Variety (January 1958)

6 FILM BEVIEWS PA&i&i'? Weinesdayj, JaAnay 1, 195# The Beep Six (COLOR) Routine wartime naval drama starring: Alan Ladd. Average A Jaguar Production for Warner Bros, release. Produced by Martin Rackin. Stars Alan Ladd, Dianne Foster, William endix and Keenan Wynn. Features James Whitinore, Efrem Zimballst Jr, and Joey Bishop. Directed by Rudy Mate. Screenplay, John Twist, Rackin and Barry Brown, based on novel by Martin ibner; camera (WarnerColor). John Seitz; editor. Roland Gross: music, David Buttolph. Reviewed in N. Y. Dec. 19, *57. Running time, 105 MINS. Alec Austen . . . . Alan Ladd Susan Cahill .......i . Dianne Foster Frenchy Shapiro ....... William Bendix Lt. Comdr. Edge . . Keenan Wynn Cbmdr. Meredith. ...... James Whitmore Lieut. Blanchard ... . Efrem Zimbalist Jr. Ski Krokowski . . Joey Bishop Claire Innes ............. Barbara Eiler Slobodjian _ Ross Bagdasarian Mrs. Austen . ‘ Jeanette Nolan Paul Clemson . . 1 Walter Reed Lieut. Dooley ............. Peter Hansen Lieut, (i.g.) Swanson . Richard Crane Collins _ _ _ Morris Miller A1 Mendoza . Perry Lopez Pilot . . . . i.i Warren Douglas Pappa Tatos . Nestor Paiva Like Gary Cooper in “The Friendly Persuasion,” Alan Ladd in “The Deep Six” is a Quaker who wrestles with his own conscience to overcome his pacifist training when confronted with a shooting war. Except for this plot twist, the Jaguar production for Warner Bros, release is a standard war¬ time naval drama. Alan Ladd’s name on . the marquee may prove of some value, but the picture ap¬ pears destined for a fast playoff and average boxoffice results. The screenplay by John Twist, Martin Rackin (who also produced) and Harry Brown from the novel by Martin Dibner is filled with familiar naval characters/ and he¬ roic exploits. The enlisted gobs in “The Deep Six” act no differently than the sailors in hundreds of other pictures, dealing with the U. S. Navy in peace and war. They’re a brave (on land and on sea), aggressive, wise cracking bunch, always chasing dames. Since this is a wartime drama, . it’s not too difficult for a cliche-spotter to remark early in the unfolding,. “That guy is going to get killed.’’ It appears that the writers "had some higher, things in mind that just don’t come off. They have teamed Ladd, as a Quaker, with Williatn Bendix,: who plays a Jew¬ ish petty officer, against Keenan Wynn, an executive officer up from, the ranis who is hell bent for re¬ venge, has a killer instinct, and gives evidence of bigotry. The crew’s reaction to Ladd’s pacifism is wholly unrealistic. As the gunnery officer, he hesitates to give an order to fire , on an ap¬ proaching plane. At first a hero, since the plane turns out to he a friendly one, Ladd is held in dis¬ dain when word spreads around that he refused to fire because of his Quaker leanings. As a result, he Is transfeired to damage con¬ trol. He regains his heroic stature when, with the help of Bendix, he removes an -unexploded Japanese bomb from the ship. The sailors, who formerly shunned him, walk over sheepishly, extend their hands arid remark:. “We had you all wrong , Sir.” Ladd’s pacifism again crops up during a .voluntary mission to res¬ cue some: U. S. airmen on: a Japa¬ nese-held1 island. This time Ladd has to prove himself to his pal, Frenchy Shapiro (Bendix). As a Japanese patrol advances, Ladd freezes at his gun. However, when the enemy riddles his pal, his trig-, ger finger unlooses and he mows down the attackers. Bendix, with bullets in his belly, arid sprouting blood, smiles benignly and says, “I knew you had it in you all along, Sir.” As a result of FrCnchy’s death and the experience on the island, Ladd “finds” himself and deter¬ mines to marry the beautiful '* art director (Dianne Foster) of the swank advertising agency where be had worked as an artist before donnirig his naval uniform. He had formerly postponed the marriage because ho thought it unfair for his fiancee to risk the possibility of becoming a widow. Performances meet the needs of the script. Iri addition to Ladd, Miss Foster, Bendix arid Wynn, who are okay in their portrayals, James Whitmore is convincing as the dedicated ship’s captain. Joey Bishop, a very funny staUdup night club comedian, doesn’t have the material, as a fast-talking, damechasing gob, to match Ms nitery exploits. Efrem Zimbaiist Jr., as the ship’s doctor, and Ross. Bag¬ dasarian; as an American sailor with femme cousins in every port, come across nieely. Rudy Mate’s direction Is routine. John Seitz’s WarnerColor photog¬ raphy is topriotch as are the over¬ all production values. HoU. I Wai a Teenge Frankenstein IP ART COLOR! Sock shockerfor exploitation market; food followup to “I Was a Teenage Werewolf.” Hollywood, Dec. 20. American-International release of Her-, man. Cohen production: Stars Whit Bissell, Phyllis Coates, Robert Burton, Gary Conway. Directed hy Herbert Li Strock. • Story-screenplay, Kenneth Lang¬ try; camera (black-and-white, Pathecolor), Lothrop Worth; editor, Jerry Young; music, Paul Dunlap. Previewed Dec. 18, *57, Running time, 72 MINS. Professor Frankenstein. ... : . :Whit BisseU Margaret .... _ _ _ 1 . Phyllis. Coates Dr. Karlton ............. Robert Burton Teenage Monster ; ..... .Gary Conway Sergeant Burns ............ George Lynn Sergeant McAffee . . . John Cliff Dr. Randolph ........ Marshall Bradford Arlene’s Mother ..... . Claudia Bryar, Beautiful Girl . . * Angela Blake Dr. Elwood ............. Russ Whiteman The Jeweler ........v Charles-Seel Man at Crash . . |... Paul Keast Woman in Corridor.... .Gretchen Thomas Arlene Joy Stoner. Young Man ............. Larry Carr Police Officer . . Pat Miller This follow-up to “I Was a Teen¬ age Werewolf,” released earlier in year, .is a shocker turned out on the same drill-press but of sounder : fibre. Well developed to take ad¬ vantage of thrf1 chill possibilities of subject, film is a sock entry for its particular market, where With its companion picture, “Blood of Dracula,” package may bq ex¬ ploited for handsome returns.. The Herman Cohen production' hits a gruesome note iri certain se¬ quences as the. Kenneth Langtry screenplay lining efforts of a scien¬ tist to asseriible a. human body from parts of different cadavers, hut it’s the type of shuddery action which pays off. How this man-made mon¬ ster is restored to life isn’t made clear, hut supposedly this spark is the result of experiments per¬ fected by the scientist, a descend¬ ant of Dr. Frankenstein who ere-, ated Ms own early monster, and j cloudiness does not affect the moiMiting suspense , I Under Herbert L. Strock’s know¬ how direction the story line is given a legitimacy, and characters are persuasively enacted to lend sourid substance to general Unfoldment. Film is in Pathe-color for approxi¬ mately/ the final minute, balance in black-and-white. Whit Bissell plays the role of a brilliant English scientist visiting in this country whose goal is tore¬ create a new human body -which Will respond to Ms every wish. He enlists the unwilling assistance of ari American physicist, and, grad¬ ually his creation is bom, firm in young body but still possessed of a hideous face. After a new face is grafted on, taken from a teenager kidnapped for purpose, Bissell plans to leave for England where he will unveil his great experiment but is killed by Ms monster as he is about to "disassemble” Ms Crea¬ tion for shipment to his London lab. Monster himself is electro¬ cuted when he somes in contact with a power hoard as police are moving in. , . Bissell delivers strongly in a sin¬ cerely-delineated characterization j and has expert backing right down the line. Robert Burton portrays his uriwillirig assistant, shocked at the task ahead, and Phyllis Coates is good as Bissell’is fiancee, acting as his secretary and left to be murdered by the monster after scientist learns she has discovered his secret. Gary Conway is the monster, with good makeup created by Philip Schneer. Technical departments generally are well handled, including Lothrop Worth’s' Camera work, Jerry Young’s fast editing, music score by Paul Durilap. and art direction by Leslie Thomas. w Whit. . Windows Way (BRITISH-COLOR) Compact well-made drama with Peter Finch as a dedi¬ cated doctor in Far East. London, Dec. 23.. Rank (John Bryam) production and .re¬ lease. Stars Peter1 Finch, Mary Ure. Di¬ rected. hy Ronald Neame, Screenplay, by Jill Craigte. from novel by James Ram¬ say Ullinan: editor. Reginald MQls; cam¬ era. Christopher. Challis; music. James Bernard. At Lelceater-Square Theatre, London. Running time. 108 MINS. Alec Windom ... Peter Finch Lee Windom .. ............. --i Mary Ure Anna Vidal ....... ,. . . , . Natasha Party ... Robert Flemyng .. Michael Hordern . . John Cairney .... Marne Maitland. ... Gregoire Aslan ,. . .Kurt Siegenbers . .... George; Margo Amyan . . ... . . ....... . Sanny Bin Hussan Colonel Lupat. .............. Olaf Pooley Rebel Commander ....... Martin Benson George Hasbrook . Patterson ......... Jan Vidal ......... Belhedroh ........ , Lollivar Kasti . The popularity of Peter Finch, one of Britain’s top screen mum¬ mers, Will insure “Windom’s Way” as a safe b.o. bet in the U.Ki If Finch yet has sufficient pull in America then exhibitors there might well take a chance on this slowish, but well-made, intelli¬ gent drama. There are two or three standout performances and a distinct authenticity about the Far East locale. : Finch is a dedicated doctor working in the village of Selim, a Far East island: He is loved and trusted by the villagers and finds himself, involved in their political problems. Mary. Ure is his estranged wife who comes out for a trial reconciliation at a time when the locality is in a state of unrest. Finch’s ideals . are such that he tries to prevent the villa¬ gers from getting up in arms against the local police and: plantation manager. -r The . acting -throughout this drama is first class, with Finch particularly convincing. .Miss Ure has little chance in the colorless role of his wife; but Natasha Parry as a native nursing aster, in love with Finch, is Warm, sensitive and technically very sound. Other ex¬ cellent performances are chalked up by Marne Maitland, as commis¬ sioner for the Northern Provinces; Michael Hordern, as the fussy plan¬ tation manager, Jan Vidal, as a sort of local Trade Union leader; and . little Kurt Siegenberg, as a young urchin devoted to Finch. Jill Craigie has provided a slow moving, but literate script. Ron^ aid Neame’s direction brings, out qualities of dignity and credibil¬ ity. -Uamera work and music ef¬ fects are sound throughout. “Win¬ dom’s Way” adds up to a sound drama with considerable tension. Rich. Count Five and Die (BRITISH-— 0-SCOPE) Reasonably gripping, but shod¬ dily directed, .... metier concern¬ ing wartime espionage; will serve as adequate program filler in most houses; I . London, Dec. 23. 1 20th-Fox release of a Zonic (Ernest , Gartside) Production. Stars Jeffrey Hun¬ ter, Nisei Patrick, Annemarie Duringer. David Kossof, Rolf Lefebvre. Directed by [' Victor Vicas. . Screenplay, Jack Seddon and David PursaU; editor, RusseU Lloyd; ! camera, Arthur ..Grant; music, John Wool¬ dridge. 'At Rialto Theatre; London. Run¬ ning time, 92 MINS. Ranson . . . . , Jeffrey Hunter Howard ...... . . Nigel : Patrick j Rolando . . Annemarie Duringer ‘Mulder .................. David Kossoff Willem ....... Claude Kingston i Piet . . . . . Philip Bond ; Faber . -Rolf Lefebvre Martins . . . . Larry Bums Jan . .................. Arthur Gross Miller . ..... ..... ... ... . . .. . . Robert Raglan Parrish, . .... .. .. ......... Peter Prowse Yet another British war film is tossed into the international mar¬ ket, with “Count Five and Die.” As a program; filler, it fullfils its purpose and should click commer¬ cially in a modest way on both sides of the Atlantic. Though a tense little number, it could be so milch better; being marred by casual direction by Victor Vicas, and indifferent editing. 1 This concerns the activities of a British intelligence .uriit operating [in London during pre-invasion days. Its purpose was to bluff the Nazis into believing that the major invasion strike was to be through Holland. As a result of its success, when the invasion did happen, iriany of the German forces Were waiting, in vaip, in Holland. [ The tittle unit, operating behind j the facade of a fake film company in an area in Soho, is 'commanded by Nigel Patrick. He has with him Jeffrey Hunter as an American officer and a staff of Dutch patriots. Into this uriit comes a new mem¬ ber. A girl, alleged to be Dutch, but rightly suspected by Patrick of being a German: agent.. The. pic’s [ atmosphere isbuilt up by bluff !• arid counter-bluff. For quite awhile the audience is steered by. red her¬ rings; into not knowing quite who. is to be trusted. Eventually it fin¬ ishes up as a straight cloak-anddagger metier. The acting is competent without being inspired. For Patrick, the .film is a chore which he handles suavely, without adding overmuch to his reputation. Jeffrey Hunter is also wholly adequate as the brie member, of the gang that not even the most naive patron could sus¬ pect. Annemarie Duringer, who plays the girl spy, is not over en¬ cumbered with good looks but has a striking personality and handles her role with persuasion. The stars are supported by a five cast of actors .uuwhjch David Kossoff, Rolf Lefebvre arijd Philip Bond make good impressions. The screenplay by David Pursall arid Jack Seddon somehow man¬ ages to hold the tenuous line of suspense for the full .92 minutes, but Russell Lloyd’s editing is Un¬ tidy. The audience is often left up in the air because certain se¬ quences are not allowed to unroll to their logical conclusion. Leslie Hodgson’s sound is also suspect. It is altogether too noisy and fussy and as a result some dialog is lost in a welter of extraneous noises. “Count Five” could have been an extremely good thriller. But it falls down, and appears to just miss. Rich.* : 4444 4 4 4 ♦ 4 44 8 V 8 8 ♦ 4 ♦ 4+444 M444444 44 4444 4 ♦ ♦♦ > »♦♦ 8 M » I New York Sound Track ii 4 ♦ ♦ ♦ ♦ ♦ »4 ♦ ♦ ♦ ♦ ♦ ♦4 444 ♦44444 ♦ 44 ♦ »> 4 ♦ 84444 ♦ ♦ ♦ ♦ 44 ♦♦♦♦»■ ! Success story: Headline in the UNESCO news bulletin reads. “Films of Shakespeare Plays Popular in Nigeria.” Sir Laurence Olivier, please rise and take bow. Except for Robert H. O’Brieh, who received a contract to join Loew’s as financial v.p., the company is riot , handing out long-term pacts tp new executives . . . Kurt Weinberg resigned as column publicist for BuHd Schulberg’s “Across the Everglades,” . . . Three Metro pictures have been booked for the Radio City Music Hall — “Seven Hills of Rome,” starring Mario Lanza; “The Brothers Karamazov,” headed by Yul Bryriner arid Maria Schell; and “Merry Andrew,” starring Danny Kaye , . . Richard Widiriark signed by Metro to costar with Doris Day in the filmizatidn of. the Broadway Comedy, “Tunnel of Love:” Gene Kelly, will direct . . . Loew’s prexy Leopold Friedmaii inspecting company’s theatres and viewing new product on the Coast . . . Alan Ladd will star in “The Badlanders,” . Aaron Rosenberg’s first picture for Metro release . . . 20thFox. released Dorothy Dandridge from a picture commitment so she could play Bess iri Samuel Goldwyn’s “Porgy and Bess.” . Rossano Braxn will costar with Deborah Kerr in “The Blessing” for Metro Pair of indie producers are involved in a hassle over the title “The Pusher,” which has been attached to projects each is working on for early filming. Film has been announced in the East by Harold Robbins, who will release through Republic. In Hollywood, Milner Brothers Pic¬ tures is ready to go before the cameras next morith and the Milners claim a priority. Their project probably will be released by Allied Ar¬ tists. N.Y. Mirror film critic Justin Gilbert and his wife, dancer Franca Baldwin, off on a European jaunt , . . Dale Wasserman, who co script¬ ed “The Vikings” for Kirk Douglas* Bryna Productions, signed to con¬ vert Stanley Wolpert’s novel, “Aboard the Flying Swan,” to the Screen for producers Roger Tilton and Hugh Johnston, Metro has assigned Richard Brooks to direct the filmization of Ten¬ nessee Williams* “Cat on a Hot Tin Roof.” . . . Taina Elg will be the only girl in the. otherwise all-maCe cast, of “Imitation General,” new Metro film starring Glenn Ford arid featuring Red Buttons . . Gold Medal Studios in the Brorii now has rear screen, projection equipment ..... .Bernard Westman signed to provide additional music of “Our Vir¬ gin Island,” the Countryman production starring John Cassavetes arid . Sidney Poitier . . . Jack Flynn, Stanley Warner district' manager, act¬ ing as chairman, with Leon Serin and Lou Davidoff, has beeri successful in getting the Township, of Upper Darby, Pa; to reduce the amuse¬ ment tax from 10% to 5%. John Woolridge, London composer husband of actress Margaretta Scott, is negotiating a deal to, write music, for two pix in Hollywood for 20th-Fox. He was responsible for the music of 20th’s British produc¬ tion, “Count Five and. Die,” which is recorded by Philips. Choreographer Lee Sherman has left for Paris; where he will put on the dance sequences for the film, “Bal Tabarin.’* Sherman recently designed the show at the Cotton Club' in Miami . . . Gil Golden, .War¬ ner Brbs, ad chief, and family entrained for the Coast over the weekr end. He’ll make his headquarters there from now on. He’ll be followed soon by his assistant, Dick Lederer . . . Some eastern drive-ins weath¬ ering the winter via in-car heaters . . . The same day that 20thrFox ac¬ claimed Diane Varsi as the busiest actress of the year, Coast reports had her checking, into a hospital for nervous exhaustion . . . Vancou¬ ver’s first international festival (July 19-Aug. 16). will include an in¬ ternational film competish. Notes From Madrid: Production designer Boris Levin expected in next morith to bluepririt “John Paul Jones” for Spanish ports, terri¬ torial waters and Madrid interiors . . . Raoul Levy unit returning early in January to get additional footage needed to wrap “Jewellers By Moonlight” . . . Warner Bros, director . Irving Rapper, guided by Span¬ ish vet assistant director Joe Ochoa, totalled thousands of kilometer? during ten-day location search for Rapper’s upcoming “Miracle” . . , Ava Gardner; Who flies to Rome for ‘.‘Goya” fittings and story huddles soon, cut a Xmas turkey for houseguests at her Moraleja finca outside Madrid. La Gardner has been a stranger in town and newsmen here persistently clue her close-to-the-hearth stance with a recent facial mishap with a very young toro . . . Flamenco star Antonio in from Rome arid playback recordings with Sir Thomas BeCcham for “Honeymobriers,” now being prepped by producer-director-writer Michael Powell. Local reports say Moira Shearer is now missing on Powell’s cast list . . . Juan Perez, down with heart attack in Paris several weeks ago, back at his Dipenfa-Filmayer exec desk with no plans for a film, purchase mission to U.S., following local distrib association edict ban* riing further purchasing commission activities . . . Anthony Mann in from Hollywood for holiday stay with wife Sarita Montlel, now grind¬ ing “Buy My Violets” for Benito Perojo. Bennett Cerf, panelist on “What’s My Line?” who also, is a director of Loew’s, iri quizzing Cyril Ritchard as “mystery guest,” put his question: “There are a number of block-busting pictures now being shown in New York. Are you appearing in any. of them?” The blind-folded Cerf ticked off “Sayonara,” (WB) “Raintree County,” (Metro) “The Bridge on the River Kwai” (Columbia) and “Paths of Glory” (UA). Time Mag profile on Maria Schell gives a boost. to Metro’s “Brothers Karamazov” but reflects unfavorably on the actress’ private and pro¬ fessional . personality. It calls her “an uriashamed tightwad,” prone to heavy Germanic mannerisms in her portrayals arid a performer who forces others in the cast to overact “in self defense.” Piece also . men¬ tions her bad figure and quotes her as saying “in Europe, people look at my face, not at my body.” ... Mike Todd’s Christmas gifts to scribes: a Swiss musicbox playing the tune from “80 Days” and a “Do It Your¬ self Anniversary Party Kit” crammed with international goodies ^sur¬ rounding a hefty western ham. Food , package is a solid, tribute to the Todd sense of humor since, in the instructions, he kids himself. “When uncorking the champagne it might be a good idea to slip a ton dollar bill to your domestic help which should help to set the mood of the Madison Square Garden Party.” Height of pressageritry elegance is Bill Doll’s hedgehopping around the country attendant to the non-Todd-AO additional openings of “80 Days” in Mike Todd’s 6-seat, 2-motor Lodestar plane, which has a 1, 400-mile cruising range. Todd’s permanent pilot is making the tour with' Doll on his 40-city o.o. to powwow with his local field men. It Cli¬ maxed Dec. 22 in L.A. and Dec. 26 in Frisco, marking the first anni¬ versaries of the film’s runs in those two key cities. If 'the industry is interested in a business building publicity cam* paign, it ought to gander Ernie Emeiiin(*s. hep bi-weekly “Movie Memo,*’ issued as a service to editors, columnists and comriientators. Not only does the Loew’s Theatres* pub-ad chiefs bulletin contain stories plugging new pictures, but it also contains provocative all-in¬ dustry pieces which have been receiving widespread pickup.' As part of the current “Meriio,” Emerling includes an interesting piece of ad¬ vertising for “Raintree County”— interesting from a journalistic stand| point because the front and back pages are reproductions of actual front pages of the New York Times of April 15 and 10,. 1865, with ac* counts of the assassination and death of Abraham Lincoln. Inside 'pages include art and publicity on “Raintree.” January issue of McCall’s Mag carries a six-page "Danny Kaye Pic¬ ture Book,” going back to the comedian’s salad days on the Borscht circuit . . . Henry Klinger, associate story editor at 20th, vacationing in Florida.