Variety (March 1958)

6 FILM REVIEWS wsfreft Wednesday, March 19, 1958 Thp Young Lioa» (CINEMASCOPE) A blockbuster. 20th Century-Fox release of A1 Licht- man production. Star* Marlon Brando. Montgomery Clift, Dean Martin; features Hope 1-ange. Barbara Rush; May ■ Britt, Maximilian • Schell. Dora Doll. I.iliane Montevecchi. Directed by Edward Dmy- tiyk. Screenplay, Edward Anhalt from It win-; Shaw's bestselling novel. Camera, Joe MacDonald; special effects. L. B, Abbott; music. .Hugo Friedhqfer. con- . ducted bv Lionel .Newman; editor. Doro¬ thy Spencer; orchestrations. ‘ Ed v. aid- B. I’owell; .asst, director,. Ad Schaumer; cos¬ tumes. Charles I^Maire.Adele .Balkan; technical adviser. Lt. Col, AHisnn A. t'onracl. Previewed • N.-V. March .13, /58. Running time, 167 MINS'. Christian .. Noah ■ . . . : . Michael Whiteacr'e . Hope Plowman .... Margaret Fro* mantle. Gretchen Hardenberg llar.denbcrg.. Simone ........... Sgt. Rickott -- Francois? Brant .. ......... Lt. Green . ..... Private Burneckcr ... Private Cowley Capt. ("olclougll ...... Corp. Kraus -,. * Private Faber ...... Private Donnelly ..... Private Brailsford ... Dean Martin ..... Hope L.inge .fiaib.Yra Rush , . May Biitt Maximilian Schell .... Dora-Dell Lee- Van .Clcef Liliane Montevecchi .... . Hailey Baer _ Arthur-Franz , Hal Baylor .. Richard Gardner _ITerbei l Radley .... John AJderson ...... Sam Gilman ..... . L.Q..Junes Julian Burton ‘"The Young Lions” is a block-: buster. So much for the boxoffice. It will serve as a monument to film pioneer AI Lichtman who, re¬ turning to production, made the filmization of Irwn Shaw’s bestsel¬ ler his first ‘‘independent” effort in his long career. So much for the sentiment. “The Young Lions” in Cinema* Scope, is a canvas of World War II of scope and stature that gives accent anew to the. observation, that television’s competition is still, fundamentally,: a peepshdw despite all the now familiar con¬ veniences of at-home comfort. So much for the physical realties. “The Young Lions” is also many more things, A few like this and the picture business’ “comeback” will be here. It’s a kingsized credit to all concerned, from Edward An¬ halt’s skillful adaptation to Edward. Dnvytryk's realistic direction, and not the least the highly competent portrayals of virtually everyone in the cast. Marlon Brando’s ..interpretation, of Anhalt’s modified conception of the young Nazi officer; Montgom¬ ery Clift, the drafted GL of Jewish: heritage; Dean Martin as a frank¬ ly wouldbe draft-dodger until the realities of war catch up with him are standout all the way. It’s in¬ evitable that his performance as the happy-go-lucky, dame-chasing Broadway character will be.likencd with what “From Here To Eter¬ nity" did for Frank Sinatra. “Ulysses,” and clip the >20 bill into it Which they had thefted as part Of the training camp, persecu¬ tions. Brando, blondined, and speak¬ ing with a German accent, under¬ plays his role with studied delibera¬ tion and considerable conviction.' His concept is not as hard-core at Shaw’s original. There have been other changes, including his. self- abnegation as, half-crazed, by dis¬ illusionment after he stumbles Into the concentration, camp, he hears the functionary officer, who is in command, complain with cruel mat¬ ter-of-fact ness that.- he is short- handed and hence his .schedule in Marion Brando the willful annihilation of his hu¬ so retarded. “But they don’t seem to understand this in Berlin,” lie complains. The shocked “Christian Diestl” ‘Brandor staggers out of the cre¬ matory, destroys .his rifle, and per¬ mits himself to become another, “kraut” target for Dean Marlin who accompanies Clift (Noah) into the open-air, upon art understand¬ ing officer’s orders, when he ob¬ serves the gas chambers add the Nazi brutalities. In Shaw’s book the Brando character was unrecon¬ structed. shoots the Jewish Gl; and is ruthlessly stalked to his own death by the Dean Martin charac¬ ter.' ’ The Anhalt screenplay has cap¬ tured shade and nuance of role in pithy, pungent dialog. . The ac¬ cent on romance is as strong as the war stuff.: Underplaying is the keynote of virtually all .the per¬ formances. Same is true of Dmy- tryk’s celluloid treatment of this saga which is virtually three, sto¬ ries in one, played almost in coun¬ terpoint to one another, and only meshing in the closing war scenes. . The bullying dogface, who was one of four whom Ackerman (Clift) had to fight for a reason that Alar- tin doesn’t seem to understand, but. proves-a coward when attempt¬ ing to swim across a short span, is rescued by Clift, and both in turn rescued by Martin when the panicky GI almost drowns Clift in a deathrgrip in the Water. The emaciated rabbi. Who asks permis¬ sion for services for the dead in the concentration camp, when the Yanks liberate the town, is a poignant: touch. The romance sequences in the more or less con¬ ventional American standard. are contrasted to the “golden warrior” (typified by Brando); the fanatic¬ ism of his superior officer (Schell), the two-timing by the lissome May Britt, a looker and an actress who .vill zoom high, the fraternization of Dora Doll with Parley Baer; and ty cun lor rranK biirnrrn. ... i »**»•■*** v* -7W —* Hope Lange gives a sensit ive per- [ the proud Trench spirit of Liliane formance as the. New England girl opposite Clift and Barbara Push is properly more resourceful as Martin’s romantic yis-a-vis. Even more vivid ’ are the perfor¬ mances of Sweden’s May Britt, making her US. film debut in the role of the cheating wife of the Nazi officer, latter capitally played by S w i t z e r 1 a n d f s Maximilian (young brother of Maria) Schelh also marking his Hollywood bow’ Two other debuts are Dora Doll Montevecchi until she realizes that Brando is no longer the conqueror but a refugee like herself. Credits are on the upside air the way from the authenticity of sets to the stark black-and-white lend¬ ing to the unobtrusive but effec¬ tive Hugo Friedhofer. score, ba¬ toned by Lionel Newman. Even the civilian men’s clothes are prop¬ erly period World War II, with the wide lapels and the fashionplate concept of the day (Martin as the (France) and Liliane Montevecchi [ Broadway character). , , (Italy) as Parisians in fraternization The Whole kaleidoscope^ of war roles with their German conquer- j and its futilties, of thevrubble and ors. Director Edward Dmytryk ef¬ fectively highlighted the human values on both the German and American home-fronts. It gravi¬ tates from the boot-camp in the States to the fall of France, the the obliteration of all human feel¬ ings (“we take no prisoners”, says the Nazi office in the.North African annihilation: of a British company) all come vividly to life in “The Young Lions,” easily one of the me, standout pictures of the year and North African campaign, the de-' one destined to remain a highlight terioration of the Third Reich' the ; in the annals. . Apei. smrking obsequiousness to the in¬ vading Yanks by the Bavarian town mayor when the GIs liberate the inhuman concentration camp, and .tlie gradual disillusionment of the once ardent Nazi as symbolized by Brando. There may be some dislike, over the persecution of Noah Ackerman (Clift’s performance is different from hs usual wont, .and most con¬ vincing) by his fellow-GIs. and the countenancing thereof by the sergeant (Lee Van Cleef. okay in a thankless role) and his command¬ ing captain (Herbert Rudley. also, okay). There is some strong dialog about blacketeering, the Bronx, “is New York a part of the United States?.” etc., but this may have inspired Brando’s observations at a Berlin press conference: “Shaw wrote his great book ■■•'while war hatreds were still white hot. We hope they have cooled. The pic¬ ture will try to show that Nazism is a matter of mind, not geography; that there are Nazis—and . people of good will—in every country.” A Berlin journalist is said to have observed, “Brando speaks more l ike a statesman than a movie actor/’. It’s true, also, that after oiie of the most realistic series of fist fights—Clift takes on his four bul¬ lies, one at a time, is badly heated by all, although he manages to knock, cut the fourth opponent— the dogfaces treat him with new respect; restore his James Joyce Merry Andrew . (COLOR-C’SCOPE). Bright, sometimes hilarious comedy - farce; with, dull stretches. Not always Danny Kaye at his best but prospects good. Hollywood, March 14. Metro release of Sol C. Siegel produc¬ tion. Stars Danny Kaye; co-stars Pier Angeli.- Baccaloni, Noel Purcell; features Patricia Cutts. Rex Evans, Walter Kings- ford. Peter Mamakps,. Rhys Williams, .Tommy Rail. Directed., by Michael Kidd. Screenplay,-.lsobel- Lennart, I. A. L. Dia¬ mond; from - a : story by Paul Gallico; camera (Metroco)or) Robert Surtees; edi¬ tor, Harold F. Kress,- music adaptor-con¬ ductor. Nelson Riddle; songs,. Saul \Chap¬ lin- and Johnny Mercer. Previewed Mar. .14,.’58. Running time; 103 MINS Andrew Larabee .......... Danny Kaye Selena .,.. ..... -Pier. Angeli •Antonio Gallini ___ Baccaloni Matthw Larabee ......_Noel' Purcell Dudley Larabee:'.,.'..,.... Robert Coate' Letitia Fairchild ...:....... Patricia. Cutts Gregory Larabee . Rex.Evans Mr. .Fairchild : . Walter Kingsford Vittorio Gallini i..... Peter Mamakos: Constable . Rhys Williams Giacomo Gallini Tommy Rail. . “Merry Andrew” has a happy-go- chuckley attitude and some of the smartest musical numbers in some time, set up by stand-out. music and. lyrics. Against this is the fact that the Sol C. Seigel production for Metro does not always inaintain its own siet of very high comedy val¬ ues, nor the pace of its initial scenes.. : • ' ' The highlights, of the . comedy- with-music are Very high, but there are low and slow stretches in be¬ tween. Michael Kidd, who makes his. screen debut as a director with “Andrew/’ still has a lot to Team about comedy set-ups and this un¬ sureness is made the more evident by. the contrast , of the narrative stretches with; the brisk and imag¬ inative manner in ; which Kidd has choreographed the musical num¬ bers. Here he is on experienced ground and he shows it. . Despite these reservations, how¬ ever, a good cast, headed by Danny Kaye in his first picture. in two vears, is attractive enough in the better parts of “Merry Andrew” to give it a comfortable, ride at : the box office. .. • v The romance and humor of the screenplay by lsobel Lennart and I. A. L. Diamond, based on a story by Paul Gallico, are based on the fact that Andrew, played by Danny Kaye, is anything, but merry in the opening sequences. He is an in¬ structor in a stuffy. British boys’ school, presided over by his mar¬ tinet father, Noel Purcell, and en¬ gaged to cool, and detached Patricia Cutts. Via his avocation (archeol¬ ogy) he gets mixed up with a fam¬ ily circus presided over by papa Baccaloni and featuring daughter Pier Angeli, This gives Kaye an opportunity to slap on the clown makeup and do several turns with handy circus props,. The free-and- easy life also so sells him on the permanent possibility of the merry life that although he returns brief¬ ly to the stuffy schoolroom corri¬ dors, he soon cuts Miss Cutts : and takes off With Baccaloni, Angeli and tribe for the carefree carnival life. Kidd has staged a fluid marvel of a number as Kaye sings one of the five Saul Chaplin-Johnny Mer¬ cer songs, “Tickety-boo ” While bike-riding over what is (or seems a reasonable- facsimile of) ■ the roll¬ ing English countryside. Mercer’s lyrics are exceptionally clever, rhyming “Pan,” for instance with “bad Samaritan,” in a number called “Pipes of Pan,” is a neat trick. The Other numbers, all With ingenious Chaplin, melodies, are ‘Chin Up—Stout Fellow,” “The Square of the Hypotenuse” and "You Can’t Always Have What You Want.” • Kaye Is defeated sometimes by comedy situations that were not ex¬ pertly plotted. On the songs, he is fine and on scenes where he plays alone, he shines. Pier Angeli is pretty but her accent flaws impact for punch lines. Baccaloni, too, has ! at times a harried look about him as if he wanted more room to ex¬ pand and is defeated.- Noel Purcell, whose natural beard is one of the greatest brush¬ es since Fuller, and Roberte Coote and .Rex Evans, do stiff-upper-lip Britons to a rare turn. Miss Cutts is lovely and other cast members contribute ably. ■ . , ; Robert Surtees’ Metrocolor pho¬ tography is rich and varied, and well set off by Harold F. Kress’ editing. Walter Plunkett has con¬ tributed some notable costumes— most obviously in the circus scenes —and the backgrounds of both the boys’ school and the circus are im¬ aginatively done in the art direc¬ tion of William A, Horning and Gene Allen, with set decoration by Henry Grace and Richard Pfefferle. Nelson Riddle’s adaptation and conducting of the musical score is memorable and ably given its "tru¬ est value through Dr. Wesley C. Miller’s sound. Powe. High Flight (C’SCOPE) Hollywood, March 14. Columbia release of Irvin? Alien-Albert R. Broccoli production. Stars Ray Mil- land;- features Anthony Newley, Helen Cherry, Leslie Phillips, 'Bernard Lee. Kenneth Haigh, Kenneth Fortescue. Di- Tected by John Gilling. Screenplay, Jo¬ seph Landon, Kenneth Hughes, based on story by Jack Davies; . camera, Ted Moore: editor. Jack Slade; music. Ken¬ neth V. Jones, Douglas Gamley. Pre¬ viewed. March 13. '58. Running time, 83 MINS. Wing Commander .. .Ray Milland Flight Sergeant Harris - Bernard Lee Tony Winchester ...... Kenneth Haigh Roger Endicott . Anthony Newley John Fletcher ...... Kenneth Fortescue Cadet Day Sean Kelly Louise ... . . Helen Cherry Squadron Leader Blake ■ Leslie Phillips Foreign Capsule Reviews ECHECAU PORT EUR (Not Delivered) (FRENCH). Corona release of Orex Pro¬ duction. Stars Jean. Moreau, Serge. Reg-; giani. Paul Meurisse; features . Simone Renant, Gert Froebe. Reggie Naciler, Fernand Sardou. Directed by GjUes Grangier. Screenplay, Pierre Vary, Noel Calef from the novel by Calef; camera. Jacques. Leinare; editor, Jacqueline . Sad- oul. At Paris, Paris. Running time TO MINS. ' • ' _ • Sketchy pic uses a suspense gim- j mick of a bomb hidden in a foot¬ ball that gets into the. hands of kids. Director Gilles Grangier’s lack of direct, telling character ob¬ servation, and the telegraphed pro¬ ceedings, rarely give this the chill¬ er, ironic notations it needs. Stars hardly get a chance to make anything of their one dimen¬ sional personnages and t his emerges of: little . chaiice for the U. S. Technical credits are good and some gun fights are well staged. Mosk, RASCEL-FIFI (FRANCO-ITALIAN). Lux Film release of a Vides Film .production. Stars Renato Rascel; features . Franca Rame, Dario Fo, Annie Fratellini, Peppino. DeMartino. Directed by Guido Leoni. Screenplay. Leoni, Diho . Verde, OteUo Colangeli; camera, Gianni di Venanzo. At : Teatro Metropolitan, Rome, Running time, 91 MINS. - ^Modest budgeter looks to be¬ come a ; b.o. winner With a good payoff to its producers. Renato Rascel name is a top-sales factor: If all of the pix running time was up to its first half hour, it would be a first-rate spoof-of the conven¬ tional gangster meller. Early reels, though slightly -derivative (“Guys and Dolls”), have a flair and style of comedy with tongue in cheek rarely seen in such obviously com¬ mercial efforts. While still remain¬ ing amusiiig, .pic loses both pace and stature later. on. Plot tells hoary : mistaken iden¬ tity tale involving nitery owner Rascel and a gang of thieves. Com* edian is amusing as usual, while Dario Fo makes ah eccentric gang chieftain and Franca Rame plays the sexy moll.. . Hawk. RAFLES SUR LA VILLE (Raids on the City (FRENCH). Corona release of Robert Woog production. Stars Charles . Vanel, Bella Darvi. Michel Piccoli, Mouloudii; features Francois Guerin, Danik Patlsson. Directed by. Pierre Chenal. Screenplay, Jean Ferry, Paul . Andreota; camera. Marcel Grignon; editor, Suzanne Roh' deaU. At Marignan, Paris. Running time,. •5 MINS. , ; Gangster opus is mainly about a hardboiled police inspector put. to get a shrewd, elderly gangster who (Continued on^ page 18) Fair programmer with some good aerial action; Ray Milland name to attract. Minister for Air Commandant Diana- Jackie ... Chauffeur .. Valetta Instructor. . Colonel -- Tweedy Lady ..... Farmer ......._ Policeman , • .. Bishop . ..:. Bishop’s Wife . .. Commandant's Wife . Barman . .. Publican .i...... Susan .. •...•». Cadet Pringle . .. Cadet. Phillips ...... Cadet Wilcox ....... Cadet Benson Cadet Johnson . Cadet Seymour ..... Cadet Connor --- Controller (CranwellV Controller (Leuchars) . Controller (Operations Room) . Alfred Burke Co-Pilot .... Owen Holder Radar Operator --. Bernard Horsfall Kynaston Reeves . John Le Mesurier ....:. Jan Brooks ...... Jan Holden Richard Wattls . Andrew Keir ...... Charles Clay .... ... Noel Hood ... Frank Atkinson _ Bill Shine ... .. Ian Fleming ... Nancy Nevinson ...... Grace Arnold ...... Hal Osmond .Leslie Weston ...... 'Anne Aubrey .W. John Downing .. Richard Bennett ...... Barry Foster ... Peter Dixon Robert Raikes ... Douglas Gibbon Alan -Penn William Lucas Gl.vn Houston Some rather stirring final air se¬ quences save this Warwick produc¬ tion filmed in England from utter mediocrity. It’s routine story of young fliers in training—RAF cadets during a three-year course, here—has been done before and better by innumerable producers, but interest picks up during aerial footage sufficiently for film to rate as a fair program entry, where the Ray Milland name should help with bookings, .Milland enacts the wing com¬ mander in this Irving Alien-Albert R. Broccoli production, in charge of turning cadets at the Royal Air Force College into expert pilots. Story is given a certain personliza- tion via relations between Milland and a non-conformant, Kenneth Haigh, son of Milland’s former squadron leader killed during World War II in trying to save Milland. Milland goes all out in trying to straighten out the cadet, dictated by his own conscience, but appa¬ rently can’t get through. Later, in saving the boy during maneuvers in Germany when Milland leads him back to base at hedge-hopping altitude after youngster has been wounded by flak; understanding is established. Under John Gilling’s tepid direc¬ tion, characterizations fail to build up interestingly for American taste, Milland is harassed in his role, and the three leading cadets, including Haigh, Anthony Newley and Ken¬ neth Fortescue* lack spark. Bernard Lee is okay as a flight sergeant, but balance of cast are strictly English. Second unit, responible for air scenes, functions effectively, in¬ cluding directors Max Varnel, An- thonk Squire and Bernard Main- waring, and lens-xs Stan Pavey and Cyril Knowles? Ted Moore as first camera handle assignment well, other okay technical credits includ¬ ing Jack Slade, editor; John Box, are director; Kenneth V. Jones and Douglas Gamley,. music. ... WMt *. Hie Lower Depths (JAPANESE) Paris,. March 11. Toho production - and release. Stars Toshiro Mifune) features Isuzu Yamada. Kyoko Kagawa, Bokuzen Hidarl. Directed by Akira Kurosawa. Screenplay,. Hideo Oguni. Kurosawa from play by Maxink Gorki; camera, Ichio Yamaski; editor, Yoshiro Huraki. Preemed in Paris; Run¬ ning time, 124 MINS. Sutekichi. .............. Osiigi .. Kayo ... Kahei ... ... . Rokubei ..... ... Toshiro . Mifune ..... Isuzu Yamada ... Kyoko Kagawa .... Bokuzen Hidarl Genjiro Nakamura Akira Kurosawa, director of l Rashomon” and the “Magnificent Seven,” now easily turns to a filmic adaptation of the Russo play, “The Lower Depths,” for unique results c Pic brims with characterizations without making this grim or down- beat. It is visually taking, blit its theme limits this to U.S. art house chances. There also was a French pic of the same title. Here again an itinerant peddler comei into .a hovel filled with hu¬ man derelicts. . Ostensibly wanted by the police, his gentleness and humanity Soon win over many of the human wrecks. But he is pow¬ erless to really aid these fallen , people. The drama of the thief in love with a young girl, who spurns him, and that of an aging woman in love with the thief (but spurned by him) weaves solid threads about the lower depths. Isuzu Yamada, as the vindictive woman, gives a brilliant, vitupera¬ tive turn to her character while Toshire Mifune does his cynical character of the thief nicely. Di¬ rector Kurosawa has kept this moving, and his observation makes . this crucible, film dramatic and plausible, Mosk. Teacher’s Pet (V’VISION) Fresh approach and smart comedy lends appeal to news¬ paper yarn. Top stars Insure strong b.o. Hollywood, March 14. Paramount release' of Perlberg-Seaton production. Stars Clark Gable, Doris Day* co-stars Gig Young. Mamie Van Dbrent' features Nick Adams, Peter Baldwin,. Marion Ross, Charles Lane, Jack Albert¬ son, Florenz Ames, Harry Antrim, Vivian Nathan. Producer, William Perlberg. Di¬ rector, George Seaton. Screenplay, Fay and Michael Kanin; - camera, Haskell Boggs; music, Roy Webb; songs,. Joe Lubin; editor, Alma Macrorie. Previewed Mar. 10, "58. Running time, 120 MINS. James Gannon ., Erica Stone ..:. Dr. Hugo Pine .. Peggy Defore ... Barney Kovac ... Harold Miller ... Katy FuUer .... Roy, Assistant .. Guide .... .... J. L. BaUentihe . Lloyd Crowley . . Mrs. Kovac ..... Clark Gablf ......... Doris. Day .. Gig Young .. Mamie Van Doren .. Nick Adaiinfl ...... Peter Baldwin . Marion Rosa ...... Charles Lane ../.Jack Albertson Florenz Aqei ...... Harry Antrim —. _... Vivian Nathan The hard-bbiled city editor and his devastating impact' on other, more idealistic, members of his profession have become; a staple of modern theatrical literature. ‘Teacher’s Pet,” a Perlberg-Seaton production for Paramount, might; sound on hasty recap to be yet another version of ^ “The Front Page.” Actually there is rich new life and liveliness, and even a fresh approach with humor and heartiness in Fay end Michael Kanin’s original screenplay. Clark Gable and Doris Day give it solid star appeal, Gable particularly turning in one of his best perform* ances in years. It should be a Winner. The basis for humor in “Teach¬ er’s pet” is that Gable is one of those crusty, old-line newspaper¬ men who. believes that nothing good comes but of colleges, cer¬ tainly not out of schools of jour¬ nalism. When he is invited to lec¬ ture by journalism professor Doris Day, he replies caustically and conclusively in the negative only. to discover that for what manage-; , ment calls “policy” he must back¬ track. When he meets Miss Day, Gable discovers his ideas about female professors were wrong, but for various reasons he must pretend he is not a city editor but a pupiL In trying to get this straightened out, his emotional relations with Miss Day become more involved and they finally arrive at the ex* pected conclusion, v This is the straight story line, but the Kanins have decorated the framework with some. hilarious comedy lines and scenes which di¬ rector George Seaton has set up with skill and delivered with gusto.. There is the sequence of Gable's reactions to a strip-tease-by Mamie Van Doren; another between. Gable and his rival for Miss Day,. Gig Young, where Ybung is suffer¬ ing from the grandfather of all hangovers, these and a dozen other bright gags; spark the. story. It runs long (two hours) for a comedy hut it holds .up. There has been a good deal of advance exploitation about the newspaper aspects of the picture, including the fact that producer Will’am Perlberg imported a cou- (Coiitinued on page 16)