Variety (December 1958)

6 WednetdiiyT December 3^ 1959 V1IJ» REVIEWS usmfr Separate Tables Topnotch Tenioii of tlifr ituro Ht. Bolstered by marquee sames and excellent perform¬ ances. United Artist* release of Harold Hecht (Hecht-HUl-Lancaster) production, KiU Hayworth. IJeborah. Ken-> David Niven. Wendy HiUer and Burt Lancaster. Features Gladys Coopw. Careen hilt. Felix Aylmer. Hod pylor ^ Audrey Daltom Directed hy Delbert Mann. Screenplay, Terence Battfean;^ and John Gay. based on. a play by fettuan; camera* Cbarles Lans editor* Marjorie Fowler and Charles Ennis; murfc. partd Raisin; sony. '‘Separate Tables, by Harry Warren ana Harold Adamson- Previewed in N.Y., Nov. 20, '58*. Ru nni n g time, 9g MINS. Ann Shankland .Rita Hayworth Sibyl Raaton-Bell _... Deborah Kerr Major Pollock ...David Niven Miss Cooper .. Wen^ HiRer John Malcolm . Bun Lancaster Mrs. pJdlton-Bell . Cladys Cooper Ltdy Malheson.Cathleen Nesbitt Mr. Fowler. Felix Aylmer Cbarles . Rod Taylor Jean . Audrey Dalton Miss Meacham ..May Hallatt Doreen___ Priscilla Morgan Mabel . Hilda Plowright On marquee value alone, “Sepa¬ rate Tables” has the earmarks of a boxoffice hit. The names of Rita Hayworth. Deborah Kerr, David Niven, Wendy Hiller and Burt Lancaster should satisfy any theatreowner and represent the bait to attract general audi¬ ences. But the Terence Rattigan- John Gay screenplay, based on Rat- tigan’s hit play, is more than just a framework for a galaxy' of stars- It is a provocative and intellicent film, adult in theme ah’d execution, and bolstered hy some of the best performances of the year. Producer Harold Hecht and his colleagues in the Hecht-Hill-Lan- caster organization deserve credit for undertaking a story that does not meet the conception of what is generaUy considered sure^-fire mat¬ erial in today’s market. More im¬ portantly, it has the ingredient.^ to interest and draw the more dis¬ criminating filmgoer. As such, “Separate Tables” emerges as a film that can comfortably plav dis¬ criminating as well as the larger general situations. As a play, “Separate Tables” consisted of two separate vignettes set against the same English hoard¬ ing house and served as an acting tour de force for Eric Portman and Margaret Leighton. Much of the appeal of the play was due to the remarkable change in character¬ ization they were able to make as they assumed different roles in each of the segments. However, Rattigan and Gay have masterfully blended the two playlets into one literate and absorbing full-len^h film. Four performers selected to play the separate roles more than meet the thespian require¬ ments. It won’t come as a sur¬ prise if Niven, Miss Kerr and Miss Hiller are cited for Academy Award notice. Basically, Rattigan’s story is a character study of a group of resi¬ dents at a small British seaside town of Borunemouth, described in the film as a tourist spot in the summer and a haven for the lonely and the desperate in the winter. The majority of the residents are tortured by psychological problems and unhappy pasts. As a phoney major, with a made- up Sandhurst background, Niven gives one of the best performances of his career. His nervous man¬ nerisms, "eh whats,” “good shows” and boring lies of his World W^ar II adventures in the desert cam¬ paign are a cover up for basic inadequacies and fears. He is fi¬ nally exposed when he’s caught molesting women in a theatre. ' Miss Kerr is excellent as a plain, i shy girl completely cowed hy a 1 domineering and strong mother, finely portrayed by Gladys Cooper, Miss Kerr, who has an attachment for the equally mixed-Tip major, has some of the most touching scenes in the film and her final re¬ bellion against her mother emerges as a scene that will be re¬ membered. A separate hut integrated story concerns Lancaster, Miss Hayworth and Miss Hiller. As a writer hurt hy life and living a don’t-care ex¬ istence at the out-of-the-way hotel, Lancaster turns in a shaded per¬ formance. Miss HaywOxCh is equally good as his former wife whose narcissism and desire to dominate men leads to Lancaster’s downfall. Miss Hiller is the effi¬ cient manager of the hotel who finds her romance with Lancaster shattered on the arrival of his physically attractive and fashion¬ able ex-wife. She presents a moving and touching performance. Topnotch portrayals are also given by other assorted residents of the hotel, including Felix Ayl¬ mer, who dwells in the past mem¬ ories of his school teaching days; May Hallatt, as an outspoken, in¬ dividualistic horse player; Cathleen Nesbitt, as a good-hearted but meek follower; Rod Taylor, as a medical student, and Audrey Dalton, at his girlfriend., Delbert,. Mann, who guided , “Marty” to an Academy Award, i has again cofiie up with a sensitive ■ and painstaking. directorial Job. And producer Hecht has seen to it that the p r od u c t i og values are first class. Technical assets, including Charles Lang Jr.’s black and white photography, Marjorie Fowler and Charles Ennis*’ editing, and the pro-- ductipn design of Harry Horner are all top-draw. David Rakisin has provided an appropriate musi¬ cal score and Harry Warren and Harold Adamson have a good oyer- the-titles tune tn “Separate Tables.” Incidentally, the “Sepa- ; rate Tables” of the title refers to I the hotel’s policy of seating each of its guests at different tables In ' the dining room. Holl. Xowhere to Go (BKITISH-METROSCOPE) Sound acting and a well-made crime yam add up to good en¬ tertaining; pic lacks marquee value, especially for UJ5, London, Dec. 2. Metro release of a Michael Balcon pro¬ duction. Stars George Nader, Maggie Smith, Bernard Lee. Directed by Seth Holt. Screenplay, Seth Holt and Ken¬ neth Tynan, based on novel by Donald Mackenzie;, camera. Paul Beeson; editor. Harry Aldous; music. Dizzy Reece. At Metro Private Theatre, London. Running time, t7 MINS. Greg .... George Nader Sloane .. Bernard Lee Mrs. Jefferson .Bessie Love Bridget.Maggie Smith Inspector ScOtt . Geoffrey Keen Rosa . Andree Melly Cameron.Howard Marion Crawford Dodds I.Arthur Howard Dodds n . John Welsh Rosemary . Margaret McGrath Sullivan . Harry Corbett Bendel —. Harry Locke Anna Berg . Lilly Kahn Pet Shop Man . Lionel Jeffries Policeman . John Turner Welsh Garageman.Lane Meddick Man on Tractor .. Charles Price “Nowhere To Go” is a well-made, literate crime yam with the usual polished stamp of the Ealing stable. Good acting is insured by a soimd cast of established British thesps, plus Hollywood actor, George Na¬ der. But there is precious little marquee in the cast, especially for. U.S. consumption. The pic gets away to a slick start with Nader being helped by Ber¬ nard Lee, his outside accomplice, to break jail. He is serving a 10- year sentence for swindling a wealthy widow out of the $154,000, proceeds from the sale of a rare coin collection' Following the jail break, a flashback shows the plausible manner in which Nader cons the widow and salts the cash away in a safe deposit before the police get their hooks on him. Now, away from jail, he starts his plans to recover the money and get out of the coimtry. But every¬ thing goes wrong. His accomplice double-crosses him, his crook friends squeal on him, he is robbed of the key to the safe deposit box and the accomplice dies after Nader has roughed him up. Thwarted on all sides and with a murder rap to face, he is a con¬ vict on the run. The lone person to lift a finger to help him is a rich, offbeat Bohemian girl who specializes in helping lost causes. But, believing that the girl is turn¬ ing him into the cops, Nader makes a final desperate break in the "Welsh hills and is shot by a farmer and dies. Seth Holt, who wrote the screen¬ play with Kenneth Tynan, has di¬ rected tautly and the dialog is rea¬ sonably brisk. The London and Welsh locations are authentic. Paul B e e s o n’s black-and-white lensihg is sharp and well edited. Nader’s performance as the plausible, ice-cold crook who finds his plans going frustratingly astray and who gradually finds himself out on his own is an intelligent study. Bernard Lee gives solid support as his greedy accomplice. The heroine, Maggie Smith, pro¬ vides an interesting new face and this, her first starring role, sug¬ gests that she has a worthwhile fu¬ ture in pix. There are a number of useful performances in smaller roles. Geoffrey Keen, as a very authentic dick; Bessie Love, as the garrulous widow; Andree Melly, as a night¬ club waitress, Howard . Marian- Crawford, as the urbane ciuh prop¬ rietor, and Harry Corbett as a sleazy crook all add their quota to a sound all-round cast The music of Dizzy Reece, played by his own quartet, adds consider¬ ably to the atmosphere. It is off- he^, staccato and exciting, and particularly helps to set the inood at the start. Rich. Sports ThriHs Of the Century Inci has been authorized to con¬ duct an entertainment business in New York, with capital stock of 200 shares, no par value. Norman B. Heller was filing attorney at Albany. EoMlyhearta DlMPpoinl&g film with Mbst- graiery Clift and Robert Ryan for the marquee. Hollywood, Nov. 28. United Artists release of a Schary Production- Star* Montgomery Cbft, Rob¬ ert Ryan. Myma Loy, Dolores Hart: in- tr^uces Maureen. Stapleton; features Jackie Coogan. Mike KeUin. Frank Over- ton. Onslow Stevens. Frank MaxwelL Produced by Dore Schary. Directed by Vincent J. Donehue. Screenplay, Dore Schary, based on the~l)ook "Mise Lonely- bearts" by Nathanael West and the play by Howard Teichman; camera, John Alton: music, Conrad SaCnger; editor, Aaron Stell. Previewed at the Academy Theatre, Nov. 21, '58. Running time, 101 MINS. Adam "White .......... Montgomery Clift WUliam Shrike . Robert Ryan Florence Shrike .... Myma Loy Justy Sargent . Dolores Hart Fay Doyle .. Maureen Stapleton Pat Doyle.Frank Maxwell Gates . Jackie Coogan Goldsmith .. Mike iveliin Mr. Sargent ............ Frank Overton Older Brother.. Don Washbrook Younger Brother ..John Washbrook Mr. Lassiter Onslow Stevens Edna -. Mary Alan Hokanson Bartender . John Galludet Jerry . Lee Z i mm er Dore Schary’s first film is so-so. For the first half it’s tedious, usual¬ ly uneasy trip to nowhere. There is progress in much of the film’s latter half, and United Artists will have to hank on this and a fine though distinctly offbeat and “tortured” performance by Mont¬ gomery Clift to hdp the film. The property is cliche-ridden— the idealist who becomes dis¬ illusioned at the hands of the cynic; the cynic who, in the end, is softened hy success of the idealist. Schary penned the screen¬ play from Nathanael West’s “Miss Lonely hearts” and Howard Teich- mann’s play of the, same name. In its original version, the idealist is killed, but at Schary’s discretion he goes off to become even more idealistic while the bitter man plucks . a A)se, wraps it in white paper and rushes off to forgive his wife for being an adulteress 10 years ago. The change is more elevating^,jl certainly less sordid than the original, but it isn’t suffi¬ ciently motivated and thus appears out of harmony with the rest of the film. . There are touches of warmth in Schary’s script, most of them building the appealing character of young Clift. Not so with the cynical newspaper editor, as played by Robert Ryan. Here Schary’s dialog—a kind of maudlin skeptic¬ ism—grates heavily, and Vincent J. Donehue's direction makes something less than a man put of the character, the effect being more irritating than dramatic. Otherwise, Donehue handles the actors strongly as he deeply etches contrasts and human frailties. A good deal of the story is told in closeup. Setting for the clash is a mid- western newspaper whose feature editor (Ryan) has minimum . use for his fellow man. Clift joins the Chronicle and is assigned the “Lonelyhearts” column with which he is to answer, problems and build circulation at the sanfe time. A battle is waged between the two as Clift becomes involved with Ms “patients” wMle Ryan calls them fakers. The writer is challenged into following up one of the letters and finds MaureeU Stapleton whose sad story has her husband a cripple and incapable of making love to her. Clift obliges the love- starved woman and, when he’s led to heUeve the story was a fabrica¬ tion aimed at “a little action,” he falls apart. In rather contrived fashion, however, everything falls into a happy ending. Dolores Hart, as Clift’s fiancee, brings honest love from a be¬ wildered man and, in so doing, glows with a spirited sensitivity. Myma Loy, as Ryan’s wife, handles with taste a part that offers practically nothing to do. Lxamatic values gain considerably with the work of Miss Stapleton who, in her first film role, proves a powerful character actress. Ex¬ cellent support comes from Frank Maxwell as the impotent husband, Jackie Coogan and Mike Kellin as two hack reporters, Frank Overton as Miss Hart’s father and Onslow Stevens who, to complicate matters as Clift’s father, is imprisoned for having murdered ms wife and her lover. Film fades in with a documen¬ tary flavor, and John Alton’s photography remains in low-key throughout. Mood is maintained by work of art director Serge Krizman and composer Conrad Salinger, and film editor Aaron Stell appears to have put together with, precision what thera.was to splice in the first place. Schary’^s atteinpt at adult fare was an. earnest one even if it didn’t quite come out of the clouds. His mark as an independent pro-^ ducer will be welcome, but “Lonelyliearts” doesn’t look to be the film that will make it. There is nothing quite as devastating as: deliberately “adult” fare that doesn’t come off. Regardless of how literate the dialog juid how' sincere the message, pictures like this still must tell their story in terms of the screen, with all its limitations'and advantages. “Lone¬ lyhearts” benefits from. Schary’s skill and integrity as a filmmaker and It’s “offbeat” in an acceptable sense. It’s obvious there’s room today for pictures that “say some¬ thing.” Ron. The Doctor^s Dilemma (BRITISH-COLOR) Lush version of stagey Bernard Shaw period play, Usofol arty theatre entry, with advantage of stellar names. Metro release of a Comet prodnction. Stars Dirk BoRarde, Leslie Caron; fea¬ tures Robert Morley, John Robinson, Felix Aylmer, Alastair Sim, Directed by Anthony A^uitb. Screenplay, Anatole de .Gnmywld, Irom Geprge Bernard Shaw's play; camera, Robert Kraaker; editor, Gordon Hales: music, Joseph Kosna. J^e- ylewed at Metro Private Theatre, Lon¬ don. Running time, 91 MINS. ; Jennifer Dudehat . T.eslie Caron Louis Dudehat ... Dick Bogarde Cutler Walpole .... Alastair Sim Sir Ralph Bonington.Robert Morley Sir Patrick Cullen . Felix Aylmer Sir Colenso Ridgeon.... •.John Robinson Dr. Blenkinsop . Michael Gwynn Emmy .Maureen Delaney Redpenny . Alec McCowen Newspaper Man Colin Gordon Minnie Tinwell .....Gwenda! Ewen Mr. Lancaster . Terence Alexander London, Dec. 2. The success of “My Fair Lady” has whooped up a George Bernard Shaw vogue here; “The Doctor’s Dilemma” thus was made into a pic. The magic initials “GJB.S.” can surely be the only excuse for this one which takes the British motion picture hiz back to the ex¬ citing, but troublesome days of Korda. In a film world which must face up grimly to the realistic eco¬ nomic facts of present day life, “Dilemma” looks a risky prestige venture. It is handsomely produced, dressed and directed. It has Shaw’s dialog and some good actors. But even with the names of Leslie Caron and Dirk Bogarde it still lines up merely as a worthwhile artyhouse booking. In Britain, it has been cynically suggested that its main hope of economic survival is that the run-of-the-mill ducat buyers will be confused into the belief that it is another of the highly successful “Doctor” series wMch has starred Bogarde in pix inspireff by the humorous novels of Richard Gordon. Shaw’s stringent wit still shines in this film, but, staged in 1903, his comments on Harley Street (London’s medical row) and the doctoring profession have hy now lost much of their impact “Di¬ lemma” remains, relentlessly, an easy-on-the-eye Mmed version of an out-of-date play. As a reminder of the plot, it concerns a young woman married to an artist who is a complete bounder—a sponger, a potential blackmailer and a man who can’t resist other women. But she is blinded hy hero-wor¬ ship. He suffers from consump¬ tion, she pleads with a doctor to save Ms life. He thinks that he would do better to use Ms limited serum on a more worthwhile case. And so the young artist dies, still a sMning knight in armour to the starry-eyed young wife. Bogarde gives a stimulating per¬ formance as the selfish young artist and is particularly convincing in hLs final, highly theatrical death sequence. Miss Caron is often mov- j ing in her blind belief in her man, but never suggests the strength necessary to fight the cynical doc¬ tors. These are played as cari¬ catures. I^oducer Anatole <ie Grunwald has spared no expense in lining up a team which gives Shaw’s lusiy medicinal characters the works. Jnhn Robinson is suitably siff- upper-lipped as the bachelor spe¬ cialist who knows Bogarde’s repu¬ tation and prefers to save another man, despite Ms liking for Miss Caron. Alastair Sim, Robert Mor¬ ley and Felix Aylmer play the roles of Harley Street fuddy-duddies with rich fun and vigor. There Is also a good, neat performance by the ever-dependable Colin Gordon as an obtrusive journalist Dedicated direction hy Anthony Asquish and lush costumes by Cecil Beaton all add up to the richness of ..tMs film. But none of them can disguise the plain, .implacable fact that “Dilemna” is an extravagant whim. Admirers of Shaw’s witty tilting at the cMcanery of medicine in the early part of this century v/ill still prefer the play. The emo¬ tional angle to the plot still stands up to modern day examination. The reason for making the film is more difficult to assess. RicTL i Houe on Hanted FrxMii the producers of “Maca¬ bre;” tMs well-made ghhat story should'build <mi that suc- HoHywood, Nov. 28. Allied Artists r^ease of William Castle- Robli White production. Stars Vincent Price. Carol Ohmart; features Richard LonX, Alan Marshal. Carolsm Craljf. Pro¬ duced and directed by William Castle. Screenplay, Robb ’White; camera. Carl E. Guthrie; music. Von Dexter; editor. Roy Livingston. Previewed at Academy Award* Theatre, Nov. 24. '58. Ronnins time. 7S MINS. Frederick Loren ........ Vincent Pries Annabelle Loren.. Carol Ohmart Lance Schroeder .. Richard Lone Dr. David 'nrent.. Alan Marshal Nora Manning . Carolyn Craig Watson Pritchard . Elisha Cook Ruth Bridgen .. Julie Mitchum Mrs. Slyke* .Leona Anderson Jona* ... Howard Hoffman In the welter of grim and grisly pictures that make up the hulk of exploitation fare these days, there are few genuine ghost stories. Al¬ lied Artists did exceptionally well with one of these, in “Macabre,” earlier this year. Now the same producers, William Castle and Robb White, have come up with another in the same vein. The present item, “House on Haunted Hill,” should build on the success of the former, to he a top exploi¬ tation grosser for its class. WMte’s screenplay, which Castle produced and directed, is the one about the group of people who g romise to spend the night In a aunted house. In this case, it’s pure monetary gain. Vincent ]^ce, owner of the house, is offering $10,000 to anyone who lasts out the night. There is a gimmick in the plot which explains the screams, ghosts, bubbling vats of lye and perambulating skeltons, when it’s finally explained that Price’s wife, Carol Ohmart, has rigged the whole thing with her lover, Alan Marshal. They intended to have Price accidentally shot so she could get his money and be free to marry Marshal. “Haunted Hill” is expertly put together. There is some good hu¬ mor in the dialog which not only pays off well against the ghostly elements, hut provides a release for laughter so it does not explode in thd suspense sequences. The characters are interesting and not outlandish, so there is some basis of reality- Castle keeps things mov¬ ing at a healthy clip. Robb and Castle have a new gimmick on “House on Haunted Hill” called “Emergo.” This device . is an illuminated skeleton mounted on trolley wires, moving out from the side of the screen over the heads of the audience. It is a rea¬ sonably effective mechanism that will add to the picture’s promo¬ tional aualities, without detracting from the film if theatre-owners elect to dispense with it Vincent Price gives a suave per¬ formance that carries suggested menace but is acceptable when it turns out the menace is coming from the other direction. Miss Oh- mart is good as the wife, and others who contribute include Richard Long, Alan Marshal, Car¬ olyn Craig and Elisha Cook. It may seem like a small point, but it won’t to exhibitors, to note that Carl Guthrie’s photography is appropriately moody but not so low-key that It won't be suitable for the drive-ins. Von Dexter’s music and the special effects by Herman Townsley contribute to the mood. Potcc. Toni Thiunb (SONGS; COLOR) Novelty musical based on fairytale looks like a winner for holiday dates, strong on general release, and good re- isinie prope^. Hollyw'ood, Nov. 28. --.r—i^dulas Fodor; base^L on the Grimm Bros, fairy tale; camera, Georses Pertnal; mii*ic. Dousla* Gamley and Ken Jones; editor. Frank Clarke. Previewed at the studio, Nov. 18, *58. Hun- nine time, 92 MINS. Tom Thumb ...Rus* Tamblya Woody .... Alan Yoone lyaa... Terry-ThomA* Trniy... Peter SeUert Anna ........ Jessie Mktthcw* pie Forest Queen...June Thorbum Jonathan '. Bemani Mile* Tho Cobbler .. Ian Wallico and The Puppetoon* The only thing lower case about this production is the Metro spell¬ ing of “tom thumb.” Otherwise film is top-drawer, a comic fairy tale "With music that stadcs up alongside some of the Disney classics of similar nature. <jeorge Pal’s fun-filled production for Metro will have a broader appeal than Just for kids, and should he a winner for the studio on its orig¬ inal playdates as well as packing perennisd, re-release appeal. With the captivating special effects SO ingeniously used, and likely to provide the greatest word- of-moutk on “tom thumb,’* it (Continued on page 20)