Variety (December 1958)

FnW REVIEWS Separate Tables Topnoicli Tenion of Ibe tUro bit. Bolstered by narqiiee names and excellent perform* anees. United Artists release of Harold Hecht (Hecht-HiU-Lancaster) production- Stars Rita Harworth. Deborah Kerr, David Niven. Wendy Hiller and Biirt Lancaster. Features Gladys Cooper, Careen Ne^ bitt, Felix Aylmer, Rod ^ylor ^ Audrey Dalton- Directed by Delbert Stlann. Screenplay, Terence Rattigan; and John Gay, based on a play by Ratt^an; camera, Charles l-ang Jr.» editor,^ Marjorie Fowler and Charles £nnis; music, David Raksin: song, **Separate Tables," by Harry Warren and Harold Adamson. Previewed in N.Y., Nov. 20, *58. Running time, 9t MINS. Ann Shankland.. Rita Hayworth Sibyl Railton-Bell . Deborah Kerr Jlajor PoUock .- David Niven Mrs. Pjilton-Ben . Gladys Cooper L^dy Matheson.Gathleen Nesbitt Mr. Fowler. Felix Aylmer Charles Rod Taylor Jean .. Audrey Dalton Meacham .. • May Hallatt Doreen . Priscilla Morgan Mabel..Hilda Plowright On marquee value alone, “Sepa¬ rate Tables” bas 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 intelligent film, adult in theme and execution, and bolstered by 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 generaRy considered siur^-fire mat¬ erial in today’s market. More ini- portantly, it has the ingredients 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 board¬ 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-length film. Four performers selected to play the separate roles more than meet the thespian require¬ ments. It won’t come as a siu> prise if Niven, Miss Kerr and Miss Hiller are cited for Academy Award notice. Basically, Rattigan’s story is ja 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 War II adventiures in. the desert cam¬ paign are a cover up for tosic inadequacies and fears. He i§ fi¬ nally exposed when he’s caught molesting women in a theatre. Miss Kerr is excellent as a plain, shy girl completely cowed by a domineering and strong mother, finely portrayed by Gladys Cooper. Miss Kerr, who has an attachment for the equally mixed-Up 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 by life and living a don’t-care ex¬ istence at the out-of-the-way hotel, Lancaster turns in a shaded per¬ formance. Miss Hayworth 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 hut meek follower; Rod Taylor, as a medical student, and Audrey Dalton, ai his girlfriend* Delbert. Mann, who guided “Marty” lo an Academy Award, has again cothe up with a sensitive and painstaking: directorial job. And producer Hecht has seen to it that the production values are first class. Technical assets, including Charles Lang Jr.’s black and white photography, Marjorie Fowler and Charles Ennis" editing, and the pro¬ duction design of Harry Horner are aR top-draw. David Raksin has provided an appropriate musi¬ cal score and Harry Warren and Harold Adamson have a good over- the-titles tune In "Separate Tables.” Incidentally, the “Sepa¬ rate Tables” of the title refers to the hotel’s policy of seating each of its guests at different tables in the dining room. HoZZ. Kowhere to Go (BRITISH-METROSCOPE) Sound acting and a well-made crime yam add up to good en¬ tertaining; pic lacks marquee value, especially for U.S. London, Dec. 2. Metro release of a Michael Balcon pro¬ duction. Stars George Nader, Maggie SmiUu Bernard Lee. Directed by Seth Holt. Screenplay, Seth Holt and Ken¬ neth Tynan, based on novel by Donald Mackensie; camera, Paul Beeson: editor, Harry Aldous; music. Dizzy Reece. At Metro Private Theatre, London. Running time, 17 MINS. Greg .. George Nader Sloane .. Bernard Lee Mrs- Jefferson ..— Bessie Love Bridget. Maggie Smith Inspector Scott . Geoffrey Keen Rosa . Andree Melly Cameron.Howard Marian 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.L^ne Meddick Man on Tractor .i... 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 sound 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. FoUowing the jail break, a flashback shows the plausible mannei* 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 country. 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 hUIs 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 lensing is sharp and well edited. Nader’s performance as the plausible, ide-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 MeUy, as a night¬ club waitress, Howard Marian- Crawford, as the urbane club 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¬ beat, staccato and exciting, and particularly helps to set the mood at the start. Rich. Sports Thrills Of the Century Inc. 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. EoMljheartB DlMppoinitiBir film with Mont* . emnery Clkt and Robert Ryan for the marquee. Hollywood, Nov. 28. United Artists release, of a Schary Production. Stars Montgomery Clift, Rob¬ ert Ryan. Myma Loy, Dolores Hart: In- trodnecs Maureen. Stapleton: features Jackie Coogan. Mike KeUln, Frank Over- ton, Onslow Stevens, Frank MaxwelL Produced by Dore Sebary. Directed by Vincent J. Donehue. Screenplay, Dore Schary, based on the’boofc “Misi Lonely- hearts" by Nathanael West and the play by Howard Teicbman: camera, John Alton: music, Conrad Salinger: editor, Aaron Sfell. Previewed at the Academy Theatre, Nov. 21, ’58. Running time, Ittl MINS. Adam White Montgomery Clift William Shrike ........... Robert Ryan Florence Shrike . Myma Loy Justy Sargent . Dolores Hart Fay Doyle .Maureen Stapleton Pat Doyle...Frank Maxwell Gates . Jackie C^ogan Goldsmith ... Mike Kellin Mr. Sargent ............. Frank Overton Older Brother . .. Don Washbrook Younger Brother... John Washbrook Mr. lissiter .. Onslow Stevens Edna . Mary. Alan Hokanson Bartender . John Galludet Jerry . Lea Zimmer 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 h^p 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 by success of the idealist. Schary penned the screen¬ play from Nathanael West’s “Miss Lonelyhearts” and Howard Teich- maun’s play of the same name. In its original version, the idealist is kiUed, hut 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 oft to forgive his wife for being an adulteress 10 years ago. The change is more elevating and certainly less sordid than the original, hut 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 f 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 out 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 featme 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 same time. A battle is waged between the two as Clift becomes involved with his “patients” while Ryan calls them ; fakers. The writer is challenged into following up one of the letters and finds Maureen 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 believe 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. W^nma Loy, as Ryan’s wife, handles with taste a part that offers practically nothing to do, . Dramatic 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 Onsiqw Stevens who, to complicate matters as Clift’s father, is imprisoned for having murdered ms wife and her lover. Eilm 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 Eirizman 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 attempt 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 “Lonelyhearts” look to he WedMadaj, Dedember S, 1959 the film that will make it. There Is nothjng quite as devastating as deliberately “adult” fare that doesn’t come off. Regardless of how literate the dialog and 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 skin and integri^ 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 DUemma (BRITISH-COLOE) Lnsh version of stagey Bernard Shaw period play. Useful arty theatre entry, with advantage of stellar names. Stars Dirk Bogarde, Lesl i e Caron: fea¬ tures Rolsert Morley. John Robinson. Felix Aylmer, Alastalr Sim. Directed by Anthony Asquith. Screenplay. Anatole de .Grun'vald. from George Bernard Shaw’s play; camera,. Robert Kraaker: editor. Gordon Hales: music, Joseph Kosna. Fre- yiewed at Metro Private Theatre. Lon¬ don. Running time, 91 MINS. Jennifer Dudebat . Leslie Caron Louis Dudebat .......... Dick Bogarde Cutler Walpole .. Alastalr Sim Sir Ralph Bonington..Robert Morley Sir Patrick Cullen . Felix Aylmer Sir Colenso Ridgeon.John Robinson Dr. Blenldnsop . 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 “GH.S.” can surely be the only excuse for this one which takes the British motion picture biz 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 bookhig. In Britain, it i has been cynically suggested that its main hope of economic survival is that the run-of-the-miU ducat buyers will be confused into the belief that it is another of the higMy successful “Doctor” series which has starred Bogarde in pix inspireiT 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 by now lost much of their impact. “Di¬ lemma” remains, relentlessly, an easy-on-the-eye filmed 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 by hero-wor¬ ship. He suffers from consump¬ tion, she pleads with a doctor to save his life. He thinks that he would do better to use his limited serupi on a more worthwhile case. And so the yovmg artist dies, stiU a shining 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¬ 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. Producer Anatole de Grunwald has spared no expense in lining up a team which, gives Shaw’s lusty medicinal characters the works. John Robinson is suitably siff- upper-lipped as theNbachelor spe¬ cialist who knows Bogarde’s repu¬ tation and prefers to save another man, despite his 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 by Anthony Asquish and lush costumes by Cecil Beaton all add up to the richness of .this 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 chicanery of medicine in the early part of this century v/iU 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. Rich. HfHUe on Hannted Milt From the prodneen of ^‘M^ea- bre,” this well-made ghbat story ahould’build on that suc¬ cess. Hollywood, Nov. 28. Allied Artists r^ease of William Castle- Robb White prodaction. Stari Vincent Price. Carol Ohmart; features Richard Lonf, Alan Marshal. Caro.^ Craig. Pro¬ duced and directed by william Castle. Screenplay, Robb White; camera, Carl E. Guthrie; music. Von Dexter; editor. Roy Livingston. Previewed at Academy . Awards Theatre. Nov. 24. '58. Running time. 7S MINS. Frederick Loren .. Vincent Pries Annabelle Loren . Carol Ohmart Lance Schroeder .. Richard Long Dr. David Trent.Alan Marshal Nora Manning .... Carolyn Craig Watson Pritchard .......... Elisha Cook Ruth Bridgera .. Julie Mitchum. Mrs. Slykes .. Leona Anderson Jonaa .. Howard Hoffman In the welter of grim and grisly pictures that make up the bulk 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 fop exploi¬ tation grosser for its class. White’s screenplay, which Castle produced and directed, is the one about the group of people who promise to spend the night In a haimted house. In this case, it’s pure monetary gain, Vincent Price, 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, C^ol 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 he free to marry Marshal. "Haimted Hill” is expertly pnt together. There is some good hu¬ mor in the dialog which not only pays off well against the ghostly elements, but provides a release for laughter so it does not explode in th6 suspense sequences. The characters are interesting and not ; outlandish, so there is some basis of reality. Castle keeps things mov¬ ing at a healtliy clip. I Robb and Castle have a new gimmick on “House on Haunted Hill” called “Emergo.” This device h 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 hut 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, hut it won’t to exhibitors, to note that Carl Guthrie’s photography is appropriately moody hut 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. Powe. Tom Tliiimb (SONGS; COLOR) Novelty musical based on fairytale looks like a winner for holiday dates, stronr on general release, and good re¬ issue property. Hollywood, Nov. 28. Metro release of Georse Pal prodae- tion. Stars Russ Tamblyn, Directed by Pal. Screenplay, Ladislas Fodorj based on the Grimm Bros, fairy tale; camera, 'GeorSes Perlnal; music, DousIm GaJ^ey and Ken Jones; editor, Frank Clarke. Previewed at the studio, Nov. 18, *58. Run- - ninf time. 92 MINS. Tom Thumb ...Rusx Tamblyi Woody .. Alan Yoons Jyan .. Terry-ThomM Tony.Peter Seller* Anna.Jessie Mhtthcfwa pie Forest Queen.June Thorbum Jonathan .. Bernard Mile* The Cobbler .. Ian Walla<ie and The Puppetoona The only thing lower case about this production is the Metro spell¬ ing of “tom thumb.” Otherwise film is topriirawer, a comic fairy tale with music that stacks upi alongside some of the Disney classics of similar nature. <5eorge 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 perenniid, re-release appeal. With the captivating special effects so ingeniously used, and likely to provide the greatest word- of-mouth- on “tom thumb,” it (Continued on page 20)