Variety (October 1958)

6 FIUM REVIEWS Wednesday, October , 8y 1958 The Perfect Fwrlough (C’SCOPE—COLOR Well-paced comedy with fair- enouzh merriment and Tony Curtis and Janet Leigh to pro¬ vide sufficient boxoffice re¬ turns. * Universal release of Robert Arthur pro¬ duction. Stars Tony Curtis, Janet Leigh, Keenan Wynn, Linda Cristal, Elaine Stritch; features Marcel Dalia, Les Tre- m n .jne, Jay Novello. Directed by Blake Edwards. Screenplay, Stanley Shapiro; camera (Eastman Color), Philip Lathrop; editor, Milton Carruth; music, Frank Skinner. Previewed at RKO 8Sth Street Theatre, N.Y., Sept. 30, ’58. Running time, 93 MINS. Paul Hodges . Tony Curtis Vicki Loren . Janet Leigh Harvey Franklin ......... Keenan Wynn Sandra Roca .Linda Cristal Liz Baker . Elaine Stritch Henri . Marcel Dalio Col. Leland. ... Les Tremayne Rene . Jay Novello Major Collins. King Donovan M.P. No. 1 .Gordon Jones Pvt. Brewer . Alvy Moore French Nurse . Lilyan Chauvin S-Tt. Nickles.Troy Donahue M.P. No. 2 . Dick Crockett French Doctor.Eugene Borden Asst. Hotel Manager....James Lanphier Basic story is lacking in sub¬ stance and it’s difficult to figure the sense behind the casting of Janet Leigh as a U.S. Army psy¬ chologist. But, then, "Perfect Fur¬ lough” is done up strictly for laughs and, for those who are qn an anything-goes kind of basis, it stacks up well enough. ' Writer .Stanley Shapiro, in plot¬ ting the farce, followed obvious lines. Group of soldiers in an Arctic outpost are in dire need of morale, uplifting. They have nothing but' women on their minds and day¬ dream about orotic opportunities. Miss Leigh provides what’s in¬ tended to be the solution. One of the group is to be given the "per¬ fect furlough” and the others are to experience it vicariously. Tony Curtis, who’s a sharp operator with a big reputation for taking a fancy to femmes, cops the leave. He chooses three weeks in Paris with nifty looker film star Linda Cristal. Miss Leigh goes along to supervise and it’s only a matter of time be¬ fore Miss Leigh and Curtis team up at the altar. While the script’s turns can easily be guessed in advance there are within its framework some amusing situations. Too, director B’ake Edwards keeDs the broad action going 'at a pood clip and Robert Arthur has wrapped up Ms production handsomelv in Cinema¬ scope an( i Eastman Color. The overa’l result is a fair- enough boxoffice contender with Curtis’ name providing an extra lift. Curtis plavs comedy well, play¬ ing it broadly (there’s not much subtlety in the screenplay) and agreeably. Miss Lei^h, as noted, is tha psychologist; this profession rarely yields such attractive prac- tit’oners. rn W^nn is Miss Cristal’s manager and comes.off as a stereo¬ typed zany caricature. Elaine Stritch does handily as a hard- b'p'Ied, cynical pressagent. Marcel Ba’io, Les Tremayne and Jay Novello work competently in fea- ture-billhig spots and King Dono¬ van, as the perplexed army major In charge of Curtis* expedition to Paris is an amusing all the way. Miss Cristal as the film star who keeps her marriage a secret until she becomes pregnant <a situation for which Curtis at first is held responsible) looks and .plays her part in appealing fashion. Philip Lathrop’s camera work is sharp, editing is tight enough and music, editing and technical credits all are good. Gene. •Toy Ride No names, but exceptionally well-done suspense item. Hollywood, Oct. 3. Allied Artists release of Ben Schwalb production. Stars Rad Fulton, Ann Doran, Re"is Tdomey. Directed by Edward Bernds. Screenplay, Christopher Knopf; fr^m a story by C. B. Gilford; camera, Carl Guthrie; music. Marlin Sidles; editor, Vr» 'i-m Austin. Previewed at the studio. Sept. 30, 1958. Runping time, 65 MINS. . Rad Fulton “V 1 *. Ann Doran .Regis Toomey Arnie . Nicholas King il n .T e *.Robert Levin ..-.Jim Bridges Barrett. Roy Engel Taverner . Robert Colbert Ellensten...Robert Anderson “Joy Ride” is a tough and often terrifying melodrama of juveniles underprivileged in mind only who set out to demoralize arid dominate an older man for no apparent rea¬ son except “kicks.” The Ben Schwalb production for Allied Artists, skillfully directed by Ed¬ ward Bernds, is too modest in structure to attract much attention, but it is absorbing screen enter¬ tainment and will be no disappoint¬ ment to the customers. Slated for double-bills, it will be a strong entry in this class. jl The plot of Christopher Knopf’s screenplay, based oir a story by C. B. Gilford, is very simple. A quartet of teen-agers, Rad FifltoiL Nicholas King, Jim Bridges and Robert Levin, spot a sports car owned by Regis Toomey. They want a ride in it. Sensing Toomey’s un¬ certainty to their request, and mis¬ taking his natural kindness as fear, they launch a campaign of sys¬ tematic intimidation and mounting ferocity. The “Joy Ride” now be¬ comes secondary to their immature desire to conquer the car’s owner, symbol of authority and adulthood. Their campaign culminates when they openly invade Toomey's home while he is away and terrorize his wife, Ann Doran, into a heart at¬ tack. Basically, of course, this kind of story is similar to “The Desperate Hours,” and others of that genre. But this does not mitigate against its power to absorb the spectator. Knopf’s screenplay does, not neglect the reasons for the youths’ behavior and it attempts an ending along contemporary sociological lrnps in which Toomey as shown as almost superhumanly tolerant and understanding of the situation. (He gets the charges against three of the boys reduced, conscious that prison terms may not be the an¬ swer to. their problem.) Toomey performs with dignity and authority and Miss Doran, as the wife, is a fine study in muted hysteria. The young men, Fulton, King, Bridges and Levin, are uni¬ formly good, and other cast mem¬ bers, * Roy Engle, Robert Colbert and Robert Anderson give solid support. All aspects of the production re¬ spond to Bernds’ incisive direction, including the photography .of Carl Guthrie, Marlin Skiles’ imagina¬ tively-used music, and the expertly paced editing by William Austin. The Man Unstairs (BRITISH) Modest, well-made little thriller; should be useful en¬ tertainment in average bowses. London, Sept 30. British Lion release, of an ACT (Robert Dunbar) production. Stars Richard Atten¬ borough, Bernard Lee, Doiiald Houston, Dorothy Alison. Directed by Dorr Chaffey. Screenplay, Alun Falconer; camera, Ger¬ ald Mas si e-Collier; editor, John Trnmper. At Hammer Theatre, London.' Running time, 48 MINS. The Man_... Inspector .. Sanderson. Mrs. Barnes. Nicholas . Eunice ... Pollen.. Helen . Mrs. Lawrence .. Miss Acres P. C. Stevens .. Injured Sergeant. Mr. Barnes Johnny . ... Superintendent .. Dulcie . Sgt. Morris . Richard Attenborongh . Bernard Lee ..Donald Houston ... Dorothy Alison ..... Charles Houston .... Maureen Connell ..... Kenneth Griffith . Virginia Maskell ....... Patricia Jessel ..... Amy Dalby ........ Edward Judd .......Patrick Jordan . Alfred Burke ....... David Griffith . Walter Hudd . Polly Clark .Graham Stewart “The Man Upstairs” is a com¬ petently made, often tense, little drama, which comes off well within its own modest terms. But it is doubtful if many people will be happy to pay out good money to see the kind of pic which could have been handled equally well on television. This seems no way to combat the small screen. Starring several popular British players, it should be a useful booking for most British houses, but it is not important enough to arouse much interest in the U.S. The story has Richard. Atten¬ borough as a scientist who has been involved in a laboratory ac¬ cident in which his fiancee’s brother has been killed. Burdened with a sense of guilt, he has changed his name and is living in a seedy lodging house. The film concerns one night in his life. His peculiar behaviour causes one of the guests to call the police. Atten¬ borough locks himself in his room and the story line concerns the re¬ actions of the various guests to the situation and the clash between an intolerant police officer and a local mental welfare officer. Don Chaffey’s direction Is straightforward and brings out several good performances, notahly by Attenborough, in a difficult role. Kenneth Griffith is a fussy busy¬ body, Dorothy Allison an under¬ standing housewife and Donald Houston the welfare officer, all nice portrayals. Bernard Lee, as the cop also is good. Virginia Maskell also shows con¬ siderable promise in a tiny part as Attenborough’s girl friend. Dialog is sometimes a trifle too literary and the acting taking place in such cramped circumstances makes it difficult for the requisite tension to be unflagging. But the atmos¬ phere of fear and suspicion has been xcellentiy created md bandied. Rich, j Women aid .Owns (COLOR; C’SCOPE) Suspense oater of routine in¬ terest and prospect. Hollywood, Sept. 5. Universal release' of a Hpwje Horwitz production. Stars Jock Mahoney, Kim Hunter, Tim Hovey; costars Gene Evans, Tom Drake, Lon Chaney, William Camp¬ bell, Jeffrey Stone, James Gleason, Judy Meredith. Directed by Richard H. Bart¬ lett. Screenplay, Montgomery Pittman; camera (Eastman color), Philip Lathrop; music supervisor, Joseph. Gershensoh; editor, Patrick McCormack. Previewed at the ctn^io. Sept. 4, ’58. Running time, 80 MINS. Hogan .,., Jock Mahoney Mary Kingman . Kim Hunter Davey Kingman . Tim Hovey Sheriff Crowley. Gene Evans Jess Ryerson .. Tom Drake Art BirdweU .. Lon Chaney. Clint Gnnston ........ William Campbell Johnny Bee ... Jeffrey; Stone Henry Devers ...James Gleason Sally Guiiston .. Judy Meredith Damion Bard .............. Phillip Terry Setting Sun... Richard Devon Niblw ...Ian Mac Donald John Briggs . Don Megowan Job King man . Nolan Leary Joe . Kelly Thordsen “Money, Women and Guns” title doesn’t have much to do with the product but is apparently dedi¬ cated to the proposition that magic in the billing will overcome the lack of it in the production. A myserious will and the suspense involved in carrying but its terms supply the plot for the Howie Hor¬ witz production, directed by Rich¬ ard EL Bartlett. Satisfactory for double-bill booking. Jock Mahoney is the frontier de¬ tective hired to unravel the. my¬ stery caused by the will of an old prospector, „ bushwacked by three guns. Mahoney must track down each name mentioned ih the will and qot only make sure each bene¬ ficiary Is legitimate but, in the process, find the killers. In the course of his investigation he meets and falls in love with Kim Hunter, mother of Tim Hovey, one of these named in the testament. He also solves the mystery of the murder, when he discovers that Jeffrey Stone, who has been wan-[ dering through the picture as a mystery stranger, was one of the ] three gunmen—but a repentant; one—who took part in the killing, j Montgomery Pittman’s screen- : play is interesting -and Bartlett's ; [direction is capable, although lack¬ ing. in much tension. Mahoney does a rough-hewn job of the rest¬ less detective, but Miss Hunter’s t talents are wasted in a routine role, j Young Hovey contributes some hu¬ mor, and others in the cast who make effective contributions in¬ clude Stone, Gene Evans, Lon Chaney, Tom Drake, James Glea- i son, William Campbell and Judy [Meredith. I Philip Lathrop’s Eastman-color- CinemaScope photography is a plus value. Powe. Menace in the Night Melodrama for second billing. {BRITISH) Hollywood, Sept. 25. United Artists release of a Gibraltar Production. Stars Griffith Jones, Lisa GastonL Vinceht Ball; features Eddie Byrne, Victor Maddera, Clifford ‘ Evans, Joan Miller, Leslie Dwyer, Leonard Sar»h.<;. Produced by Charles A. Leeds. Directed hy Lance Comfort. Screenplay by Norman Hudis and John Sherman, from a novel, "Suspense,” by Bruce Graeme; camera, Arthur Graham; editor, Peter Pitt; music; Richard Bennett. Previewed at Goldwyn Studios,' Sept. 26, ’58. Running time, 78 MINS. Rapson .............. Griffith Jones Jean Francis .. T.isa Gastoni Boh Meredith . Vincent Ball Art...,.Eddie Byrne Ted . ....... Victor Maddern Inspector Ford .Clifford Evans. Victor’s Wife .............. Joan Miller Victor . Leonard Sachs Toby ..*.Leslie. Dwyer Postman’s Widow ..Jenny Laird Betty Francis..Angela White Mrs. Francis .. Barbara Couper Auntie ... ... Marie Burke Bank Manager.....Andre Van Gyseghant Instead of falling down; London Bridge draws up in “Menace in the Night,” and, in so doing, al¬ lows a sleek British sedan and its robbery-prodded . driver to be hurled into the murky Thames, thus producing the only real thrill this Scotland Yard epic has to of¬ fer. All English film, apparently made two years ago and just now picked lip fob U.S. release by United Artists, it has scarcely a peg to sell it on and likely will live its life as a somewhat off¬ beat filler. Charles A. Leeds produced the Gibraltar . Production on what couldn’t have been a very hefty budget, but scenes of internal Lon¬ don. will be bonuses for -American audiences. Norman Hudis and 1 John Sherman screenplayed from a j Bruce Graeme novel called “Sus¬ pense,” and, although too talky in the first reel or two, it’s a fail- script when the action rolls around. Direction by Lance Comfort, like¬ wise, picks up in direct relation with the action. Story is a simple one, revolving around four Britishers who! plan and execute the robbery of a. mail van hauling 250,000 pounds sterling worth of soiled banknotes to the furnaces. But;’it seems, there’s an eyewitness—a fetching blonde who co-operates with' the bobbies until threatened by one of the "culprits —and then there's- an overzedous reporter who’s out to scoop Lon¬ don’s other dailies. The robbers bicker among themselves,'result¬ ing in one death and three remain-, Ing who steal from each other, and” finally there’s the big chase, at the end of which the leader drives off the bridge. Performances, with few high¬ lights, are nonetheless adequate. Lisa Gastoni, as the blonde, is fine to look at, and she manages to create a considerable amount of fear. It does seem strange, though, that, despite a thoroughly British family, she converses in a delight¬ ful continental accent. Griffith Jones, as the gang leader, and Vincent Ball, as the reporter, are fine, and Clifford Evans, as the inspector, Eddie Byrne, Victor Maddem and Leonard Sachs, as the other gangers and Leslie Dwyer, as an- underworld barber, are good. Cameraman Arthur Graham’s work is generally proficient in spite of frequent overexposures, with editing by Peter Pitt and art di¬ rection by John Stoll adequate. Philip Martell directed an excel¬ lent Richard Bennett musical score that turns out tq be more exciting than most other aspects of the film. Ron. - Le Gorllle Tons Salne Blen (The Gorilla Greets Yon) (FRENCH; FRANSCOPE) Paris, Sept. 30. Pathe release of Raoul Ploquin pro¬ duction. Stars Lino Ventura, Bella Darvi, Charles Vahel; featdtes Pierre Dux, Rene Lefevre, Robert ManueL Directed by Bernard Borderie. Screenplay, Antoine Dominique; Jacques Robert, Borderie, from the novel by Dominique; camera, Louis Page; editor, Pierre Gaudln. At Balzac, Paris. Running time, 105 MINS. Gorille Moll ..... Colonel .. Inspector . Lawson. .. Kanas ... Lino Ventura ... Bella Darvi , Charles Van el .. Rene Lefevre . -. Pierre Dux Robert Manuel Film kicks off what may turn into a long, lucrative series here. ■ It concerns a secret service man, known as “The Gorilla” forever caught between gangsters and the police, to whom he must remain unknown. This allows for plenty of fights, dolls and intrigue. Well manned, slickly paced, it is okay entertainmentwise, but emerges for only possible dUaler fare out¬ side of its own country. “The Gorilla” is investigating stolen missile plans which brings him into contact with counter¬ feiters, dope peddlers and high ranking espionage agents. He comes through via his shrewdness, great strength and wise chief who overlords it all via quiet mastery. With top actors in the many overdrawn parts, the film is ac¬ ceptable on most counts and is helped by Lino Ventura’s miming of the clever, strong and pugna¬ cious Gorilla. Bella Darvi is a fine, perverse gun moll and tech¬ nical credits are helpfuL This is played straight, unlike the suc¬ cessful Eddie Constantine parody G-Man films it seems to be emu¬ lating. Mode. Metro’s Hot W Continued from page films.' “Defiant Ones” (UA), which likewise was just getting started as the month ended, did well enough to finish fourth in the final week. Also new, “Hairy Black and Tiger,” (20th), was un¬ even but managed to finish 10th the same week. “Wind Across Ever¬ glades?’ (WB), another newie, wound up 11th another stanza dur¬ ing the month. "Raw Wind in Eden” (U> did well enough to be runner-up .film one week. “Certain Smile” (20tb) was 12th one round in weekly [ Variety , ratings. “La Parisienne” (UA), which was eighth in Au¬ gust, was in a like, category to cop 12th place . another’ week. Same applies to “Tank Force” (Col). “Night Heaven Fell* (Kings) finished 10th dn weekly ratings another stanza. “Kings Go Forth” (UA) added additional coin in .bigger keys early in the month. Same was true of “Proud Rebel” (BV) and “Twilight for Gods” (U). Last- named was lOth-pIace winner in August “South Seas ^Adventure” (Cin¬ erama), which was launched in Chicago late last rilonth, promises to measure: up to its showing in N.Y. at the Warner where now in its 12th week. It goes into the same houses where Cinerama sub¬ jects have played as soon, as “Search for Paradise” winds up its runs. She Didm’t Say Nat (BRITISH-COLOR) Naive, but warmhearted piece 'of IriSJt blarney. Fairly amus- ‘ ing.mixture of comedy, whim¬ sy and sentiment which lacks marquee value.- London, Sept. 30. Associated-British release of a Sergei Nolbandov production. Features Eileen Herlie, Niall MacGinnis, Ray McAuaUy, Perlita Neilson, Liam Redmond, Betty McDowell, lan Bannen; Directed by Cyril FrankeL Screenplay, T. J. Morrison and Una Troy, from Una Troy’s novel, “We Are Seven”; camera, Gilbert Taylor; edi¬ tor, Charles Hasse; music, Tristram Carey. At Studio One, London. Ru nn i ng time, 85 M|N$. Budget Monaghan.... Eileen Herlie Mary Monaghan....Perlita Nielson Tommy Monaghan...... Wilfred Downing Puppy Monaghan....Ann Dickins The Twins.Teresa & Lesley Scoble Tougby Monaghan..Raymond Manthorpe Jamesy Casey .......... Niall MacGinnis . Matthew-Hogan.Patrick McAlinney W illiam Bates ...... .. Jack MacGowran Mrs. Bates . Joan O’Hara Jim Powers ..... Ray McAnally Mrs. Power .. Betty McDowell Peter Howard ..Ian Bannen Miss Hogan .'. Eithne Dunne The Film Director.Hilton Edwards Mi.«w Kelly . Maureen Halligan The Judge . Harry Hutchinson Darmody. Paul Farrell Maybella Merton ........... Shirley Joy Mrs. Merton .... Viola Keats Maggie Murphy ....Anna Manahan The Sergeant . Michael O’Brien Doctor Cassidy .. Uiam Redmond The Inspector .. John Welsh The story line of “She Didn’t Say No!” sounds a fairly risque theme for a film, unless treated as sharp satire. But actually it is a, warmhearted comedy. It’s naive* and loaded with -Irish blarney which sometimes teeters uncom¬ fortably to the verge of sentimen¬ tality. But the accent is mainly, on comedy and a competent bunch of Irish players extract a healthy measure of yocks. There are also some attractive moppets, -and it should appeal particularly to femme picturegoers. Pic will be a worthwhile proposition in British family houses, but lack of stellar names may soft-pedal its prospects further afield. Based on Una Troy’s novel, “We Are Seven,” this vehicle has Eileen Herlie as an attractive, romantical¬ ly-minded, indulgent woman whose lover died before they could marry, leaving her with a child. Her ideal¬ istic search for a father for the child has unfortunate results. She is mother of six .bom on the wrong side of the blanket. Since the last five children have been fathered by men of the vil¬ lage, Miss Herlie’s family is some¬ thing of a local embarassment. With villagers anxious to get them out of their hair. There is a pre¬ dictable, but neat pay-off leading up to a happy ending for a film which despite early misgivings, is put over without any offense. Cyril Frankel has directed with a light touch while Gilbert Taylor’s color photography makes igood use of the pleasant .Irish scenery. The dialog has good humor rather than wit. Sentimental sequences do not obtrude so that this disarming film • seems rather better while watching it than it probably is. Eileen Herlie gives an attractive performance as the woman who unwittingly causes all the bother. Among other adult performances . which add to .the film’s merits are those, of Betty McDowell, Jack Mc- . GowraU, Ian Bannen, Perlita Neil¬ son, Eithne Dunne, Liam Red .iond, Ray McAnally and Niall Mac¬ Ginnis. But it is the children who con¬ tribute most to "She Didn’t Say No!”. This introduces a youngster named Raymond Manthorpe. He is a tiny kid with tremendous self- assurance. and sense of comedy. Another promising newcomer . is Ann Dickens, with a neat perform¬ ance as a screen-struck teenager. Shirley Jpy, as a precocious child film star. ■ Tristram Carey’s music* leans heavily on typical Irish airs, but is well suited to the subject. Rich. Philly Tent's 73G Harvest Philadelphia, Oct. 7, . Theatrical and face luminaries, plus civjq.officials helped -make the "Old Newsboys Day” fund driVe of the Variety Club, Tent 13, a $73,- 000 .success. Showmen’s group ^nked forces with the Philadelphia Inquirer in fund-raising stunt to aid club’s summer camp for handicapped children. Hal Marshall, 20th Cen¬ tury Fox publicity man, acted as coordinator for “Old Newsboys Day” (Oct. 3) in which $23,000 was raised .in street comer sales in three hours, ” Among the showbiz “Newsboys” were Sophie Tucker, Tommy Leon-, etti, Don Rickies, A1 Fisher and Lou Marks, Frankie Avalon, Jodie Sands Charlie Grade along with, the floor shows of virtually jevery midtown cafe plus a majority of the local radio and tv personalities.