Variety (February 1957)

FiOf REVIEWS We4neflfey»'F^byiu^^ 1957 llie Spirit St. EoPis . (C'SCOPE^OLOR) An eiiffiirinff Iwt not parUcu- larly powerful reproduction of Charles A. Lindber^rh's histori¬ cal flierht to Paris. James Stew* art bached by high-intesrity production. Warner Bros, releiise Lcland Hay¬ ward production. Stars Janies Stewart. Directed' by Billy Wilder. Screeni-lay, Wilder and Wendell Mayes: adaptation. Charles Lederer: from the Charles A. Undhergh autobiography: camera (War- nereolor). Robert Burk* and J. PevereJl Marley. Previewed in New York, Feb. 15. '97. Running time. 135 MINS. Charles A'. Lindbergh.James Stewart Bud Gurney.Murray Hamilton MSirror Girl .. Patricia Smith B. F. Mahoney ........ Bartlett Robinson. Father Hussman .Marc Connelly Donald Hall . Arthur Poace O. 'W^ Schultz . Charles watts Although lacking the elaborate Iiroduction trappings that would automatically miiror a multi-mil¬ lion dollar budget, an extensive Shooting schedule and painstaking care went into this picture. It’s Clear that Warner Bros, needs mammoth money. to come out on top with "Spirit of St. Eouis." This is quality production. But excitement about the. first solo K.Y.*to-Parls hop is quiet—and that’s the prospective trouble with "Spirit’’—it is quiet . It's Class A picture-making yet doesn’t manage to deliver entertainment wallop out of the story about one man in a single-engine plane over a 3,610* mile route. 'Under veteran director Billy Wilder, "Spirit” comes off as in¬ teresting and colorful, but not sock. Heavy "sell” is demanded, for in¬ terest and color alone are not blockbuster Ingredients. Consider¬ ing further that Charles A. Lind¬ bergh is today little more than *a Mr. Anonymous to youngsters, the spontaneous boxoffice- appeal is perhaps short of commensurate with the scope of the production. For the spectator, "Spirit” is a James Stewart one-man show. He. portrays Lindbergh with a toned- down performance Intended as consistent with the diffident (i.e. non-communicative) nature of the famed aviator. The story develop¬ ment tends to focus on the per¬ sonal side of the 1927 hero, as much as it does on the flight itself, end Stewart comes off with sort of an appropriate, shy amiability. Film opens in the Garden City Hotel on Long Island where Stew¬ art, on the eve of his takeoff, gets to wondering about what lies in store for him. The scene segues to some of his experiences of the past, landing on a cow pasture and other hazards of that early-day flying. The flashback technique Is used frequently tb convey some of Lind¬ bergh’s background, such as his days as a mail pilot, an amusing bit re his first encounter with the Air Force, his barnstorming stunt.s,« etc. There are interludes also with the group of St, Louis businessmen who sponsor his trip, his near frus¬ trating efforts to come upon an adequate plane, and a brief en¬ counter with a girl (the film’s faint suggestion of a romanedT who gives him a compass mirror. Those who remember the Lind¬ bergh crossing are robbed of sur¬ prise. There was no mishap, so there can be no anxiety about whether he can get the plane off the mud-covered field. It’s known, too, that the groggy Lindbergh will' awake before the plane hits the water, as it nearly does, and that the right fuel tank will be turned on in time. Climax of "Spirit” Is the most stimulating. Here is Stewart, not quite sure of his course, recogniz¬ ing the shoreline of Ireland, veer¬ ing over the chanhel, spying Paris along the Seine, coming down on Le Bourget Airfield and, fatigued and bewildered, greeted by the frenzied crowd. Finale is the news- reel account of Lindbergh’s New York reception. Others in the cast are only minorly spotted; Stewart has tlie prominence all the way. The Leland Hayword production settings and costumes look like genuine 1927 and add to the color, and the group and mob scenes are handled with particularly smooth •effect. Standout contribution is the WarnerColor-CinemaScope photog¬ raphy by Robert Burks and J. Peverell Marley. Scenes of the sea as Lindbergh sees it from his plane, the shots of a huge iceberg, fishermen off Ireland,, and Paris and the airfield at night—these have visual potency. Writing credits begin with Lind¬ bergh’s book and Include an adap¬ tation by Charles Lederer and screenplay by Wilder and Wendell Hayes. Perhaps of necessity, the script has Stewart expressing his thoughts via his own off-screen voice as he wings over the ocean. This tends to be disconcerting at times. And in trying to communi¬ cate the "human side,” the writing has Stewai't in some mild humor¬ ous business, such as a conversa¬ tion with a fly In his plane, that achlevfes fair »resull?. The lyriting also falls fp p^jnetrate mtich below the surface. The puMic might have been Interested in learning more of the "Inner man” of this first individual to hop the Atlantic. Editing and other technical credits splendid. Gene. Duel atr Apaehe Wells (NATUBAMA) Well-motivated western meet¬ ing demands of the market. Hollywood, Feb. 19, Republic release gf a Joe Kane pro¬ duction. Stars Anna Maria AlberghettI, Ben Cooper. Jim Davis. Features Harry Shannon. Francis J. McDonald, Bob Steele, Frank Puglia, Argentina Brunetti. Directed by Kane. Screenplay, Bob Wil¬ liams; camera. Jack Martu: music. Germd Roberts; editor, Richard L. Van Eager. Reviewed Feb. 13. '57. Running time, 69 MINS. Anita Valdez... Anna Maria AlberghettI Johnny Shattuck.Ben Copper Dean Cannary. Jim Davis Wayne Skattuck.. • Harey Si^nnon Hank...Francis J, McDonald Joe Dunn . Boh Steele Senor Valdez. Frank Puglia Tia Maria .. Argentina Brunetti Marcus Wolf .. Ian Macl^nald BUI Sowers .'.... John Dierkes Frank... Rlc Roman "Duel at Apache Wells” is a reg¬ ulation western with advantages. Producer-director Joe Kane has given rugged treatment to a well- motivated screenplay. Ben 'Cooper and Jim Davis lead off the action, with Anna Maria AlberghettI also starred for ro- maiftic interest. The Bob Williams script holds on Cooper, who re¬ turns home after a four-year ab¬ sence to find his father’s Arizona ranch threatened by Davis, rustler- turned-rancher. After trying to outwit Davis legitimately for hav¬ ing fenced off a public water hole known as Apache Wells, thus mak¬ ing impossible the driving of cattle to market, Cooper meets Davis in a duel, where It’s revealed he’s the famous gunman, Durango Kid. Cooper SeqUits himself in okay fashion and Davis lends credence to his heavy characterization. Miss AlberghettI is an interesting at¬ traction.' Harry Shannon as Coop¬ er’s father. Bob Steele as Dkvis’ chief henchman and Frank Puglia in role of femme lead’s father, owner of a cantina, deliver handily in their respective parts. Also in good support are Francis J. Mc¬ Donald and Argentina Brunetti. Whit. The Man Wlio Turned to l^one Scientists who live on young women’s blood. Lesser entry in current crop of horror pix. Hollywood, Feb. 15. Columbia release of Sam Katzman (Clover) pi'oduction. Features Victor Jory, Ann Doran. Charlotte Austin. William Hudson, Paul Cavanagh, Tina Carver, Jean Willes. Directed by Leslie Kardos. Screenplay. Raymond T. Marcus; camera, Benjamin H. Kline; editor. Carles Nel¬ son: music. Ross Di Maggie. Previewed Feb. 7, '57. Running time, 71 MINS.- Dr. Murdock.... Victor Jory Mrs. Ford ... Ann Doran Carol Adams . Charlotte Austin Dr. Jess Rogers.William Hudson Cooper ....“. Paul Cavanagh Big Marge. Tina Carver Tracy ... • Jean Willes Myer... Victor Varconl Eric ... Frederick Ledebur Freneau . George Lynn Anna . Barbara Wilson This latest in the current batch of horror films headed for pro¬ grammer bookings is a lesser en¬ try. Call it adequate to intentions as lower half of an "exploitation” bill. Sam Katzman’s Clover unit pro¬ duced for Columbia, using Ray¬ mond T. Marcus’ script, which never rises above the incredible in telling of an ageless group of scientists from two centuries back who have been able ta sustain life over the years by occasionally tap¬ ping the life force of young wom¬ en. Title comes from the fact they turn to .stone unless a supply of femmes is available, so they have set themselves up as heads of a reformatory for women. An un¬ usually high death rate among the inmates arouses the curiosity of the reformatory’s young welfare work¬ er and, aided by an inquiring young prison board psychiatrist, she starts a probing that results in the long over-due demise of the ageless ones. . Leslie Kardos’ direction is all that the script demands but, while there’s very little payoff in thrills, he does steer the cast by plot holes for generally okay performances. Victor Jory, Ann Doran, Paul Cavanagh and Frederick Ledebur are the principal stone people. Attractive Charlotte Austin is the not-so-naive welfare worker, while William Hudson plays the young doc. Seen as Inmates, and helping to decorate the footage are Tina Carver, Jean Willes and Barbara Wilson. Lensing by Benjamin H, Kline and the other technical credits are workmanlike In supplying budget values. Brog. The Time Story Of ^feoQie dTaimes (C’SCOPE-COLOR) Poorly plotted with confus¬ ing flashbacks, Jesse James takes another screen ride. Routine results probable. Hollywood, Feb. 15. SOth-Fox release of Herbert B, Swope Jr. production. Stars Robert Wagner, Jef¬ frey Hunter. Hope Lange; costars Agnes Moorehead. Directed by Nicholas Rdy., Screenplay. Walter Newman: .based on a screenplay by Nunnally Johnson: camera (De Luxe Color), Joe MacDonald; editor. Robert Simpson; music. Beigh . Harllne, conducted, by Lionel Newhian. Previewed Feb. Xa. '57. Running time, 92 MINS. Jesse James . Robert Wagner Frank Jjimes .. Jeffrey Hunter Zee ...:. I... Hope Lange Mrs. Samuel.Agnes^Moorehead Colo Younger... Alan Hale Remington-... Alan Baxter Rev. Jethro Bailey.John Carradlne Anne .Rachael Stephens Dr. Samuel .. Barney Phillips Jim Younger . Biff Elliott Major Cobb . Frank Overton Attorney Walker ..Barry Atwater Rowena . Cobb ............. Marian Seldes Askew . Chubby Johnson Charley . Frank Gor.shln Robby . Carl Thayler Hillstrom . John Doucette Sheriff Trump .. Robert Adler Sheriff Yoe .. Clancy Cooper Bill Stiles .'. Sumner Williams Deputy Leo . Tom Greenway Deputy Ed ... > ■ • Mike Steen Peter ..... Jason Wlnrireen Wiley .....J, Aaron Saxon Bob Younger . Anthony Ray Tucker _;... .' Clegg, Hoyt Hiiarhle . Tom Pittman aeU Miller.... Lous Zlto Sam WeUs . Mark Hickman Dick LiddeU. Adam Marshal Bill Ryan . Joseph Di Reda Jorgenson .J. Frederlk Albeck Archie, age 4. Kellogg Junge Jr. On celluloid Jesse James has had more lives than a cat, and "The True Story of Jesse James” suggests it’s time screen writers let him roll over and play dead for real and reel. In the many past film reworkings of the 19th century delinquent's shbddy ca¬ reer just about every angle has been covered. There’s nothing new to report in this CinemaScone-De Luxe Color glorification, It’.s a I routine offering for the outdoor market with Robert Wanner and Jeffrey Hunter in top roles. Herbert B. Swope’s production had plenty of opportunity for com¬ mercial action to bolster a form¬ ula plot, but these opportunities are mostlv dissipated by slowing the film with a story told in nu¬ merous flashbacks; The attempt to view the James ' character through the eyes of pro and con contemporaries only makes for confusion, depriving an audience of clear-cut plot line that might keep it interested. Dialog, too, is poor, continually veering from period to modern idioms in the Walter Newman script, based on Nunnally Johnson’s screenplay for 20th-Fox’s 1939 "Jesse James.” Nicholas Ray directs in stock fashion, adding little of substance to the picture. Admittedly, he didn’t have much to work with, but there’s no apparent attempt to help build performances into meaningful portrayals^an assist all of the cast members sorely needed. As Jesse and Frank James, respectively, Wagner and Hunter go through the motions of telling why the former took up the gun when Northern sympathizers ihade it difficult for them to live in Missouri after the War between States. Both are adequate to the demands of script and direction, as is Hope" Lange, playing Zee, the girl who married Jesse. Costar Agnes Moorehead goes way over¬ board in her role of the mother of Jesse and Frank. Alan Hale, as Cole Younger; Alan Baxter, the railroad detective; John Doucette, a sheriff, John Car- radine, Barney Phillips, Biff Elliot, Frank Overton, Barry Mwater, Marian Seldes and Chubby John¬ son are among accepted perform¬ ers in the large cast that acts out the Incidents in the James career. Joe MacDonald’s photography does a good action job on showing the various sorties against banks and trains by the James gang, and the period decorations come off okay. Brog. Oh9 Mon! Oh„ Women! (C’SCOPE-COL(Mt) Merry spoof of psycho¬ analysis with Ginger Rogers, David Niven, Dan Dailey, Bar¬ bara Rush and Tony Randall. Good boxoffice potential. 20th-Fox release of Nunnally Johnson production. Stars Glnirer Rogers, David Niven, Dan DaUcy, Barbara Rush and Tony 'Randall. Directed by Johnson. Screenplay, Johnson, from the play by Edward Chodorov; camera (Cinema- .Scopc-DcLuxe). Charles G. Clark: editor. Majorle Fowler; music, Cyril J. Mock- ridge. Previewed in N.Y., Feb. 14, '57. Running time. 90 MINS. Arthur Turner .. Dan Jlailey Mildred Turner . Ginger Rogers Dr. Alan Coles . David Niven Myra Hagerman . Barbara Rush Cobbler . Tony Randall Mrs. Day . Natalie Schafer Miss Tacher ...... Rachel Stephens Dr. Kraus . John Wengraf Melba . Cheryll Clarke Steward .. Charles Davis Having taken Freud seriously for a number of years, as evidenced by the numerous psychological dramas, Holly wood—taking Its cne from a Broadway success-sweawes to satire. The result is a merry and occasionally hilarious spoof of tK^ headshrinkers arid the couch- happy brigade. Taking off from Edward Chod- orov’s Broa#vay play of a few seasons ago, Nunnally Johnson, who also served as producer. and director, fashioned a generally fast- paced comedy that can be converted to boxoffice dollars. Bolstered by such marquee names as Ginger Rogers, David Niven and Dan Dai¬ ley, the film has all the earmarks of a popular hit, ” It’s film newcomer,. Tony Ran¬ dall, however, who’ll probably gain most of the attention. A tele¬ vision and legit performer who rc:; ceived notice as Wally Cox’s side- kick in "Mr. Peepers” and as the i Mencken] an character In "Inherit the Wind,” Randall emerges as a new screen personality. His forte —at least in* "Oh, Menl Oh, I Women!”—is comedy and he hand-j les the assignment with confidence and polish. ^ , As a mlxed-up schnook com¬ pletely distracted by an equally addlebrained fenime, Randall’s an¬ tics succeed in upsetting the com¬ posure and life of k previously complacent and sedate psycho¬ analyst. portrayed by David Ni¬ ven. As a matter of fact, Niven, who has succeeded in keeping his professional and private life sep¬ arate, is shocked to find the two merging. Not only does hA discover, via the outpourings of his patients, that Randall has had a relationship with his fiancee, (Barbara Rush), but also that the husband (Dan Dailey) another of his problem pa¬ tients (Ginger Rogers) is also ac¬ quainted with his future bride. This situation sets the stage for numerous complications—Randall’s attempt'to win back (for himself) his analyst’s girl and Dailey’s ef¬ fort to break up Niven’s romance because he believes that his wife’s desire to leave him lias been prompted by her analyst. The thesps, all pros, turned in excellent performance^. Miss Rogers Is effective as the "useless” wife determined to end her "Doll’s House” existence, Dailey scores as the film star utterly, confused by his wife’s actions and Niven excels as the analyst who sees his own life crumbling. Miss Rush is fine as the "nutty,” child-like fiancee who gets ftd of problems by refusing to think of them. - There are occasional slow mo¬ ments in the film which tighter editing can easily remedy. For the most part, however, it fulfills its main purpose of providing enter¬ tainment that should prove appeal¬ ing to mass audiences. The production values and-4he technical aspects of the -film are all first-rate. Holl. Flesh And The Spur (COLOR) Unexciting western for less discriminating trade. Hollywood, Feb. 19. American International release of an Alex Gordon production. Stan John Agar. Marla English, Touch Connors: features Raymond Hatton. Directed by Edward L. Cahn. Story-screenplay, Charles B. Grif¬ fith, Mary Hanna; camera (Elastmancolor), Frederick E. West; editor, Ronald Sin¬ clair; music, Ronald Stein. Previewed Feb. 15, '57. Running time, 78 MINS. Luke Random, Mathew Random John Agar Willow .Marla EngBsh Stacey . Touch Connors Windy . Raymond Hatton Lola . Maria Monay Rena . Joyce Meadows Tanner . Kenne Duncan Indian Chief .. Frank Lacktern Blackie . Mel Gaines Deputy Marshal . Michael Harris Bud . Eddie Kafaflan Bartender . Richard Alexander Outlaws. .Kermit Maynard, Bud Osborne, Buddy Roosevelt "Flesh and the Spur” is an un¬ exciting western, burdened with trite dialog and drawn-out situa¬ tions. Film will need all the draw of "Naked Paradise,” with which it is being packaged, to get by. On the credit side, however, is some fine Eastman-color photography. The Charles B. Griffith-Mark Hanna screenplay centers on a manhunt, John Agar’s search for the murderer of his twin brother. He meets Touch Connors, a fast gunman; who also is seeking a quarry — the outlaw gang with which the killer is identified. They team up on the hunt,-but the wind¬ up is long and dull, only livened by the brief surprise situation of Connors being the killer. Edward L. Cahn’s direction Is unable to hurdle the dull aspects of the script, with the result that none of the players shows to advan¬ tage. Faring best is Connors, whose personality rises“"?fTwr^ hio part. Agar is lifeless as the aveng¬ er. Marla English, an Indian girl ; who joins pair when they save her I from another white man, is lost in ithe shuffle, and Raymond Hatton [barely manages to make his work i count as a medicine showman. I , Whit. Teii 'TiioMand liediirooiM (eSCQPR-^SONQI^^LC^ j Dean Martin, on own. star* acceptably. In Bgkt ramabtio comedy Tnth songs. Regrilation tintimer for general bill-top¬ ping playdaies* Hollywood, Feb. 18. Metro release pf Joe Pasternak produc* tton.' Stare Dean Martin; coatars Anna Marie AlberghettI.' Eva Bartok, Dewey Martin, 'Walter Slezak, Paul Henrela, Directed by Richard Thorpe. Screenplay, Laslo Vadnay, Art Cohn, William Lud- vrls, Leonard Splgelgage; camera (Metro- color); Robert Bronner; editor, John MeSweeney Jr.f -new eonga. Nicholae Birodazky, Sammy Cahn; music super¬ vision and conducted by George Stoll. Previewed Feb. 13, '57. Running time, 113 MINS 4 . ■ . . Ray l&inter ..... .. . Dean Martin Nina Martelli ., .Anna Maria AlberghettI Maria Maxtelll .. Eva Bartok Mike Clark .Dewey Martin Papa Vittorio MartelUv... .Walter Slezak Anton . Paul Henreld Arthur .Jules Munahln Vittorio Gisini . Marcel Dalio Countess Alzanl .. Evelyn Varden Diana Martelli .Lisa Montell Anna Martelli... Lisa Gay* Bob Dudley . John Archer Tom Crandall .. Steve Dunne Dan ... Dean Jones . Girl on Main Title. .Monique Van Vooren Dean Martin goes solo in "Ten Thousand . BediDbms” . and proves (a) he Is sn affable leading; man and (b) has an easy way with a song. He will have no problem handling anything In this vein that comes his way, now that he's shorn of Jerry Lewis. Besides, thef typi¬ cal Joe Pasternak production pro¬ vides him with a number of comely femme partners, as well as sevei^ very able hands at comedy. The end result is a pleasant, albeit yeg-. ulatlon, romantic tintuner that will head the bill in general playdates. In addition to the above beguile- ments, Pasternak Insures plenty of sight values via a Rome story site, making for lush adjuncts to the light plot froth cooked up by script- ers Laslo Vadnay, Art Cohn, Wil¬ liam Ludwig and Leonard Spigel- gass. Four new tunes by Nicholas Brokszky and Sammy Cahn, all with a pop flavor, head the musical end of the presentation, with Mar¬ tin and Anna Maria AlberghettI to give them listenef appeal. MisS' AlberghettI, venturing'into more grownup roles, just might catch teenage fancy as a result of the way she performs here. The character of a young, romantically inclined Italian miss is right for her, so she has no trouble making it register strongly. It’s a good showcasing for the young lady. Vo¬ cally, too, she’s good in joining with Martin on such numbers as "You I Love,” possibly the score’s best, and "Only Trust Your Heart,” also smoothly listenable. Martin, in somewhat of a young Conrad Hilton takeoff, is a hotel tycoon en route to Rome to set his latest—the purchase of an old, es¬ tablished hostelry. Hence, the title and the title song, which he sings as the credits unwind and Monique Van Vooren stretches on a satined symbol. The ancient city’s hlgh- spots, such as the Colosseum, Span¬ ish Steps and Trevi Fountain (lat¬ ter better known stateside for the three coins tossed therein), are dis¬ played while Martin, gets himself romantically involved with the at¬ tractive daughters of Walter Sle¬ zak. There are four, but Martin Imagines he fancies Miss Alber- ghetti, the youngest. Amatory didoes concern his trying to get husbands for the other three first —it’s a family tradition—but wind¬ up finds him happily losing Miss AlberghettI to Dewey Martin, pilot of the tycoon’s private plane, and marrying the eldest, Eva Bartok, who is the right one for him, any¬ way. Miss Bartok and Martin carry off their respective duties capably, as do sisters Lisa Montell and Lisa Gaye* also heard singing "Rock Around the Clock” and "No One But ■you.” Besides getting all that’s possi¬ ble out of the romantics and songs, director Richard Thorpe also han¬ dles the (last’s several comics skill¬ fully for rewarding laughs. Slezak, in a character of a type seen in many such pfx, still gives it a fresh¬ ness that tickles the risibilities.. Possibly a surprise comic is Paul Henreid, who milks his part as an Impoverished count who, while liking Miss Bartok, likes money and position Just as much, if not more. Jules Munshin also gets his share of chuckles at the hotel ty¬ coon’s valet—even does "Money Is a Problem” with the boss in a nice¬ ly routined bit staged by Jack Baker. Bows go, too, to John Arch¬ er and Steve Dunne as a couple of hotel managers the tycoon flies In to woo the Misses Gaye and Mon¬ tell. Robert Bronner’s photography uses the Cinemascope and Metro- color to advantage. Other assists include the music supervision and conducting by George Stoll, Helen . Rose’s costumes, and the lush dec¬ orations. Brog.