Variety (November 1957)

FILMBBOTWS « yjtetlETr Wednesday^ November 13, 1957 Sayonara I \ (TECHNIRAMA—COLOR) James A. Mieheneris tender, . sometimes angry novel of love and race prejudice involving 1 U. S. military P«yonnel in Ja¬ pan. One of year’s best films. Should be b.o. smash. Warner Bros. release of-William Goetz production. Stars Marion Montalban, Patricia Owens. Martha Scott. James Garner, Miiko_Taka, Um*-*)“* presenting Red Buttons; featuring Kent Smith, Douglas Watson, Relio iCUba. Soa Yong and ShochuVu Ka*eJddan Girls Bevue.'Direeted hy Joshua- Logan. Smreen- tOny. Paul Osborn, from James A. mch- «ner novel; camera CTechiiirarna-TeChni- color), Ellsworth Fredricks; editors, Ar¬ thur P. Schmidt, Philip W. Anderson, music, Franz Waxman; song ( Sayonaxa ) words and music by Irving Berlin. Pr&- viewed Nov. 4, *57, at Criterion, N.Y. .Running time, 147 MINS. . Gru r'. r .f®f SSSU Nakamura .Ricardo Montalban Eileen Webster . P-tricia Owens . Mr«r Webster .. Martha Scott Key ..Jam** G ^, cr Hana-ori .. Milk* Taka KitmSd \7/.V.7.7.7..... Mlyoshi Umekij General Webster ........ r -. Kent_Snnth ■tarts by bating the Americans whom she sees as robbing Japan of its culture and ends in. Brando’s arms. Apart from being beautiful she’s also a distinctive" personality and her contribution rates high. As Nakamura, the Japanese dancer, Ricardo Montalban represents Japanese refinement' and intelli- gencia. His character allows- the camera to witness several colorful Japanese classical dance sequences. In the smaller roles, Martha Scott is properly sharp as the class and race-conscious wife of the general. It’s an unsympathetic part for her, and she carries it off very well. Miss Owens plays the sensi¬ tive daughter, delighted and in¬ trigued by Japanese culture and basically unsuited to conformist Brando. As her father, Kent Smith makes the general appear torn be-, tween personal decency and a slave to Army regulations. His little speech about the army being “fa¬ ther” to its “confused” boys has bite and irony. Douglas Watson is suitably stuffy as the Dixiecrat Colonel, deter- rSmfkimf 014 '7.'.7.7.‘... U $eUco Kuba j mined to maintain the “color line . 1 Teruk^«m 77.777.. Soo Y 0 ng ; j ames Garner is attractive and at -- ease as the marine captain, carry- William Goetz’s “Sayanara ” j ing on an affair with a.Japanese based on the James A. Michener ’ - 1 - 1 ^ novel, is a uicture of beauty and sensitivity. Amidst the tenderness and the tensions of a romantic drama, it putfe across the notion that human relations trapscend race barriers, ivhether they are put up by U. S. Armed Forces in Japan or by segregationists in the Amer¬ ican South. Executed by a top cast and paced bj Marlon Brando in an outstand¬ ing performance, “Sayonara” is, in most respects, a major screen achievement. In its long (but not too long) running time, it fuses all .the vital elements of superior film drama—solid story, knowing direc¬ tion, the colorful, delicately poetic backgrounds of Japan, personali¬ ties that come to life as complete¬ ly believable people and—most im¬ portant—a definite, unwavering point-of-view. Joshua Logan’s direction is tops,. He tells his story leisurely aqd with a full awareness of all the Values the strange locale affords bis camera. Yet, action neyer lags; and the viewer is held from be¬ ginning to end. It’s a strange story, in some respect, and certainly its “message” is an unconventional one. It may displease some racial hatrioteers. it’s certainly candid in delineating the attitudes of the Ar¬ my and Air Force brass towards “Asiatics.” But’there are sock values in the very controversiality of the theme and the blunt manner of its execu¬ tion, running side-by-side with the romantic $tory; line.' With light touches, It’s the kind of many- faceted picture that should click on most audience levels. Though strongly supported, par¬ ticularly by the television refugee. Bed Buttons, it’s Brando who “car¬ ries” the production with one of his best performances. As Major ■Gruver, the Korean war air-ace, Brando affects a nonchalant South¬ ern drawl that helps set the char¬ acter from the very start In the picture, he grows and matures, finally freeing himself of his need to conform with redneck stand¬ ards. He is wholly convincing as the race-conscious Southerner whose humanity finally leads him to rebel against Army-imposed pre* Judice, Story has combat-fatigued Bran¬ do transferred to Kobe for a rest and to meet his Stateside sweet¬ heart, Patricia Owens, daughter of the commanding general of the area. They find things have changed and the sensitive, well- educated girl is no longer sure she wants to marry Brando. He in turn is upset because Airman Joe Kelly, played by Buttons, wants to marry a Japanese (Miyosht Umeki). When Buttons goes through with the mar¬ riage, with Brando acting as best man, a Southern Army colonel goes after the boy and wants to ship him off to the States where his pregnant wife can’t follow. Brando meets a beautiful Japa¬ nese actress-dancer (Mliko Taka) and gradually falls deeply in love- with her. When Buttons and his wife, in desperation, commit sui- { Ide, Brando realizes that, regard- ess of the consequences, he must marry Miss Taka. There are many fine shadings in this story and Logan’s direction brings them out vividly. The per¬ formance he gets out of Buttons, deeply moving in its sincerity;, ahould raise the erstwhile air comic to entirely new stature. In this •’straight” part, he's excellent and his devotion and final desperation Xing completely true. He’s the apunky little guy who braves the Army rules—and loses. Playing opposite him. Miss Umeki Is charm- ngly simple. Their relationship warmth and understanding. girl, attractively portrayed by Reiko Kuba. Lenser Ellsworth Fredricks has-] used the Tecbnirama-Technicolor camera to best advantage. His land-1 scapes are an important factor in (Continued on page 20) The Persuader A “religious” western. Exten¬ sive verbal sermonizing. Maybe some church tie-in angles. Otherwise dull prospects. Hollywood, Nov. 11 . . Allied Artist* release of a World Wide Pictures Production.- Stars William Tal- man, James Craig; co-stars Kristine MiUer, Darryl Hickman, Georgia Lee, Alvy Moore; with Gregory Walcott. Rhoda Wil¬ liams, Paul Engle, Jason Johnson, Nolan Leery, John Milford, Frank Richards. Producer-director. Dick Ross. Screenplay by Curtis Kenyon: camera, Ralph A. Woolsey; editor, Eugene Pendleton; art director, Walter Keller; music, Ralph Carmichael. Title son* by Carmichael, song by James Joyce. Previewed, Nov. 5, ■’57. Running time, 72 MINS. Matt Bonham, Mark Bonham .. William Talman Bick Justin .. James Craig Kathryn Bonham.- Kristine Miller Toby Bonham .. Darryl Hickman Cora. Nleklln ... Georgia Lee Willy William* .... Alvy Moore Jim Cleery . Gregory Walcott Nell Landis.Rhoda Williams Paul Bonham ... Paul Engle Morse Fowler ..Jason Johnson Dan . Nolan Leary Clint .. John Milford Steve .. Frank Richards In recent years, the standard oater" formulas have been widened to include the “adult” westerns. Comes now a new tack, “The Per¬ suader,” which is a western with a strong Teligious flavor. It is not possible to report that this experiment is on par with other “adults.” Stress is on “ver¬ bal” sermonizing, delivered earn¬ estly and at" great length. With staunch churchgoers the best pos¬ sible audience, one exploitation possibility is a round of church dates. But as a strictly commercial venture, “The Persuader’s” chances are anything but- persuasive, Story by Curtis Kenyon stresses theme that loving-kindness con¬ quers all, even a band of hardbitten heavie?. Principal opponents are preacher William Talman and gang leader James Craig. Talman arrives in a small Oklahoma town to find his brother murdered for resisting Craig and the townspeople cowed and complacent With a powerful lot of preachifying and the example of his ^outage, Talman gradually stiffens the spines of the citizenry. In unconvincing climax, Craig, im¬ pressed by this new solidarity, passes a chance to bum down the new church and decides to move on. Darryl Hickman, as the dead twin’s revenge-bent son, is involved in some contrived plotting, but his role doesn’t add up to anything significant. ’ Dick Ross produced and directed with laudable intentions, but his execution distinctly lacks profes¬ sionalism. "Cast falls largely into stereotype although Talman lends some, stature to his double part. Kristine Miller as the dead man’s widow, Hickman and Georgia Lee, as his wholesome g-f., are as good as the ^script will allow. Alvy Moore, as a Craig henchie who gets killed for shifting sides, is espe¬ cially impressive in support. Craig himself makes a properly suave and dangerbus heavy, but he can’t be assessed for failure of screen¬ play to make sense of his role. Title song by Ralph Carmichael and sung by James Joyce while okay In its class, was overly loud at the viewing and intrusiv.e in overworked employment of the "High Noon” device. In several scenes, footege was very jerky and uncomfortable to watch, but this _ ____ I could have been a projection fault. Miss Taka plays the proud Hana- j Other technical credits are ?de- egi, the dedicated dancer, who equate, Kove, Bei't Gm Near the Water (C’SCOPE—COLOR) Spoof on Navy public relations “war” in the Pacific* Broadly handled for laughs and rating . a “well done” for boxoffice results; Glenn Ford and Gia Seals head cast. Metro release of Lawrence' Weingarten production. Stars Glenn Ford; features Gia Scala, Earl Holliman, Anne Francis, Keenan Wynn, Fred Clark, Eya Gabor, Russ Tamblyn, Jeff Richards, Mickey, Shaughnessy. Directed By Charles Wal¬ ters; screenplay. Dorothy Kingsley and George WeUs; from novel of same tiUe by William Brinkley; camera <Metrocolor), Robert Bronner; editor. Adrienne Fazan; mimic, Bronislau Kaper; title song lyrics, SamnW Kahn. Previewed Loew’s State Theatre, N.Y., Sept; 30, '57. Running time, 107 MINS. Lt. Max Siegel. Glenn Ford Melora .. 1- Gia Scala Adam Garrett.. Earl Holliman Lt. Alice Tomlen ... . Anne Francis Gordon RIpweU.Keenan Wynri Lt. Comdr. Clinton. T, Nash-Fred Clark Deborah Aldrich....Eva Gahor Ensign Tyson . ....., Russ Tamblyn Lt. Ross Pendellon.. Jeff Richards Farragut Jones .....Mickey Shaughnessy Adm. Boatwright . .. Howard Smith Mr. Alba .. Romney Brent Janie ..Mary Wlckes Lt. Comdr. Gladstone.Jack Straw Lt. Comdr, Hereford......Robert Nichols Lt. Comdr. Diplock..... . ..John Alderson Rep. George Jansen.......Jack Albertson Rep. Arthur Smithfield.Charles Watts - Light and likeable. “Don’t Go Near the Water” sets out to woo the public with, impishness and comedic absurdities in describing the adventures of Madison Ave- nueites assigned to * public rela-; tions duty with the Navy on a Pa¬ cific island during World War II, 1 Mission is well accomplished— meaning, top bookings . and box- office satisfaction. Excepting Glenn Ford, who’s had sea duty, the crowd of .bally hooligans don’t go near the wa¬ ter, their ;war heroics being in- the struggle to accommodate visiting Congressmen, assuaging a corres¬ pondent bent on uncovering news they’d like to keep secret, keeping the folks at home apprised of the glories of the service, and so on. While It comes off amusingly, due in good part to a funny slow- burn performance by Fred Clark as the p.r. commandant, “Water” has one bit family tirade may.not fancy. Much footage is given .to Mickey Shaughnessy as a brawny, ribald seaman who is addicted to constant use of a four-letter ob¬ scenity, which he mouths but -everytime it’s drowned out by a soundtrack boat horn. This Is the glorification of a dirty joke. Other than that, “Water” is clean fun,, offering a series of hu¬ morous situations held on a light story line and backed by a hand¬ somely laid-out Lawrence Wein- garten production. Metroeolor and Cinemascope provide top visuals and sets and art work make the ocean outpost look like the real thing; Tone of the. picture is estab¬ lished at the outset via this fore¬ word; “This is a story of some of those fearless and vtonderfyil guys in Navy . public , relations. They push a perilous pencil, pound a dangerous typewriter and , fire a deadly paper clip, but they■ i: . -. ' Don’t Go Near the Water’ ” . Screenplay by. Dorothy.’ Kings¬ ley and George Wells is a bright adaptation of the successful Wil¬ liam Brinkley novel of the same title. It offers a collection of colorful characters engaged in a variety of little subplots that are meshed together-in an ingratiating whole. Among the problems * the p.r. contingent also is called upon to cope with are Howard Smith who, as Admiral Boatwright, bristles and burns in his hostility toward the displaced - misplaced advertising geniuses playing war; -the afore¬ mentioned correspondent’ (played with proper “heavy” overtones by Keenan Wynn) 'who insists on a regular change of linen; and, for good measure; a cleavaged, flashy Eva Gabor, who comes in late as a Women’s mag rep maneuvering herself aboard a cruiser that en¬ gages in actual battle. This last piece of business, which has the ship waving a pair of Miss Gabor’s black panties as sort of a victory pennant after the skirmish, is com¬ edy in its broadest sense, going overboard in the quest for laughs. Couple of romances are woven through all this. Ford and Gia Scala, an exotic looker on hand as the European-educated daughter of a local citizen, team up nicely to the inevitable happy conclusion, including a school built for her through funds gotten out of Wynn in justified extortion. . Earl Holli¬ man makes time with -Anhe Fran¬ cis despite regulations, he being a. lowly yeoman and she . a., nurse lieutenant. Russ Tamblyn as an eager member of Clark’s staff and Jeff Richards as the conceited wolf of the island round out the cast, all members of which are well placed for this kind of easy- to-take entertainment. Charles Walters’ direction " is paced at full throttle and .organ- [ ized remarkably well, considering the numerous separate little ad¬ ventures tucked Into "the overall smooth continuity. . Adrienne Fa- zan’s editing is a major credit, the rapid scene changes contributing to the picture’s fast flow. Music by Bronislau Kaper is in the right kind of lighthearted mood, Rob¬ ert Bronner’s photography is splendid, ditto other credits. Gene. The Birthday Present (BRITISH) - . Smooth, , but uninspired rou¬ ting offering which suffers from lack Of marquee appeal; only fair b.o. prospects. London, Nov. 5. British Lion release o£ Jack Whitting- ham production. Stars Tony. Bruton, Sylvia Syms; features Jack Watling, Wal¬ ter Fitzgerald, Geoffrey Keen. Directed by Pat Jackson. Story and screenplay by Jack Whittingham. Camera, Ted Scaife; editor, Jocelyn Jackspn; music, Clifton Parker. Reviewed at Studio One, London. Running time. 100 MINS. Simon Scott .. Tony Britton Jean Scott . Sylvia Syms Bill Thompson...Jack Watling Sir John DeU . Walter Fitzgerald Colonel Wilson.. -.. Geoffrey Keen George Bates /.Howard Marian Crawford Chief Customs Officer.John. Welsh Mr. Harraclough...Lockwood West, Charlie . Harry Fowler Careers Officer ... -Frederick Piper Magistrate .. Cyril Luckh am Photographer . Thorlgy Walters Banister .. Ernest Clark Jack Whittingham has produced his own story in “The Birthday Present,” and it is one which, but for the grace of God, could happen to anybody. Such anecdotes, how¬ ever, need more incisive approach to lift them out of the ordinary than has been granted to this yarn. Relying on reasonably well-known, but not star names, this pic .will be acceptable in most British houses but seems-to have little to offer the international market. Tony Britton is a successful young salesman, who on a business jaunt for. his firm to the Continent, yields to the temptation not only to buy an expensive watch Xat trade. tgrms, of course) as ar birthday gift: for his young wife-but foolishly at¬ tempts to smuggle- it through Cus¬ toms. This irresponsible lapse starts a trail of events which turns his life upside down. He is nabbed by the Customs and charged in a police record. ‘ Thanks to a bun¬ gling defense, he finds himself serving a threemonth stretch-in the cooler. Attempts to keep this peccadillo under cover fall' down when the of¬ fice gabber gets- hold of the story and spreads it round. He comes but of jail, is sacked by his firm.and finds that his record prevents him" getting anpther job. Only his yqung wife and his old boss keep faith in him and eventually the matter comes to a happy head, leaving Britton a wiser young man who, clearly, will never risk an¬ other brush* with the law, even though his motive was stupid rather than criminal. Directed by Pat Jackson the prison scenes have an air of au¬ thenticity which almost take on the air of a documentary and, if noth¬ ing else, “Birthday. Present” will give a short, sharp jolt to anybody thinking that it’s worth trying- to get away with a technical evasion of the legal rules. But the whole .affair lacks urgency. Events follow each other with an inevitability Which 'causes the film to be a plod¬ der rather than a sharp slice of everyday life. Britton is a good-looking, pleas¬ ant young man who retains sym¬ pathy by his good humor and dig¬ nity in trouble. But audiences are never going to be overly worried about his problem. Sylvia Syms is his long-suffering young wife but, here again, audiences are never tortured by her unfortunate predi¬ cament. Geoffrey Keen, Walter Fitzgerald and, particularly. Jack Watling, as the young man whose curiosity un¬ wittingly aggravates an incident in¬ to an -event, all contribute solid performances. Harry Fowler as a ydung prisoner has one brief scene which is great.-Pat Jackson’s direc¬ tion follows the methodical but un- experimental nature of the script with technical s lrili: Ted Scaife’s lensing is a contributory sauce to the dank, downbeat effect of the prison sequences. Rich. U Holders Get $1-06 Board of directors Of Universal has declared a quarterly dividend of ^l.Ofi^per share on the 414% cumulative preferred stock of the company.-,- Melon is payable Dec. 2 to stock¬ holders. of record Nov. 16. IJidenai Girl Low-grade ’meller for bottom half. . . Hollywood,’ Nov. 12; Allied Artists release of. Norman T. Herman production. Stars Mara Corday, Pat Conway. Florence Marly. Dan Sey¬ mour; features Ralph Clanton, Myron Hialey. Directed by John Peyser. Screen¬ play, Arthur V. Jones; camera, Hal Me- Alpin; editor, Richard €. Meyer; art director, Nicolai Remisoff: music, Alex¬ ander Courage. "Previewed Nov. 6, J 57. Running' time, 7^| MINS. Val Hudson ....;.Mara Corday Brad Chase .... Pat Conway Leila-Graham . Florence Marly Mike Travis .............. Dan Seymour Sam Marvin ......I Ralph.Clanton Swede Nelson.. Myron Healey Phil Barry... Lewis Charles Dwyer . Jerry Eskow Jqe ...Dehl Bert! Susie . Sue George Larkin ......Mickey Simpson Don Carson .. Mike Mason Filmed independently under the Nacirema banner and now being released via Allied Artists, “Under¬ sea Girl” emerges extremely medi¬ ocre filler fare. Arthur V. Jones stpry-screenplay too conveniently ties events together. That many of the characters don’t appear, very bright in the lead doesn’t, help matters. Action revolves around $2,000,- 000 supposedly lost when a. naval ship was sunk outside of Yokohama Bay some years previous. Mixed uo in the proceedings' are: Mara Cor¬ day, newshen who,, while skin div¬ ing, comes across murdered body of- a tuna, fisherman, with ${,800 of the missing money on -Mb person; Pat Conway; Navy Li. assigned to the case, who also happens to-be Miss Corday’s b.f.i Dan Seymour, Police lit.; Ralph Clanton, who master-minded the£t has most'of* the money back in the U.S. and hidden iff; a nearby underwater cave’; Florence Marly; lattef’s g.f.; and Myron Healey, Clanton’s ac¬ complice who reportedly had lost his life: years : before when, is a. frogman, he was sent off a mission to retrieve the money. Wind-up finds loot recovered and back in proper hands, the villains all done in, and Conway and Miss. Corday now able to concentrate on ope an¬ other. . . „ John Peyser’s direction is on the amateurish, side, possibly helping to explain sub-standard perform¬ ances turned in by the usually competent players. . On the plus: side Is Edwin Gil¬ lette’s underwater photography, which includes some fairly, exciting shark footage; .and- a tuneful song, “Daydreams,” by Alexander Cou¬ rage and Hal Levy, weR sung in. a waterfront. bar by an, unbilled femme.- DaVid T.’’ Yolcozeki ls-'credited SS the executive* producer, Norman T. Herman as producer. Neal. Not Wanted Off Voyage (BRITISH) Naive and corny farce which achieves Its object as enter- ' tainment for undlscrimlnating audiences; others will find it ' fairly resistible. • „ London, Nov. 12. ," Renown release * of George Winter fHenry Halsted, Jack Mark*) production. Star* Ronald Shiner, Brian Rlx, Griffith Jones. Catherine Boyle. Directed by Mac- lean Rogers. Screenplay by Michael Fert- wee from original hy Dudley Sturtock and the “Wanted on Volajre" hy Evadne -Price A Ken AttiwiU; camera, Arthur Grant; editor, -Helen Wiggins; music, Tony Lowry. Previewed at Studio One, London. Running time, M MINS. Seward Higgins' ..1. Ronald Shiner Steward Holleborlc .. Brian Rlx Guy Harding .Griffith Jones Julie Haines -- Catherine Boyle Mrs. Brough: ... Fabia Drake Steward^. . _ . Michael Brennan Col. Blewton-Faweett....Michael Shepiey Captain .Martin Boddey Lady Maud Catesby....... Janet Barrow Mrs. Rose.Theresa Burton to. Rows .John Chapinan- Strang....Peter Prowse Pedro .-.... Erie Tohlmdn " | Seriously criticizing “Not Wanted on Voyage” is like chasing a butter- l fly with a bazooka. It. Is-an amiable, , corny farce Which is obviously Re¬ vised as a money-spinning second feature and will achieve its objec- ; tive with- undescriminating audi¬ ences in Britain, though its future- elsewhere is problematical. Ron¬ ald Shiner, one of UK/s top Cock¬ ney comedians, can do the sort of thing demanded by this film almost with his eyes Shut. He has milked as many laughs out of this undis¬ tinguished script as possible. ' He plays a smart-alecky ship’s steward with a flair for extracting tips from the somewhat stupid ar¬ ray of passengers on a pleasure cruise to Tangiers. Supporting Shiner in this janthol'ogy of all-at- sea gags is Brian Rlx, as a.formless steward. The combination, of Shiner and Rix is an energetic and, within its limits, highly successful one. The plot, such as it It, involves the theft of ah expensive necklace from a rich, :vulgar woman with Shiner and Rbt .eventually finding the jewel and jrunning the crooks to earth. .The film, which is (Continue# .page-2.01