Variety (June 1957)

6 FILM HET1EWS &5alETr ■Vcdneidty, jw 5, -1957 £«tc In the Alternom Promising Payoff likely for Cooper—Heplmra—Chevalier frolic. Allied Artluts rtltiM «i Billy Wilder production. Stars Audrey Hepburn, Gary Cooper, Maurice CberaUer; features John McGiver. Van Doude, Use Bourdin, Olfa Valery ft the Gypsies. Directed by wader. Screenplay. Wilder and L A. L. Diamond, from the Claude Anet not el: Camera, William Mellor; editor. Leonid AW; musical adaptation. Franz Waxm^n: •ones, “Fascination." F. D. Marchetti ft Maurice de Feraudy; “C'est Si Bon," Hem! Betti ft Andre Hornezr "L'Ame ties Foetes." Charles Trenet; "Love In the Afternoon," "Ariane'* and “Hot Paprika," Matty Malneck. Previewed In N. k. .'Guy *?, '37. Banning time. 128 MINS. frank Flannagan .Gary Cooper Arldne Chavasse .Audrey Hepburn Clatfde Chavasse .Ihgturice Chevalier Mr.sX .John McGiver Micicl ....Van Doude Madame X .Lise Bomdm Olga Valery Gipsies .Themse.ves Manhattan B.O. Tax Washington, June'4*-, Upper Manhattan Intemat Revenue District, which takes in the show biz district and the offices of nationwide theat¬ rical enterprises, paid Uncle Saba $5,275,794 in admissions taxes during the first Quarter of 1957. Internal Revenue Service discloses that this included $4,110,695 from the general admissions bite4—the 10% on all tickets costing more than 90 cents. Another $1,081,290 came from the 20% nick on cabaret checks. The remaining $83,809 was derived from taxes on ticket brokers’ sales in excess of face value of the ducats, etc. Man on Fire Ring. Crosby straight dramatic film about divorce and custody of a child. Good b.o. potential. Title-wise, “Love in the After¬ noon’ is fitting, being far more communicative of the film's con¬ tent, and obviously more provoca¬ tive. than the original, “Ariane.” It is all about romance before nightfall, in Paris, with Audrey Hepburn and Gary Cooper as tlic participants. Under Billy Wilder's J ilternately sensitive, mirthful and oving-care direction, and with Maurice Chevalier turning in a captivating performance as a pri¬ vate detective specializing in cases,. _ _ „f amour the production holds en-1 muho .ocr. ay D..« chantment and delight in substan- ; , 5 mins. Earl Carleton .... Bing Crosby .\ina Wylie ... Inger/Stevens Gwen Seward ............. Mary Fickett Sam Dunstock . E. G. Marshall Ted Carleton.Malcolm Brodrick Bryan Seward...Richard Eastham Judge Randolph, . Anne Seymour Mack ...* Dan Riss Stars Bing Crosby. Features Inger Stev¬ ens, Mary Fickett, E. G. Marshall, Mal¬ colm Brodrick, Richard Eastham, Anne S<\\ incur and Dan Riss. Directed by Ran¬ ald MacDougall. Screenplay. MacDougall li-om a stoty by Malvin Wald and Jack. Jacobr; camera, Joseph Ruttenberg; edi¬ tor, Ralph E. Winters; song; “Man On Vire” by Sammy Fain and Paul Francis Webster, sung 'by the Ames Brothers; music score by David Raskin. Previewed tial quantity. These elements speak for them¬ selves in conversation about the commerce. The boxoffice has got to be strong, particularly in the key runs. “Love in the Afternoon” though | . . , * — - is long and the casting of Cooper) Bing Crosby, who made an lm- as tiie eager beaver Romeo is curi- i pact as the alcoholic actor in “The ous. Running time, no matter how ! Country Girl,” again demonstrates much of it there is, is never ex-!his ability as a straight dramatic cessive where the material plays; performer. As a doting father em- OUt with sustained freshness. There broiled in a harsh custody battle are instances where “Afternoon”'. with his ex-wife, he gives an ap- xepeats itself; I pealing and sensitive performance. Consider this wealthy American = Character of Earl Carleton a suc- businessman. Cooper, constantly as I cessful business man embittered the woo merchant In his lavish Parlsien hotel suite, first with Madame X and then Ariane (Miss Hepburn). Several scenes spill out before Cooper comes on camera, and then on it’s love in ^he after¬ noon. For leavening there are the appearances of a gypsy .string quar¬ tet <very funny) kept in Cooper’s hire for the purpose of creating ■“mood,? plus other episodes of humorous satire, deftly staged. Low-key lighting and deliberate side-glance camera angles make Cooper almost ah obscure figure on the screen. Perhaps, this is in deference to the fact that this vet¬ eran actor, when in full and candid view, frankly has a much longer count on the calendar than Ariane. Or, maybe this is Wilder simply trying to set forth the clinches with a finesse designed to hoodwink the onlooker into thinking things real¬ ly might happen this way. While these criticisms are to be noted, the demerits are outweighed, by the overall charm of “After-' noon.” Aud much charm is ex¬ uded by Chevalier. His is a win¬ ning performance, from the open¬ ing as he introduces his audience to Paris and then to his own role as by a broken marriage is under¬ standable and sympathetic. Producer Sol Siegel appears to have come up with a film that has good, If not socko, boxoffice poten¬ tial. The Ranald MacDougall screenplay, based- on a story by Malvin Wald and ‘lack Jacobs, re¬ sembles the fiction 1 that is popular in the better women's magazines. Since tills type of fiction has a ready-made distaff audience, indi¬ cations are that "Man on Fire” should be particularly appealing to women. More discerning critics may point up its slickness and the formula solution to the problem involved. The story tackles the question of divorce and its effect on children. Crosby is stubbornly determined to maintain the custody of his young son at any cost. Not only is he motivated by a sincere love for liis child, but his actions, including an effort to “kidnap” his son in the face of a court order, are based on liis own hurt feelings and bitter¬ ness over the fact that his wife left him to marry another man. Complicating the situation is the son’s resentment of his mother and her new husband. Eventually both ... . ^ __ e . ( Crosby and his son both "grow up 1 auditor and record-keeper of af-; an(i a satisfactory solution to the fairs of indiscretion in the city of • custody tlff ^ evolved. bght. . j Except for Crosby, the picture It’s in his files that his daughter, |]s dominated by new faces. Siegel the lovely, wistful MissyHepburn, as a ’cello student, copies upon knowledge of Cooper’s interna¬ tional conquests, runs to him with the warning that his current pas¬ sion fMadame X) has a husband (Mr. X) bent on murder, and finds herself soon to become a candidate for one of her own father’s file cards. Several songs are heard, notablv land again an appropriate title) “Fascination.” Madame X is Lise Bourdin. who is merely a veiled figure (again that camera shvness about coming . face to face with people), and Mr. X is John McGiver, Suitably fren¬ zied as the husband suspecting his mate has taken to play with an¬ other. Van Doude is a handsome and likeable young man whose yen for Miss Hepburn Is thwarted by her attachment to Cooper. Screenplay is by Wilder and I. A.. L. Diamond, from the novel by Claude Anet. It’s a floating-in-air kind of story. And being innocent of earthiness—that is, lacking la¬ bored suggestiveness and not to be taken for real—there is no offen- flveness in the content although, of course, the theme is not a suit¬ able one for moppets. Music, as adapted by Franz Wax- man, goes splendidly hand in hand with the nature of toe screen ma¬ terial; the continuity is smooth but more decisive cutting might have has selected a pair of professional actresses to surround Crosby rather than relying on the typical in¬ genues that are commonly put forth as new faces. Mary Fickett, from the Broadway stage, seems a real find. As Crosby's ex-wife. Miss Fickett' is excellent. She at¬ tempts to w^ri hack he£ son’s love and bring' about .# satisfactory understanding'; with her fit-hus¬ band. ‘ ‘ • Inger Stevens, as a femme law¬ yer, is another bewComer who shojild be heard from to the fu¬ ture. She Is particularly appealing as* she nurses Crosby through his vicious and embittered moods. Fine performances are also given by Anne Seymour, as a femme judge, E. G. Marshall, as Crosby’s lawyer, find Malcolm Brodrick, as Crosby's young, son. Richard East¬ ham, either through the direction or writing, emerges just a little too stuffy as Miss Fickett’s new husband. Despite the dramatic impact of the picture, it is not all sombre. MacDougall, who directed as well as wrote the film, has provided some light dialog that fits Crosby’s familiar style. The tension is re¬ lieved on a number of occasions by scenes designed to provide a chuckle or a laugh. The picture is a well-made one technically, with the production E rovided more pace; William Mel- values as dick as toe story Itself. jr’s camera work is sometimes An over the title song, “Man on puzzling but for the most part fine, {Fire,” by Sammy Fain and Paul and other credits fully professional. Francis Webster, is sung by the Gene. .1 Ames Brothers. HoU. CalyBM Heat Wave (SONGS) Neat programmer stacked with appeal fer the teenager. Hollywood, May 31. Columbia release of Sam Katzman pro¬ duction, Stars Johnny Desmond, Merry Anders, Me* Myles; features Paul Lane- ton. Joel Grey, Michael Granger, George E. Stone. The Trenlers, The Tarrier*. The. Hl-Lo’s, Maya Angelou.. Directed by Fred F. Sears. Screenplay, David Chandler; story, Orville H. Hampton; camera, Benja¬ min. H. Kline; editors, Edwin Bryant, Tony DIMarco; music,..Paul Mertz, Ross. D1 Maggio; choreography. Josephine EarL Previewed May 23, '57. Running time, U MINS. Johnny Conroy.. Johnny Desmond Marty Collins .........-Merry Anders Mona De Luce .Meg Myles Mack Adams .. Paul Langton Alex Nash ....Joel Grey Barney Pearl ..Michael Granger Books ... George E. Stone The Tarriers .. Themselves The Hi-Lo's .. Themselves Maya Angelou . Herself Dick Whittinghm .Himself Girl ... Darla Hood Hi Fi £romljey .Pierce Lyden George . Gil Perkins Andrew --........ William Challee Mac Niles and the Calypsonians Themselves Combined artistry of the musical talent lined bp for “Calypso Heat Wave” rates this Sam Katzman (Clover) production a neat entry for the supporting market. It’s none-too-subtly aimed at the teen- age market, and there will have to find its greatest appeal. Against it Is the fact that the calypso song craze is on the wane and some say already dead. David Chandler screenplay, from a story by Orville H. Hampton, is merely toe springboard for the musical break-ins. Nonetheless, it’s well spotted with humor and thor¬ oughly effective as directed by Fred F. Sears. Tale centers around Disco Rec¬ ords, company headed by ex-musi¬ cian Paul Langton, who has as his partners secretary Merry Anders and singer Johnny Desmond. Lat¬ ter, it seems, has become the calyp¬ so idol of the teenagers, and this leads Michael Granger, chiseling jukebox czar, to buy his way into the firm so as to get on the gravy train. His unethical manipulations, however,; cause Desmond to take off for parts unknown and Disco’s biz makes a rapid decline. It all winds with Granger out of the com¬ pany, Desmond returning to make more disclicks and Langton and Miss Anders about to wed. Plus, of course, the musical sign-off via a calypso carnival. Desmond makes a personable lead and effectively puts over some half-dozen song numbers, while Miss Anders, Langton and Granger are all adequate to the demands of the script. Meg Myles is good as Granger’s g.f;. as is Joel Grey as Disco's errand boy and jack-of-all- trades. Grey, incidentally, is also In with a neat dance solo. Best of the vocal interludes are the Hi-Lo’s rendition of “Swing Low Sweet Chariot” and "My Sugar Is So Refined,” both from their current pop Columbia Rec- i ords album; The Tarriers 1 “Banana Boat Song”; "Day Old -Bread and Canned Beans” and "Rock Joe,” both done by The Treniers; and Maya Angelou’s "Run Joe.” Technical contributions are okay. ’Neal. , Joe Dakota Slow-moving western. No shots fifed, no boxoffice* hit. “Hollywood, May 31. ■Universal release of a Howard Christie production. Stars Jock Mahoney, Luana Patten; cottars Charles McGraw, Barbara Lawrence; features Claude Akins. Lee Van .Cleef, Anthony Caruso. Paul. Birch, George Dunn. Directed by'Richard Bart¬ lett. Screenplay. William Talman, Norman Jolley; camera (Eartman color), George Robinson; edttof/'Pred MacDoweU: music, Joseph: Gershennom art directors, Alex¬ ander GClliieh/Rill Newberry. .Previewed May '57. Running time. 77 MINS. Th¥ Stranger ........JOck Mahoney Jody Weaver ... Luang Patten Cal Moore Charles McGraw Myrria.Weaver Barbara Lawrence Aaiton-. Qriht ..... Claude Akins Adam Grant .. Lee Yen Clgef Marcus Vlzzini ..Anthony Caruso Frank Weaver . . . Paul Birch Jim Baldwin .............. George Dunn Sam. Cook Steve Darrell Rosa Viziinl . Rita.JLynn Tam Jensen .. Gregg Barton Claude Henderson.Anthony Jochim. Bertha Jensen ... Jeane Wood Ethel Cook .. Janey Ellis An offheat story and meandering treatment militates against "Joe Dakota”, being more thaib a -fair entry for the program trade. Name of Jock Mahoney may give film a boost, and film has benefit of. good supporting performances generally. The Howard Christie production is a western without a single shot fired, Jocaling in a tiny early Cali¬ fornia‘community where the whole populace is 'engaged in an oil-drill¬ ing enterprise. Script by William Talman and Norman Jolley is over- leisurely to building up Mahoney's role of a stranger who arrives with questions which seemingly cannot be answered, and because of the slow pace and patent intent to Greco Shuns 4-a-Day Radio City Music Hall reps suggested booking the Jose Greco troupe. But the flamenco artist, -hearing this, said he just couldn’t stand the idea of play- tog four a day. keep him mysterious the interest seldom speeds up beyond a walk. Mahoney finds himself unwel¬ come when he rides into town, ask¬ ing whereabouts of the old Indian who once owned the, property on which drilling is going on. He’s told toe Indian has gone . away, after selling property to Charles McGraw, a wildcatter who is head¬ ing operations. Later, it develops that Indian was hanged by towns¬ people for assertedly having at¬ tacked young daughter of the storekeeper, but Mahoney, retired cavalry captain for whom Indian was once a scout, is able.-to prove that McGraw framed the whole thing to get the land. Under Richard Bartlett’s direc¬ tion, Mahoney delivers well, albeit his true identity is too long to re- vealment, necessarily allowing ac¬ tion still further. Luana Patten, the storekeeper’s daughter, appealingly portrays her rold, her former friendship with the old Indian helping Mahoney clear up the case as he falls in love with her. Mc¬ Graw suitably delineates the heavy, Barbara Lawrence provides distaff (interest as Luana’s elder sister-and okay support is offered by Paul Birch, Claude Akins, Lee - Van Cleef, Anthony Caruso and George Dunn. George Robinson’s Eastman- color lensing is interesting, Fred MaeDowell’s editing is. as tight as script will allow and art direction is in capable hands of Alexander Golitzen and Bill Newberry. Whit. That Woman Opposite (BRITISH) An involved whodunit adapted from a novel starring Wilfrid „ Hyde White and Phyllis Kirk. London, )May 28, Monarch release (in association with British Lion) of Monarch (William GeU) Production. Stars PhyUis Kirk, Dan O'Herllhy. Wilfrid Hyde White. Petula dark. Directed by Compton Bennett. Icreenplay. Compton Bennett; from the novel “The Emperor's Snuff Box" by John Dickson Carr; camera,. Lionel Banes; editor. Bill Lewthwaite; music, Stanley Black. At Hammer Theatre, London,.Run- ning time, 70 MINS. , Eva ....Phyllis .Kirk Kinross . Dah^ O'Herlihy Sir Maurice .Wilfrid Hytte^White Janie* .Petula Clark Toby .Jack WatUng Ned .William Franklyn Lady Lawes .Margaret Withers Gofon ....Guido Lorraine Busaon ...Jacques Cey G«ton .. Andre Charisse BiU Morris .Robert Raikes M*rie .Tit« Dane £rue ..Baltina £ Ian * . ..Irene Moore .Concepta Fepnell Gendarme .....CampbeU Gray ...;..John Serett Doctor . Story is a bit complex, and diffi¬ cult to transfer. jo the screen in simple terms.. It is set in a French coastal resort, being mainly con¬ cerned^ with a series of robberies. Wilfrid Hyde White plays ar baronet and noted art collector, who is ,rebuked by his insurance-assessor for insufficient protection on his treasures. From his window* he recognizes the thief being tackled by a gendarme, who subsequently dies, he in turn gets murdered when one of his historical jewels is stolen. Both his son and the boy's, future bride are suspected, the son, because he had systemati¬ cally robbed his father to pay off a blackmailing mistress; and the fiancee becaus’e*she is tangled 'up to circumstantial ' evidence engi¬ neered by-her maid. "°- With the aid of toe investigating insurance sleuth and the local police, it is repealed toe fiancee’s ex-husband is both thief and .mur¬ derer. She had kept quiet over his presence in her bedroom *at night because of the compromising im¬ plications, and her statement of what she had witnessed through the* window sounded phoney. She and the insurance agent get togeth¬ er ^and switch the- romantic angle to “a happy finale when all the creases are straightened out. White’s dry whimsicality hits the right note as the baronet, contrast¬ ing with -the feeble characteriza¬ tion of the son by Jack Watting. Phyllis Kirk sustains the strong emotional role as the chief suspect while William Franklyn registers convincingly as the crook. Dan O’Herlihy balances evenly as toe insurance broker turned Romeo. Guido Lorraine brings aiMattractive Gallic flavor to toe role of the local police inspector. Petula Clark is. poorly served in the colprlesS part of the baronet’s daughter. Two ex¬ cellent performances ace given by Tita Dane and Balbina as the scheming French sisters, Clem. Mmjmm Initial nWnrti— effort ef Souther* exfcIMten fa strictly amateur nick! In Dixie. - United Artists relcs** tliiitl Rises production.-Stars Peter Graves and Lita. Milan. Features .Douglas Fowley and Tim Carey. Directed By Harold Daniels, Screenplay and story, Edward I. Fesstaf, Camera. Ted and Vincent Saizis; editor, Maury Wright; music. Fessler. Previewed, May 28, '57. Running time, 83 MINS. Martin*,............. A Peter Graves Marie .... Lita Milan Herbert .. Douglas Fowley Ulysses.Tim Carey Bo*.... Jonathan Hare Etienne ................. L Edwin Nelson Jean TItho.Eugene- Sondfield Doucette .. Evelyn Hendrickson Consine . Milton Schneider Fell clan.. MlcbaqlJR. Romano Importation of troupe of pros from Hollywood, including thespa Peter Graves, Lita Milan and Douglas Fowley, plus director Har¬ old Daniels, can r t save this from being more than amateur night in Dixie. Initial effort of Southern exhibitors, M. it Riggs and Ed¬ ward I. Fessler (who produced and scripted; respectively), this obvi¬ ously low-budget item* is at best adequate for modest or specialized situations, with toe off-beat back¬ ground a possible exploitation peg. There’s a germ of a good idea in Fessleris screenplay, but inept han¬ dling largely sterilizes it. Mainly, script shows a tendency toward flowery dialog which serves to fur¬ ther slow an already leisurely pace. In story. Graves, a self-effacing and insecure architect from the North, comes to the bayou country to plug his plans for a New Orleans municipal building with a vacation¬ ing politico. He falls in love with Miss Milan, attractive daughter of shiftless fisherman Douglas Fow¬ ley, and becomes embroiled in the violent affairs of the local Cajun French colony. The simple life and Miss Milan’s love regenerates Graves’ faith iirhimself, and when she’s threatened by the lustful de¬ signs-of the local bully, Tim Carey, Graves finds the courage to fight and beat him. “ . Most vivid portrayal is that of Miss Milan, who make the most of the fiery and attractive Cajun miss. Graves is competent in the rather pallid role of the architect. Fow¬ ley again demonstrates his talents *as a fine character actor, and not only makes a very convincing Cajun>but doubles in an uncred¬ ited role of a contractor friend of Graves; Tim Carey’s broad style of villaincy is suited to his role, Jona¬ than Haze’s* contribution is con¬ fined to a speechless hit, and local talent fills other parts with medi¬ ocre results. Director Daniels manages sev¬ eral strong vignettes, notably a genial shivaree and the fight scene between Uraves and Carey, but otherwise he’s unable to rise above the weak script. Black-and-white lensing quality by Ted and Vincent Saizis is good, but with attractive bayou. locale, colorfilming would have been more appropriate. Music~ background, also by Fessler fin'd sung in local metier by an unidentified group, is stuck in here and there without much application to the plot. Kove. Briefs From lots Hollywood, June. 4. Jean Simmons with Gregory Peck in "The Big Country” which Peck and William Wyler will pro¬ duce for United Artists release ... James Clark set by producer Plato Skouras to direct “Dark ..Valor” which rolls June 17 under the Regal banner for 2QthTelei5e . . . Jackie Loughery has femmje .lead opposite' John Barrymore Jr., to AB-PT’s "Young Mother” . . , Georgfe "Eoghorn”. Winslow, under multiple, picture’ contract'* to the studio, w«3 assigned to a. role to "Summer Love’? at Universal „ . , Lance Fuller will star in "Jet Sqqad” for producer Alex Gordon. . Rex Evans set for a role" in "Merry Andrew,” the Danny Kaye starrer which Sol. C. Siegel ; will produce > a£. Metro with Michael Kidd directing , . . Edward Binns will' star in "Portland Expose,” Lindsley Parsons production based on headline events ih' the Oregon city. Allied Artists w&l release. Susan Hayward has femme lead in Associated Artists' "Between the Thunder and the Sun” . . . Charles Sehneer bought screen rights to ’!Flsg Over Tarawa,” au¬ thored by Rickard Alan Simmons , . . Dee jay Howard Miller will play himself in ITs “The BI| Beat” . . Clarence Greene amt Russell ROnae, producer-director team, sighed a multiple picture deal with Associated Artists . ... Robert L. Beniltk boright screen rights-to “Black Majesty,” bv John Vandercook, for indie production * a