. Suspecting Malden, Wallach—owner of the gin—carts his cotton to Malden’s gin for pro¬ cessing but then proceeds to se¬ duce Miss Baker who signs a note confessing that Malden committed the arson. Malden, who has prom¬ ised not to touch his young wife jntil one year after their marriage the year is almost up as the pic¬ ture starts) finds Miss Baker and IVallach together in the house, sus¬ pects their relations and goes peserk with jealousy. > Miss Baker’s performance cap- ,ures all the animal charm, the laivete, the vanity, contempt and •ising passion of the pretty flirta-, tiofls Baby Doll, Utf voice, with Its Southern*sihg-song, her move* ments and her overall acting make her a top contender for this year’s .Academy Award. Whether spittin’ fire at Malden or flirting with Wal¬ lach, she etches a startingly true- to-life figure that fairly seethes with emotion. Wallach as the vengeful Vacarrio plays> it to the hilt and establishes himself as a top player. His Sicilian is tough and angry, and yet underneath tinged with com¬ passion, particularly in the final scenes. He jarid Mis6 Baker play a love scene (without kisses, if you please) on a swing outside the house that sizzles with tension. Kazan can take credit for this as one of the-most revealing emotional sequences ever to be played on the screen. Malden, the resentful, dour, sweaty Jhusband. is cast to perfec¬ tion and turns in a sock perform¬ ance. He is hateful and lecherous a^-4ie-bojpes-=a-hole in-the wall to observe his child bride curled up in her baby crib, sucking her thumb; yet he is also pitiful in his final desperation when he sus¬ pects Baby Doll’s unfaithfulness, can’t prove ft and then goes on a drunken prowl for Vacarro.» But regardless of how good the performances, this is still Kazan’s picture. It was shot down in Benoit, Mississippi, and the realism— complete with many references to* “wops” and “niggers”— stands the film in good stead. The characters look real and they sound real; there is wild, teasing madness as Vacarro frightens Baby Doll in the empty house and then plays his deadly game of hide-and-seek with her to obtain the confession; there is drama in the burning cotton gin mill; there is raw passion in the Baker-Wallach embrace. There is a good deal of Williams’ original stage dialog in this opus, and despite its action, the sym¬ bolisms and the occasional sophis¬ ticated, touches may be over the audiences’ heads. There may be laughs in the wrong places, for Williams'humor is not necessarily popular and his occasional strain¬ ing for effects may call for guffaws where, none were intended. “Baby Doll” runs on a powerful line and its ugly cruelty—and* sometimes viciousness—come across with un¬ diminished fury, glazed with the aura of 1 decadence. Everyone in this is good. Mil¬ dred Dunnock as the pathetic Aunt Rose Comfort, tolerated and abused by Malden, contributes very importantly. Lonny Chapman as Vacarro's assistant, Eades Hogue as the Town Marshal and Noah Williamson as his deputy, all do yeoman service. Boris Kaufman’s lensing (wisely in black-and-white) is fully in tune with the story itself. His camera never intrudes, but accentuates the action, giving it intimacy and hint¬ ing subtly at the dammed-up tor¬ rents of hate in the players. It is exceedingly fine camera work. Gene Milford's editing and Kenyon Hopkins’ music contribute in equal measure. “Baby Doll” is the kind of rare screen art (and art it is, pretty or not) that towers high as b.o. bait. It is also an excellent argument for some sort of rating system that would automatically exclude the teenage set. Hift, La Terccra Falabra (The Third Word) (MEXICAN) " Mexico City, Nov. 27. Peliculas Nacionales release of Cine- fnatografica Filmex production. Stars Pe¬ dro Infante, Marga Lopez; features Ro¬ dolfo Landa, Miguel Angel Ferriz, Emma Roldan, Eduardo Alcaraz, Manuel Tamez, Prudencia Grifell, Sara Garcia. Directed by Julian Soler. Screenplay by Alejan-' dro Casona; adaptation, Antonio Matouk; cameraman, Jose Ortiz Ramos. At Cine Variedades, Mexico City. Running time, 100 MINS. An offbeat story, that of a grownup nature hoy on a prosper¬ ous Mexican rancho and two Mexi¬ can 1955 Oscar winners make this beautifully lensed production good entertainment despite an uneven 3 ’arn. It played several big weeks at a swank first-run here. Top player is Pedro Infante and his singing of five songs is stand¬ out. He was Oscared as Mexico’s head actor last year. Almost co- starring with him is Marga Lopez, the Argentinian brunette looker, who for a decade has been a big name in Mexican pix. Ace char¬ acter woman of 1955, Prudenica Grifell, a big stage name before she went into pix, and Rodolfo Landa, headman of the National Actors Union, lend strong support. Sara Garcia, . longtime stage-pic star, also is excellent. Infante adroitly plays the role of a baby raised by. two aunts, one a widow? the other a spinster (Misses Grifell and Garcia), far into manhood by them. At 28, he is a big strong man but a gentle¬ man, withal. Then they decide that he should get a.schooling, and hire l^iss Lopez as tutoress. She wants to walk out when it looks Four Girls In Taws ■■ (C’SCOPE-COLOR) Hollywood talent search back< ground gives fair interest for gen¬ eral dual bookings. Hollywood, Dec. 4. Universal release of Aaron Rosenberg production. Stars George Nader, Julie Adams. Sydney Chaplin. Marianne Cook, Elsa Martinelli, Grant Williams, Gia Scaia, John Gavin. Written and directed by Jack.. Sher. Camera (Technicolor), Irving Glla6sberg; editor, Fredrick Y. Smith; music supervision, .Joseph Gersh- enson; special theme "Rhapsody For Four Girls*' composed by Alex North. Pre¬ viewed Nov. 20, *56. Running time, 15 MINS. Mike Snowden...George Nader Kathy Son way ....Julie Adams Johnny Pryor.Sydney Chaplin Ina Schiller !.....Marianne Cook Maria AntoneUi .Elsa Martinelli Spencer Farrington, Ai...Grant Williams Vicki Dauray ...Gia Scaia Tom Grant ......John Gavin Ted Larabee .Herbert Anderson Bob Trapp ...Hy Averback. James Manning ..Alnslie Pryor William Purdy .Judson Pratt Walter Conway .....James Bell Mrs, Conway .Mabel Albertson Yinee™ r:~~;.. .YiT.Y..Dave Barry Henri . .Maurice- Mat6ac Rita Holloway ..Helene Stanton Mildred Purdy ....Irene Corlett Paul-.'rEugcne Mazzola A talent hunt is an old Holly¬ wood device to get publicity for an upcoming production. “Four Girls In Town’’ goes a bit further; It puts the hunt on film, U6ing it as the story peg, to showcase some ' new faces and to further the recogni¬ tion of talent that has been on. the Universal lot for several seasons. The combo, while spotty entertain¬ ment, gives the picture fair inter¬ est fojr the regular run of dual bookings. The Universal lot, here' tagged Manning, is excellently utilized in the Aaron* Rosenberg production to emphasize the backstage Holly¬ wood angle, and the authentic set¬ ting gains in value from the Cine¬ mascope lensing in Technicolor. Where film comes up short mostly is spreading the interest among too many characters since there is bound to be a repetitious quality in dealing with four hopefuls in the same story. Jack Sher both wrote, and directed. While some scenes score strongly, largely be¬ cause of the talent involved, others are flat and ordinary, so his dual function is uneven. Out of the showcasing, Marianne Cook, German actress, emerges a definite click. Italian actress Elsa Martinelli, already seen in a Holly¬ wood-made pic, also scores, with emphasis on an earthy, s.a. quality. Good, too, is Gia Scaia, another from Italy. Holding up .stateside honors are Julie Adams, at Univer¬ sal for some time; George Nader, also long on the lot, and such newer faces as Sydney Chaplin, very good; Grant Williams and John Gavin. Other casters handles their chores ably. Helene Stanton, seen mostly from the rear with a Monroe-type wiggle to her walk, will cause some chuckles as the star who refuses a big role, resulting in the talent hunt which finds the* hopefuls at the studio to be tested by embryo director Nader. Plot tells bits of each’s story and windup finds none getting the coveted part, Miss Stanton changed her mind, if not her walk, and there’s a romantic >airing up of males and females ;or the finale. I Alex North composed “Rhapsody For Four Girls,” theme heard through the background score and Irving Glassberg handles his cam¬ eras to advantage. Costuming by Rosemary Odell bedecks the femmes beautifully and Fredrick Y. Smith’s editing is good. Brog. Nightfall (SONG) Fair action-suspense entry for the duals. Columbia release of Copa (Ted Rich¬ mond) production. Stars Aldo Ray, Brian Keith, Anne* Bancroft; feature*?.-Jocelyn Brando,; James Gregory, Frank Albertson, Rudy Bond. Directed by Jacques Tour¬ neur. Screenplay, Stifling SiUlphant, from novel by David Goodis; camera, Burnett Guffey; editor. William A. Lyon; music, George Duning, conducted- by Morris Sto- loff. Previewed N.Y., Nov. 29, *56. Run¬ ning time, 78 MINS. James Vanning . Aldo Ray John .. Brian Keith Marie Gardner .. Anne Bancroft Laura Fraser . Jocelyn Brando Ben Fraser . James Gregory Dr. Edward Gurston... .Frank Albertson Red ...Rudy Bond Bus Driver . George Cisar Taxi Driver .. Eddie McLean Woman . Lillian Culver Woman ... Maya Van Horn Spanish Man . Orlando Beltran Spanish Woman .Maria Belmar Shoe Shine Boy .Walter Smith in the past. Of some b.o. help, how¬ ever, will he the familiar name* of Aldo Ray, Brian Keith and Anne Bancroft. The Stirling Silliphant Screen¬ play, based .on the novel by David Goodis, employs several flash¬ backs to disclose that Ray is on the lam in an attempt^o prove himself innbeent of murdering a hunting companion and of complicity in a bank heist. Actual culprits are Keith and Rudy Bond who unwit¬ tingly lost‘the loot and are con¬ vinced that Ray knows where it is. ' i Also involved in the proceed¬ ings are Miss Bancroft, a model who first puts the finger on Ray and later falls for his charms; and James Gregory, an insurance sleuth with a hunch that Ray is guiltless. Since murderers, always return to the scene of a crime, the charac¬ ters all converge by chance in the snowswept Wyoming' mountains. There the money is found, the thieves killed in a scuffle and Ray revealed as innocent-.....__ Performances of most -of the players are uf a mechanical nature. However, Ray is suitably laconic as a man saved from a phony rap; Keith is okay as a bank robber with an -occasional redeeming qual¬ ity, Miss Bancroft supplies ade¬ quate romantic interest and Bond is a typical hard guy. Gregory is quiet and methodical as the insur¬ ance. investigator and Jocelyn Brando is seen briefly as the for¬ mer’s wife. . Jacques > Tourneur’s direction manages to extract the action and suspense in Silliphant’s par-for- the-course screenplay; Ted Rich¬ mond, who produced the Copa pro¬ duction, tossed in some above aver¬ age values including a fashion show by the J. W. Robinson Co. of California. Physical backgrounds and action scenes show -up nicely in Burnett Guffey’s black-and- white lensing. Also good is Ross Bellah’s are direction. - * There’s a fairish title tune with . lyrics by Sam M. Lewis plus music I by Peter DeRose and Charles Har- j old. It’s appealingly sung by A1 1 Hibbler’s offscreen voice. Gilb. HellywafffI or Bvwt (SONGS—COLOR) Martin' & Lewis In crowt-eoun- try comedy Caper; entertain¬ ment uneven. B.o, prospects okay. Hollywood, Dec. A, , Paramount release of Hal Wallis pro¬ duction. Stars Dean Martin, Jerry Lewis! costars Pat Crowley, Maxie Rosenbloom, Anita Ekberg. Directed by Frank Tash- lin. Written by Erna Lazarus; earner* (Technicolor), Daniel Fapp; editor,- How¬ ard Smith; music arranged, conducted by Walter Scharf; musical numbers, Charles O'Curran: songs, Sammy Fain, Paul Francis- Webster. Previewed Nov. 19, *56* Running -time, 94 MINS, Steve Wiley ...Dean Martin Malcolm Smith . Jerry Lewis -Herself .................. Anita Ekberg Terry ....:... Pat Crowley Bookie Benny ... Maxie Rosenbloom Hollywood’s in the label and does make a finale appearance, but most of thjs comedy caper takes place on a cross-country junket from New York, with way stops erirbute, includtnigTCas Tegasr. - While the laugh , pace overall is uneven, there’s still enough that’s very funny to keep the Martin St Lewis fans amused so the box- office prospects are good. This one was lensed pre-separa¬ tion and the boys go. together like hot dogs and mustard. That Erna Lazarus plot framework if mighty light, being principally a setting for frenetics and gag - situations in-between five Sammy Fain-Paul Francis Webster songs and a cou¬ ple of just passable production numbers. Hal Wallis decks, the production in Vista Vision and Technicolor, with Daniel Fapp’s cameras taking good care of all the scenic points of interest across the country. Di¬ rection by Frank Tashlin scores enough comedy highspots to keep the pace fairly fast, even with the slow spots that his handling and the team’s talent cannot overcome. One of the film’s funniest bits comes before the title with Dean Martin introducing Jerry Lewis as different types of movie-watchers. (Continued on page 24) Capsule Foreign Flint Reviews . . Paris, Nov. 20. Tout* L« Vlllo Accuse (The Whole Town Accuses) (FRENCH). SNT-Egyra release of Radius production. Stars Jean Marais; features Etchika Choureau, Noel Roque- vert. Francois Patrice. Directed by Claude Boissol. Screenplay, Bolssol, Georges Combret; camera, L. Burel; editor, Du- mesnil. At Cardinct, Paris. Running time, 90 MINS. Pic by a new young director, Claude Boissol, has . emerged as a sleeper here, and though slight, might do for U.S. special situations on its happy entertainment values. It needs hypo but has narrative force. This concerns a writer who goes to a little town to work and suddenly finds himself daily re¬ cipient of a bag of money. First, he hides it but later decides to begin to use it carefully and for charitable purposes Which arouses the town. Boissol displays fine feeling for film storytelling, with the gentle mood only dissipated by a rather gratuitous explanation of how the money was left by some juveniles who stumbled onto the cache of some dead gangsters. It is adroitly acted with good’ technical credits. Though tenuous and reminiscent of many American comedies, it still bears freshness. Mosk. La Vie Est Belle (Life Is Beautiful) (FRENCH). Gamma release of Davis- Gamma Film production. Stars Roger Pierre, Jean-Marc Thibault; features Colette Ricard, Veronique Zuber, Noel Roquevert. Directed by Pierre and Thi¬ bault. Screenplay, Danielle Haik, 'adapted by Pierre and Thibault; camera, Gustave Raulet; editor, Paulc Patier. At Triomphe, Paris. Running time, 90 MINS. Although there’s a generous slice of mystery, action and sus¬ pense in .“Nightfall,” this modest budge ter adds up to' only a fair entertainment for the duals. Story is too reminiscent of similar mate¬ rial ground out of the script mills as if she’s the victim of & gag sinde her pupil is some years her senior. But the dear old ladies and Pedro plus a snug ranch, with horseback riding, hunting, fishing and bi" nay induce her to stay on. Doug. Popular nitery and music hall comedy team, Roger Pierre and Jean-Marc Thibault, have made their first pic as composite authors, directors and thesps. Their zesty in-person appeal is used in a series of sketches loosely tied up by a story. Here two young couples win a house together but their attempt at communal living leads to much friction and enmity. Although commonplace in film form these domestic tiffs make for some yocks via the fresh clowning of the pair aided by some solid comedy character performers. It hasn’t the weight for U.S. arty spots; hence, its main appeal could only be paring down for U.S. video. Technical credits are good. Mgsk. Pltle Pour Les Vamps (Pity for the Vamps) (FRENCH; DYALISCOPE; COLOR). Fernand Rivers production and release. Stars Viviane Romance; features Gisele Pascal, Jacqueline Noclle, Yves Robert, Genevieve Kervine, Jean Meyer. Directed by Jean Josipovlci. Screenplay, France Roche, Robert Chazal. Josipovici; camera (Fprranicolor), Marc Fossard; editor, Paul Cayatte. At T'rioinphe, Paris. Running time. 105 MINS. This quickie will do nothing for apamorphoscoped pix. Lagging tale of ah aging film star who sacrifices her man to a younger sister gets little depth or character relief. Di¬ rection is static and technical as¬ pects below par, with this Gallic process still off in clarity. Acting is ordinary but Viviane Romance is adequate. Mosk. Le Plus Belles Dos Vies (The Most Beautiful Life) (FRENCH). UGC release of CCA production. Written and directed by Claude Vermorel. Camera, Walter Wottitz; editor, Jean Douarinou. With Claire Maffei, Jean-Pierre Kerien, Roger Pigaut, Lucien Ralmbourg, Aissia Barry, Nabi Youla. At Ralmu, Paris. Running time, 120 MINS. This concerns a French teacher’s dedication to his task of enlight- ing the natives of French West Africa. Made under government auspices, pic details the odyssey of the teacher and his wife who finally make contact with the na¬ tives, but not before they lose their only child, the wife has a breakdown and aim.oSt runs off with a young engineer. Too literary, this is overlong. It has an interest in its locale.. For the U.S., this shapes primarily for secondary spots and even there needs pruning to make more taut. Economy of means is evident but noting is good and technical credits fair. Mosk. C'Est Arrive A Oden (It Happened In Aden (FRENCH; DYALISCOPE; COLOR). Coeinor release of S. B. Films production. Stars Dany Robin. Jacques Dacqminei features Robert Manuel, Jacques Duby, Elina Labourdette, Andre Luguct. Versini, Dominique Page, Michel Efcbevevry. Di¬ rected by Michel Boisrond. Screenplay, Jean Aurel, Boisrond from novel by Pierre Benoit; dialog. Constance Colline, Jacques Emmanuel; camera (Eastman- color), Marcel Grignon; editor, Claudin* Bouche. At Biarritz, Paris. Running time, 90 MINS. Mock adventure tale has proper tongue-in-cheek quality to make a diverting entry.. Obyipus aspects of a secondrate acting troupe strand¬ ed in India, with Anglo lieutenants and princes fjghting over the pert, flirty ingenue, get a clever going over. For America, it does not seem suited for art houses. Film’s comic touch makes this a possibil¬ ity for dualers. Its screen size is akin to C’Scope. this process hav¬ ing good definition. An acting troupe is bogged down in a British possession. The leading actress becomes a pawn in politics as a native prince falls for her and will sign a treaty only jf^he has her. Her lover, an English lieu¬ tenant, asks her to help but they do ngi reckon with her Gallic tem¬ perament. Director Michel Boisrond has given this neat style. Slapstick mixes with adventure and romance as the young- girl’s love affairs are depicted. Dany Robin has the proper coquettish qualities as the girl while the actors all are ade¬ quate.. Production values and tech¬ nical credits are. good. Film lacks values except fo* Dany Robin. Moslc.