Variety (December 1956)

7 Wednesday, December 19, 1956 r PtjfWE'f'Y FILM "REVIEWS genuine character# involved in amusing, beli^veable situations. The talk, about pregnancy*, etc*, is handled in fine, taste but probably would not be' understandable to moppets. Under - Richard Kline’s direction, the film unfolds so real- like that the audience is given the feeling of eavesdropping on the family nextdoor, George Denning’s music, con¬ ducted by Morris Stoloff, is an ace contribution* accenting the , Napoli flavor of the picture. Camera, edit¬ ing and other credits all good. Gene. Rattle Hymn (C’SCOPE-COLOJl) Heart-warming story of Col. Dean Hess, mgn-of-God, and Korean orphans, plus war ac¬ tion. Good family-type film with rood b.o. outlook. Hollywood, Dec. 18. Universal releaae of Ross Hunter pro¬ duction. Stare Rock Hudson, Anna Kashfl, Dan Duryea, Don DeFore, Martha Hyer. Jock Mahoney; featurea Alan Hale, Garl Renton Reid, Richard: Loo, James Ed¬ wards, Phil Ahn. Directed by Douglas ' SJrk. Screenplay, Charles Grayson, Vin¬ cent B, Evans; camera (Technicolor), Russell Motty; .editor, Russell Schoen- garth; music, Frank Skinner; -technical advisor. Col. Dean Hess. Previewed Dec. 9, *90. Running time, 10f MINS. Dean Hess' ....... r... I.. Rock Hudson Mary Hess .... Martha Hyer Sgt. Herman .. Dan Duryea Captr. Skidmore ..Don DeFore Miss Yang ...'. Anna Kashfi Major Moore ..Jock Mahoney Mess Sergeant ... Alan Hale Deacon Edwards ...... Carl Benton Reid General Kim .. Rlch»rd Loo Lieut. Maples.James Edwards Old Man . .. Phil Ahn Gen. Timberldge.Bartlett Robinson Lieut. Holiis . Simon Scott Korean Official. Teru Shlmada Major Harrison.,.. ..Carleton Young Chu ... Jung Kyoo Pyo Cupt. Reardon.. Art Miilan Navy Lieutenant .. WlUlam Hudapn Sentry ....Paul Sorensen The inspirational story of a young clergyman i a neatly Inte¬ grated with fighter pilot action in “Battle Hymn.” Film is an attrac¬ tive’offering, with particular family audience appeal and good boxoffice chances. Rock Hudson, as Col. Dean . Hess, the minister whose story is told, heads the excellent cast and his name provides extra marquee weight for the playdates. Perhaps best known of Hess's * deeds Were his efforts in behalf of the Korean children left orphans and homeless In the wake of the late fighting in that country. This is well-used in the Ross Hunter production as a heart-warming phase. Additionally it Serves for story suspense and as a basis for the quite good air action that finds a minister at the . controls of a fighter, plane. Douglas Slrk’s direction and the < screenplay by Charles ' Grayson and Vincent B. Evans stirs com¬ passion and sympathy for the per- s6nal cross Col. Hess had to bear after accidentally bombing a Ger¬ man orphanage during his fight¬ ing days in World War II. This incident comes to light via' flash¬ back to establish his need to again ‘ give up his.pulpit for pilot wings and go to Korea with the Air Force. In Korea he finds himself via the 1,000 t or more orphans he cares for and air-lifts to safety. On Cheju Island there is. a permanent insti¬ tution still , caring for Korea’s homeless children, a group of which were flown to Hollywood to 0 appear in the picture. : While quite a bit that gets on the screen may seem typical motion picture fiction, Hess served as technical advisor to assure that fact pre* domiffhtes. Hudson does one of his better performances in capturing the Hess I personality and character. Martha Hyer plays Mrs. Hess, the wife-who i waits and worries at home, with a gracious, winning appeal, although femme emphasis more naturally falls to Anna Kashfi, very effective * as Miss Wong, a true Korean hero¬ ine who literally gave her life to aid Hess' work with the orphans. Dan Duryea, casting off his usual heavy character, adds a neat touch of tightnesses a happy-go- lucky Air Force sergeant stationed in Korea with Col. Hess’ outfit. Don; DeFore. Jock Mahoney, Alan . Hale, James Edwards and other members of the outfit come through strongly, bolstering the en¬ tertainment all down the line. Carl Benton Reid, is good as a church deacon. Phil Ahn stands out as an old Korean who works with the orphans. Jung’ Kyoo Pyo, one of the children brought oyer from Korea, captures the heart. Russell Metty’s Cinemascope Photography in Technicolor and the special lensing by Clifford Stine to*p the lineup of good tech¬ nical credits, which include Rus¬ sell Schbengarth’s editing, the art direction by Alexander Golitzen and Emerich* Nickolson, and the set decorations by Russell Gausman and Oliver; Emert, and the Frank Skinner music, supervised by Jo¬ seph Gershenson. Brog, Slander Exposure of the newsstand scandal Sheet racket. Sock ex¬ ploitation angles, with Van Johnson, Ann Blyth, Steve Cochran for marquee. Metro release of Armand Deutsch pro¬ duction. Stars Van .Johnson, Ann Blyth, Steve Cochran; features Marjorie. Ram¬ beau; Richard Eyer, Harold J. Stone,. Philip "Coolldse, Lurerte "Tuttle, Lewis Martin. Directed by Roy Rowland. Screen¬ play, Jerome Wejdman from Harry ,W. Junkin' story; .«amera/ Harold J. Marzo- ratl; editor, Gedrtfe Boemler; music,' Jeff Alexander. Previewed' In N.Y, Dec. 0, *58. Running 'time, SJ .MINS. Scott Ethan Martin..Van Johnson Connie Martin ... •. • Ann Blyth H. Rv Manley .? .. • Steve* Cochran Mrs. Manley.Marjorie Rambeau Joey Martin.*.. • Richard Eyer Seth Jackson .. Harold J. Stone Homer Crowley .PhUip Coolldge Mrs. Doyle ..... Lurene Tuttle Charles Orrin Sterling,.Lewis Martin This film hits back against the vicious gutter mags catering to the public's thirst for sensationalism and operating just on the brink, of the libel *laws. Metro’s “Scandal” tackles the job Of exposing the “ex¬ posure racket”' anil in the doing achieves ' that difficult blend of message and entertainment that is vital If a. story such as this is to be put over. W’ell-endowed with b.o. . names— to wit Van Johnson, Ann Byth and Steve Cochran—and not lacking in guts and the willingness to call a spade a spade, pic should prove a popular entry. Subject is certainly hot enough to rouse audience inter¬ est, and the treatment is straight- from-the shoulder. It makes it plain that the pious search for “truth” on the part of the scandal sheets is nothing more than a thinly veiled stunt to build circulation, conducted cynically and without any regard for the lives that are ruined in the process. Pic plot also hints at the sick men¬ tality of the people who publish tne scandal mags and who go scroung¬ ing in' the- muck for the necessary material. Few will be in doubt that scrlpter Jerome” Weidman’s shafts are di¬ rected at one particular publisher. “Scandal” has performer John¬ son and wife (Miss Blyth) rising the ladder to success; He’s about to be signed- to a tv contract when Cochran, publisher of a big scandal mag, threatens to run a layout on Johnson r telling of * a. prison term he served for armed robbery in his teens. There’s a blackmail angle, with Cochran- offering to trade the story against info on a w.k- Broad¬ way star. Behind if all is the neces¬ sity for Cochran to put out a run¬ away newsstand seller, or close shop, Johnson refuses to trade, the story runs, lie’s fired off his job and his kid — Richard Eyer — is killed in an accident, running away from other boys teasing him about his father. Johnson then goes on tv to tell his story and to warn the public against buying the “poison” distributed by Cophran. Latter is killed by his own mother, Marjorie Rambeau. Director Roy Rowland has gotten convincing performances from his payers and the film has some genuinely touching moments. Some of its situations, are contrived, and the shooting of Cochran has slight¬ ly ludicrous overtones. Also, the message is rather plainly spelled out< and might have been handled with.more restraint. Cochran as H. R. Manley, the publisher, does a competent job as an actor, but the characterization isn’t always well written. It is made quite plain, however, that he's a sick man suffering from a power complex, a fellow out to fight the world, petty and spiteful under the sleek veneer of the “truth cru¬ sader.” Jbhnson wisely underplays in a difficult role. Miss Blyth iS a weak link in the cast. Miss Rambeau as Cochran’s mother has dignity and turns in. a sock performance. Harold J. Stone as Johnson’s agent is a find. He etches a strong por¬ trayal that registers, Eyer a$ the kid is fresh and appealing. Rowland's megging keeps the story in movement despite a gener¬ ous dose of dialog. Weidman’s script is mostly intelligent and forthright, if on the preachy side. Jeff Alexander’s music helps create the mood and George Boemler’s editing is okay. Lensing by Harold J. Marzorati is beyond reproach and is a distinct asset. Chances are that “Scandal” isn’t going to change anything. But in exposing the ugliness of the men and the thinking that goes into the gutter mags — and in making it plain that the public must share part of the responsibility—it de¬ serves beaucoup attention. Hift. Dr. Alfred Bauer, director pf tjie Berlin film rest, working on a “guide” to the postwar German film industry. Vsf Hollywood tyoducor Pete Smith who should know all qboat It rovlows why Shorts Were Great Schooling' * * *■ one of tho many editorial features In the upcoming » ■ Slsl Anniversary Number of yATilETY Cpnasfa De Coentos Mexicanos (Basket of'Mexican Tales) (MEXICAN C’SCOPE-COLOR) Mexico City, Dec. 11. Columbia release of a Jose .Kohn pro¬ duction. Stars Maria Felix, Pedro Arman- darir, ■ Arturo de Cordoba, Lorraine Chanel, Marl Blanchard, Ja,ck Kelly; fea¬ tures Jbrge Martinez- de Hoyos, Directed by Julio Bracho. Screenplay and adapta¬ tion, Juan de la Cabada from the book by B. Traven;. camera (Pathecolor), Gabriel Figueroa; editor, Gloria Shoemann, music, Lan Adomian.' At Cine Mexico, Mexico City. Mex. Running time, ff MINS. Plefre Duval .. .. Arturo de Cordoba Lorraine Arnaud (Duval) Lorraine Chanel< Don Alfredo . Miguel Angel Ferriz Alberto Duval. Julio Montcrde Sr. Qchoa ... Rafael Alcaede Luisa Bravo .... Maria Felix Carlos Cosio . Pedro Armandariz Aunt Maria Consuelo Guerrero de Luna Grandmother . Emma Roldan Gladys Winthrop .Marl Blanchard Eddie Winthrop . Jack Kelly The Indian-Jorge Martinez de . Hoyos It will take more than a basket- full of top south-of-the-border names and the obvious heavy coin involved, to push this triple vig¬ nette compilation into . the inter¬ national smash class. In Latin language situations it may be one of the year’s top grossers due to its heavy-draw cast. However, for U. S. consumption it is merely an¬ other triptych of tales whose only tie is their Mexican locale. Taken from a series of short stories by the author • tit * “Sierra Madre,” heavy handed direction of Julio Bracho fails to make effervescent amusement of the frothily dia¬ logued screenplay by Juan de la Cabada. Ah English language ver¬ sion, not being shown here, was directed by the pic's producer, Jose Kohn and will be marketed in the non-Spanish speaking world. Yarns involved are all played in a pseudo satiric vein and attempt to display the foibles of modern Mexico in its . various locales and social stratum. First, starring 1 Arturo de Cordoba and Lorraine Chanel, sketches an unhappily married Couple who take a few days separation to smooth out their problems. Second parable, starring Maria Felix and Pedro Armandariz, takes place in the . northern ranching country and plays on a taming of the shrew theme. Felix is an un- corraled, U. S. educated local senorita, so modern that it hurts. Armandariz, a tough, masculine rancher, sets his sights on her and eventually marries and domesti¬ cates the spitfire. In the process, and in disturbingly brUtal, but .humorously intended sequence, La Felix refuses to server him his cof-; fee, so. he shoots his cat and par¬ rot as they also make no effort to supply his needs. He is . about to knock off his hor'se and perhaps his wife, when she in self defense heads out to get his java and make like a frau. r -Third fable stars Jack Kelly and Mari Blanchard, with Jorge Mar-J tinez de Hoyos featured. Latter steals the entire* show as an ar¬ tistic but lackadaslcal Indian basketwe&ver who refuses to be browbeaten by a couple of not so sharp Yarjkee tourist slickers. Other thesping honors are pretty well divided between the stars, with Lorraine Chanel, though mis¬ cast agewise, 'coming across tops as the one error wife to Arturo de Cordoba’s suavely erring and erred against spouse. La Felix and Armandariz romp through their sexful duet in a gleeful and professional manner. Jack Kelly and Mari Blanchard handle them¬ selves with unassuming modesty and are* physically attractive as the “gringo” money grubbers. Numerous minor characterizations throughout the film are also well portrayed with Consuelo Guerrero de Luna and Emma Roldan as two old pixalates giving Felix and Ar¬ mandariz a real run for their money. Sets by Edward Fitzgerald are standard and lensing by Gabriel Figueroa seems spotty with some scenes definitely Delow his usual high quality, possibly due to the print shown here. Score by Lan Adomian is excellent but cannot do more than accentuate the light¬ ness that the film should have had, but didn’t. Mayen The Girl Help It (C'SCOPE-MU SIC-COLOR); Tom Ewell in. engaging Tock and roll comedy, certain to be a teenage success, with cor¬ responding good b.o. prospects, “Introduces” Jayne Mansfield. - ! Hollywood, Dec. 18. 20th-Fpx release. of .Frahk T/»shlin pro¬ duction; . directed by. Tashlin. Stars Tom Ewell, Jayne Mansfield. Edmond O'Brien; g aist stars Julie London. * Ray Anthony, arry Gordon; features Henry Jones, John Emery^ Juanita Fat* Domino, The Flatters, Little Richard and his bind, Gene Vincent and His Blue Caps, The Treniers, Eddie Fontaine,' The Chuckles, Abbey Lincoln, Johnny Olehn, Nino Tempo, Eddie Cochran. Screenplay, Tash¬ lin and-Herbert Baker; camera (De Luxe Color), Leon Sham^oy; editor, >James B« Clark; score,. Lionel Newman; new songs, Bobby Troup. Previewed Dec, 14, *96. Running time, M MINS. Thii Miller ... Jerri Jordan: .. Mjurdock Julie London . Ray Anthony , Barry Gordon .. Tom EweU . Jayne Mansfield , Edmond O'Brien . Harself .Himself Himself Mousle ........ Henry Jones Wheeler . . ... Hilda—Mall . Fata Domino ... The Platters . Little Richard Band . Gene Vincent Blue Caps.. The. Treniers ... Eddie Fontaine . The Chuckles . Abbey Lincoln .. Johnny Olenn .. Nino Tempo .. Eddie Cochran ..... John Emery Juanita Moore .. Himself .'. Themselves .. Themselves .. .Themselves ..' Themselves Himself .. Themselves . Herhelf __ Himself .. Himself ..... Himself While there are a number of rock and roll features currently plying the market, “The Girl Can’t Help It” is the first de luxe version to make release. It is an hilarious comedy with a beat, and the young¬ er set should take to it like a double chocolate malt with cheese¬ burger. Business prospects are firstrate in regular situations. Oil the surface, it appears that producer director - s.cripter Frank Tashlin concentrated on creating fun for the juniors; a chore that he completes to a tee. However, the • suspicion lurks that he also poked some fun at the current dance beat craze apd the artists who deliver it.. Thus, Charleston- age oldsters can delight in the ribbing and enjoy the show, too. There are so many sight gags and physical bits of business, including Jayne Mansfield and a couple Of milk bottles, that males of any age will get the entertainment message. Herbert Baker collaborated with Tashlin on the script, and the pair delivers bountifully with dialog and situations for a big laugh pay¬ off under Tashlin’s especially sharp direction. Pilot is no more than a gag peg, although it has the neces- 1 sary story value to carry through with the required support. Basi¬ cally, it tells how a wealthy hasbeen. gangster hires a , has- been agent' to make an entertain¬ ment name'out of the former’s girl friend. The fun’s in. the viewing, •nOt the telling, as it’s the manner in which the show: has been put together that makes it entertaining. Miss Mansfield doesn’t . disap¬ point as the sexpot who just wants to be a successful wife and mother, not a glamor queen. *, She’s physi¬ cally equipped for the role, and also is competent in sparkin.g con-, siderable ofthefun. Nature was so much more bountiful with her than with Marilyn Monroe that it seems Miss Mansfield should have left MM with, her voice. However, the vocal imitation could have been just another part: of the fun-poking indulged in. . Edmond O’Brien, rarely seen in comedy,, is” completely delightful as the hammy ex-gangster who thinks his position demands that his girl be a star name. In totalling the assets of the film, his perform¬ ance ranks right on top as a major factor in the entertainment. Tom EweU scores mightily as the has^ been agent who is haunted by the memory* of Julie London, another girl whom he had pushed to reluc- ■ tant stardom. With Miss Mansfield and O’Brien, he makes it a funny caper for the ticketbuyer. . Talent abounds elsewhere, too, in those with story roles, such as Henry Jones, very amusing as O’Brien’s handyman; John Emery, a rival jukebox king, and Juanita Moore, Miss Mansfield’s maid. Musical talent, mostly of the r&r variety, is tops in its field, the list reading like a special performance bash. Not r&r, but good of voice and sensational in appearance, is Abbey Lincoln singing “Spread tne Word” while Benny Carter’s oiv chestra backstops. Fats Domino and band with “Blue Monday”; Little Richard with “The Girl Can’t Help It” and others; The Platters on ’‘The Great Pretender”; Gene Vincent and the Blue, Caps; The Treniers, Eddie- Fontaine, The Chuckles, Johnny Olenn and band; Nino Tempo and Eddie Cochran are among the rock-and-rollets purveying the beat that qualifies the film for the teenagers. Miss London, appearing only in spirit, is heard on her click disc, !'Cry Me a River.” Little Barry Gordon doesn’t sing at all; he sells newspapers. Ray Anthony arid band beat out a situation tune, “Rock Around the Rock Pile,” cleffed by Bobby Troup, who also wrote tha title; number. Lionel Newmaq, functioned firstrate on supervising and conducting^the music. Physically; the film has a quality look, with Leon, Shamroy's Cinema¬ scope lensing in De Luxe Color . displaying the vaiueo for top re¬ turns. Art direction and settings, and unusually good costunring of Misses Mansfield, London and Lincoln are other strong credits. Brog ♦ Westward Ha the. Wagons (C-SCOPE—SONGS—COLOR) Walt Disney tin stride with a ' strong entry for the outdoor market; Fess' Parker name will help. Hollywood, Dec.,>18. Buena Vista release oi a Bill Walsh production. Stars Fess Barker, Kathleen Crowley, Jeff York; features David gal¬ lery, Sebastian Cab, t, George Itee.es. Directed by William Beaudine; second unic director, Yakima Canult; screenplay, Tom BlackburA; based on- Mary Jan* Carr novel; camera (Technicolor), Charles Boyle; editor. Cotton Warburton; music, George Bruns. Previewed Dec. 14, *56. Running time. US MINS. John •'Doc" Grayson.. . Fess Parker Laura Thompson .Kathleen Crowley Hank Breckentidge ._ Jeff York Dan Thompson . Bissonefcte ...... James Stephen .... Bobo - Stephen. Mrs. Stephen ,. David StoUery Sebastian Cabot .. George Reeves ; Doreen Tracey Barbara Wooded Wolf’s Brother .John War Eagle Jerry Stephen .. Cubby O'Brien Jim Stephen.. Tommy Col* Spencer Armitage.Leslie. Bradley “Obie" Foster .Morgan woodward Many Stars . Iron Eyes Cody Little Thunder . Anthony Numkena Myra Thompson.Karen Pendleton Ruth Benjamin . Jane Lidded Ed Bcnjamitv . Jon Lock* Tom Foster . Brand Stirling Walt Disney’s latest excursion into the live-action feature realm is a story of the Oregon Trail, fol¬ lowing a wagon train plagued by hostile Indians. * CinemaScope treatment allows a vast panorama against which to limn the simple, yet: stirring, narrative, and there’s the marquee lure of Fess Parker for the younger trade particularly. Technicolor film should rack up good grosses as a showmanly entry for the outdoor market. . Strong emphasis is placed upon the Redskin element to give the Bill Walsh- production a flavor of excitement. Specially well staged is an attack on the wagon train by a band of warlike Pawnees, and the . later threat of the Sious pre¬ venting the train from leaving Fort Laramie, where it stops,, for a few days’ respite, constitutes, a ma¬ jor plot device. Parker warbles three numbers rich with frontier •flavor, and -pic includes^ two other songs : effectively presented. Parker, co-stars with . Kathleen Crowley, member of the train, and Jeff York, vet Indian scout, in the Tom Blackburn screenplay, based upon the Mary Jane Carr novel of the same title. As a prairie doctor, also a scout leading the train west¬ ward, be is. instrumental in gaining the friendship of the Sioux chief, after saving his young, son’s life when the ministrations of the tribe's medicine man proved fruit¬ less. Feature is accorded a homely touch by director William Beau¬ dine, with Yakima Canutt as sec¬ ond unit director responsible for the fast-moving Pawnee battle. Parker delivers a his usual easy characterization, and makes . the most of his three songs, best of -which is “The Ballad of John Col¬ ter,” followed by the novelty “Wringle Wrangle” and “I-m Lone¬ ly My Darlin’.” Miss Crowley is nice in an undemanding, role as the romantic interest, and York is properly rugged as the hulking scout John, War Eagle is strongly cast as the Sioux chief, Iron Eyes Cody scores as medicine man, and Sebastion Cabot is a Semi-Heavy. Charles Boyle’s color photogra¬ phy -heads’...tip' the above-standard technical credits, and Cotton War- burton’s.'editing is attuned to the subject. Whit Arl Theatres Continued from page 5 — which play long runs, and have chance to be sold and exploited.” Lopert feels each film must be treated delicately and carefully. “The public is cautious in buying its entertainment today, and thus must be convinced.” The key to the entire situation, Lopert claims, is that a film can gross more in 2,000 playdates to¬ day than it ever did in 16,000 play¬ dates when Hollywood’s production volume was at its peak, aiid when there was no competition from television. “If you only needed 2,000 play¬ dates to give a greater gross than ever before,” he says, “then it fol¬ lows that a proper campaign and selling. approach to these proper houses will suply greater and greater grosses. There is no sky for the properly presented product in today’s market.”