Variety (February 1959)

32 TELEVISION REVIEWS Wednesday, February 11, 1959 VSxtiEfr 44»4444"44»44444444444444444444»44t4444444^+4 4 44 44 444444444444+»4»444»4»4444444444444444444444+ Foreign Television Reviews 444444444444444444444444t44 4444444444444444444-444444>444 44444 4 44144444444444 4 4444444444444444444*44♦♦♦♦♦ ♦4^4 4 4 4 4 4 4 4- NO TIME FOB COMEDY With Barbara Kelly, John Robinson, Helen Cherry, John Merivale, Ida Shepley, Michael Blakemore, Richard Cuthbert t Director: Bernard Braden t Writer: S. N. Behnnan- Adaptation: Bernard Braden 88 Mins., Toes., 8:30 p.m. Associated Television, from London If S. N. Behnnan r s stage hit didn’t make topline television, that was because the comedy was too sophisticated for the mass audience and the timing was more suited to the limelights than the lens. It was, all the same, a creditable effort overall, with some occasional profundity as well as a general piquancy. Barbara Kelly gave a polished and understanding performance as the actress heroine Linda Easter- brook who succeeds in winning back from the self-deluding “in¬ tellectual” Amanda Smith (Helen Cherry) her temperamental play¬ wright husband Gaylord (John Merivale). Miss Cherry was profes¬ sionally on the ball, too, though scarcely fitting the textual descrip¬ tion of fluff ily pretty; but it was left to Merivale to grab the honors as the man of pen and emotional turmoil. John Robinson as Aman¬ da’s long-suffering husband scored a minor triumph in his one big moment when he quietly confesses his love for Linda. Credits gave production ack¬ nowledgment to H. M. Tennent; and Bernard Braden earns the kudos for the fluency of the treat¬ ment and the frowns for the afore¬ said pacing. Settings were well dressed and adequately suggested New York City. Erni. THE KILLING OF THE KING With Paul Sogers, John Phillips, Basil Dignam, Edgar Wreford,’ Barbara Lott, Philip Scott, Geof¬ frey Hibbert, others Director: Ronald Marriott Writer: Hugh Ross Williamson 98 Mins., Tnes., 8:30 pan. - Associated-Rediffusion, from London Hugh Ross Williamson claims that he dramatized actuality when turning out this account of the trial and execution of Charles Stuart of England in 1649. But whether the play was factual or not—not that there’s anything to deny the claim of authenticity-—the big‘fact is that as drama it registered powerfully. Its greatest achieve¬ ment, possibly, was to inject pas¬ sion into its long-dead but ever¬ green conflicts; and the lack of in¬ sularity in the basic clash of prin¬ ciples and character interplay suggested that it ought to appeal to audiences wider than those in these Isles, given maybe some added clarification of the historical context. The story is simply that Charles I (Paul Rogers) is brought to trial before a “court” composed of Members of Parliament dominated by Oliver Cromwell (John Phillips). The Cromwell faction is intent on eliminating the \ Kin g before a loyalist move gains strength; hut 1 the King refuses even to recognize the validity of the so-called court, on the grounds that if he did he would be betraying the people’s trust. He is nevertheless sent to the block. All this is dressed with a wealth of incident, notably taking in Cromwell’s cu nning efforts to gain the support of Lord Fairfax, Lord- General of the Parliamentary Army, whose conscience tells him that the whole proceedings are unconstitutional but who neverthe¬ less believes wholeheartedly in the Parliamentary cause. Performances were tops, headed by Rogers’ dignified, courageous King. Phillips ran him a close second as Cromwell, though the character was presented rather as a thoroughgoing hypocrite than as a man whose religious fervor was canalized into power-craving. In a long and expert supportings cast Barbara Lott, Philip Scott, Geof¬ frey Hibbert and Basil Dignam earned special mention. Direction was superior and settings complete¬ ly convincing. Erni. INSANITY OR ILLNESS? With Robin Day, Elaine Grand, Brian Injrlis, Kenneth Robinson, M.P., others .Director: Claude Whatham ;60 Mins., WetL, 8:36 pan. - Granada-TV, from Manchester Biggest virtue of this peak-hour probe into the problems of Britain’s -mental health was the elimination ot the query from the-program's title. By stressing firmly that mental upsets are forms of illness and that the public can help suf¬ ferers by showing tolerance, under¬ standing and sympathy, the com¬ pilers drove, another nail into the still-extant coffin of fear, prejudice : and ridicule in many people’s ! minds. 1 In content, the survey covered little ground that hadn’t been trod in a previous program, but it cov¬ ered it well. Statistics, interviews with ex-patients, looks into mental hospitals, queries about the ade¬ quacy of the piental health service, all played their part without any hysterical emphasis. Matter-of- factness, indeed, lessened impact here add there: some heated argu¬ ment or blustering would have been welcome. Nearest the pro¬ gram got to waxing passionate was in an interview with the Minister of Health hnd Opposition MP. Ken¬ neth Robinson, conducted by Robin Day. Day was the most effective of the three interlinkers, suggesting a real interest in the subject in hand. Elaine Grand was quietly sympa¬ thetic, but Brian Inglis somehow rarely looked at ease. Some of the more arresting contributions came, oddly enough, from former patients who appeared utterly relaxed and forthcoming. Production was re¬ sourceful and efficient. Erni. DIE TROERINNEN (The Women of Troy) With Hermine Koerner, Peter Arens, Max Eckhard, Anna Dam- inann, Lola Muethel, others. Producer: Bavarian Radio Director: Paul Verhoeven Writer: Mathias Braun' (after Euri¬ pides) 105 Mins.; Thurs.; 8:45 pjn. W-German TV, from Munich The remarkable artistic upward trend of W-Germany’s tele is evi¬ denced via this classical offering by Euripides. Although it can’t be denied that the heavy pathos of this mighty piece requires actually the dimensions of a large stage, one had to admit that this was still a highly effective and impressive production—thanks to Paul Ver- hoeven’s intelligent direction and a powerful cast headed by Ger¬ many’s great tragedienne Hermine Koerner. Miss Koerner, portraying Hekuba, the central figure in this, filled the scenes to such an extent that one, at least temporarily, for¬ got the small tv screen and latter’s Inevitable handicaps with regard to a piece like that. Contributing to the overall suc- 'cess was the fact that “Troy,” al¬ though written nearly 25 centuries ago, is, per its Subject, a piece of ever actual and therefore modern- appeal. It shows the women and mothers destitute after a lost war, their grief and humiliation. Offering had its faults, but its creators deserve the substantial compliment of having brought to the broad public a classical piece in the form of entertainment with¬ out sacrificing its psychological values. They convinced many that classical stage literature is not only something for the sophisticated trade. In view of the fact that tv is primarily a mas$ entertainment medium, that’s certainly a big compliment, German video has reached a surprisingly high artis¬ tic standard—its average standard has already surpassed that of the current domestic film industry by a remarkable margin. Incidentally, it’s the second time that the W-German tele brought a piece by Euripides. The first one was Thornton Wilder’s treatment of “Alkestiade.” Hans. THE EXILES <The Long Summer) With Peggy Marshall, Susanna Carroll, Moira Redmond, Rich¬ ard .Warner, Laurence Hardy, Reginald Gillam, Rodney Diak, Peter Soule, Leon Peers, James Copeland,* Betty Henderson, Ellen McIntosh, Donald Don¬ nelly. Producer: Gerard Glaister Writer: Lynn Foster 90 Miiis„ 8:30 p.m., Sun. (1) BBC-TV, from London After the promising start shown in the first'episode'of this four play cycle, the second installment was disappointing. The wafm ex¬ hilarating pioneering spirit which motivated the characters in the opening chapter was lost and the result was a fairly humdrum and cbnventiohal piece of drama. To continue her Australian saga. Miss Foster skipped some 25 to 30 years And took the stoi*y to the point at which Australia lost its Colonial status and became part of the Commonwealth, up to the time of Queen Victoria’s death. Her storyline showed how the principal families established in the first part had linked in the new community; but there was much too much melodrama in the ♦ ♦44444»44 + 44 + 44444444 t 4 f4 4444 M4M 4 M 4 444 4 44444 4 Foreign TV Followup 4 44444-44444444 44 4 444 44 44 4 44444 >44 4 444444 4 4444444 development and the characteriza¬ tions followed a stereotype pattern. The acting, however, maintained the standard established in the first part, with sincere perform¬ ances by the leading members of the cast. Gerard Glaister’s smooth direction kept the action moving. Myro. ALFRED MARKS TIME With .Alfred Marks, Paddie O’Neil, Leslie Mitchell, Jimmy Hanley, Glen Mason, Ray Ellington Quar¬ tet, Anita West, John Abineri, Michael Segal, Steve Race and his Orchestra. Director: Douglas Hurn 30 Mins., Mon., 9:30 p.m. Associated-Rediffusion, from Lon¬ don There’s hope in the thought that time marches on; that in succeed¬ ing fortnights this series,, pre¬ sented by Jack Hylton TV Produc¬ tions Ltd. in association with AR- TV, may improve. On the evidence of this initiator, for improvement there’s much room. Alfred Marks and Paddie O’Neil worked with fervor but couldn’t lighten the heavy-handedness of the humor in the three sketches that constituted the bulk of the show. Admiration, but no belly- laugh, was called for by their im¬ pressions of a butler and maid con¬ ducting a personal feud while wait¬ ing on an aristocratic gathering, of a Noel Coward-ish situation, and of a Teutonic musical. For the rest, the Ray Ellington Quartet pro¬ vided interim numbers competent¬ ly, while Leslie Mitchell emceed adequately. Production occasionally missed by attempting pretentious setups. Erni. \ ORPHEUS With Maurice Bejart ballet; Mi¬ chele Seigneuret, Patrick Belda, Epielyne Maubert, Antonio Cano, Janine Morin, Tania Bari, others. Producer: Hesslscfier Rundfunk Director: Rudolf Kuefner Music: Pierre Henry 75 Mins.; Fri., 9 pjn. W-German TV, from Frankfurt Maurice Bejart’s ballet-theatre (of Paris) has an outstanding repu¬ tation in Germany. Troupe has appeared here a number of times in recent years and always knew how to convince the crix. Its danc¬ ing esprit and technical brilliancy took care of a remarkably large following among the German ballet fans, so it appeared justified that the domestic video gave this en¬ semble a* nationwide performing chance. Sunday at London Palladium Britain’s idolatry of the vet entertainer, Gracie Fields, is such that she can do no wrong in the- audience’s eyes. Miss Field’s long record has well earned her that affection but it is useless to deny that her singing has lost much of its lustre. This was proved in “Sunday Night at the Palladium” (1). However, her vivid personality and striking command of how to take a stage are still object lessons to newer younger artists and she remains a standout performer. On this performance her choice of songs was more careful than on previous occasions when she un¬ wisely elected to sing some lovey- dovey ditties more suitable to a teenager. Accompanied smoothly by Bert Waller, she started with a Cheerful number called “Wait For Me,” and followed with a tricky novelty song, “The Little Clock- maker,” which gave her full vent for her skill. Next came her best number, an inevitable comedy song and still a favorite, “Turn Herbert’s Face To The Wall.” Miss Fields rounded off a well-balanced act with the spiritual, “Round The Bend Of The Road.” Supporting her were three other acts and emcee Bruce Forsyth. The Mudlarks vocal group (two boys and a girl) returned with three brisk songs chirpily put over, but I lacking variation in arrangements. | Bob Bramson and partner ■ did wonderful -juggling tricks with a batch of hoops. From Denmark came Boyd Bachman, a frenetic comedian with an india-rubber face and a trick of turning the mike into a prop (an electric razor, for instance). But his patter was fee¬ ble and his impression of a Yank travelling in a second-class train on the. Continent had more energy than fun. Forsyth, continuing his “drip dry shirt” running gag, in¬ troduced the acts in his usual over enthusiastic style, one which seems well suited at least to the inyited audience. But as the weeks go by he develops in smoothness and versatility. The “Beat the Clock" jackpot still defies contestants and now stands at $3,600. George Carden Boys and Girls set the show going at a gay rate with a Can Can routine and Cyril Ordanel’s orch and Albert Lqcke’s production were up to standard. Rich. -Chelsea at Nine While as cosmopolitan as ever in its liheup of talent this Granada TV spectacular aired on Thursday (5) was a deal more patchy than some of its predecessors in enter¬ tainment worth. Emphasis was on vocal contributions, and those got a shade boring. Topping the bill, America’s Jimmy Edmondson had a walkover, for honors with his patter and “Professor Backwards” act, which isn’t to say that he was. outstand¬ ingly droll—just good. Britain’s June Bronhill and Owen Branni- gan were runners-up with a pleas¬ ant but Iongish contribution taking in a “Don Pasquale” duet, folk songs and Sea shanty. They were in fine voice. Prehen Uglebjerg and-Kate Mundt from’Denmark, the Granadiers, and Harriott and Evans were others giving put With the songs; none rang bells of ex¬ citement, though the last-named blended pleasantly. Spanish danc¬ ers Esmeralda and Pepe Lara rounded out the bill with some energetic work, notably to Ravel’s “Bolero.” Robert Beatty made ah adequate compete. There wasn’t anything venturesome about the-settings, hut they served Well enough. Erni. The French avantgardist came along with ’‘Orpheus,” a mixture of dance, artistry, pantomime, some psychological and intellectual hodgerpodge plus concrete music. Admittedly, program turned out to be highly interesting, even fasci- 1 nating and technically outstand¬ ing, but whether this was the right choice for the broad audience is i certainly open to some question. The intellectuals no doubt loved it, but taking into consideration that -‘the broad mass prefers uncon¬ strained entertainment in the eve¬ ning hours, a less complicated Be¬ jart offering or another late-night showing time would have been advisable. “Orpheus” is a danced theatrical play in two acts and eight scenes. It centers around the mythic singer Orpheus who, tortured by the fears and visions of loneliness, flees into the open world. Latter, however, doesn’t show itself so as he expected. He feels lonely nevertheless. Then he hears the name of that person who knew to ban his loneliness: Eurydice. He fights for the dead one—but to no avail. Also Orpheus becomes a victim of death. The mass .murders him as it didn’t want to hear his singing. After his death, however, | it understands' his divine song. Orpheus has become immortal. Death has been defeated. Great dancing performances on the part of all. Biggest kudos, of course, go to maestro Bejart whose portrayal of Orpheus was certainly a thing of controversy to many con¬ ventional televiewers,’ it’s true, but his dancing and artistic skill as well as his extremely* imaginative choreography couldn’t be over¬ looked by anybne. Undoubtedly, he’s One of the greatest and most fascinating dancers Europe has today. Hans . THE EDUCATION OF MR. SUR- R AGE With Maurice Denham, Peter Wyngarde, Vera Fusek, John Le Mesnrier, Peter Reynolds, Sally Home, Kenneth Fortescue, Jen¬ nifer Daniel Director: Cliff Owen Writer: Allan Monkhonse > 90 Mins., Tues., 8:30 pan. Granada-TV, from Manchester Though production was animated- and period was expertly captured,, this revival had one grave flaw in presentation: nowhere in the cred¬ its was it made clear that it was a revival of a 50-year-old play. Consequently those who’d never heard of Allan Monkhouse, who earned himself a reputation for provocative writing, must . have been faced with a mildly amusing, somewhat pointless piece. In 1912, the play commented shrewdly on the moral attitudes of its times through the story of- a house party wherein wealthy widower Surrage (Maurice Den¬ ham), naively honest and conven¬ tional, is confronted by some odd guests invited by his three spoiled children keen to show their contact with social emancipation. These guests are a boorish painter (Peter Wyngarde), a dithering playwright (Peter Reynolds) and a lady (Vera Fusey) who has been the painter’s mistress. But far from being thrown off balance by such Bohe¬ mians, Surrage accepts and adapts —and it’s his youngsters who have thrown up their hands in horror. Performances were polished, notably from Denham and Wyn¬ garde who, making a welcome re¬ turn to television from the stage, made much of what has now be¬ come a cliche character. Vera Fusek displayed the proper charm and grace, while John Le Mesurier and Peter Reynolds scored, respec¬ tively, as a manservant and the playwright. Erni. With Wilfrid Brambell, Michael Gwynn, Jack' ffedley. Jack Rodney, Robin Wentworth Director: James Ormerod Writer: Clive Exton 60 Mins., Fri., 9:00 pjn. Granada-TV, from Manchester It seems likely that Britain has found a Chayevsky-style writer of no mean talent in ex-actor Clive Exton. This was his first play. Dealing with the experiences of four mdh staying overnight in a West Country flophouse, the arrest¬ ing three-acter revealed a sura feeling for character, an even surer observation of life, a fine sense of naturalistic drama and comedy and a deep compassion. Story tells simply how Grandpa (Wilfrid Brambell) finds that his new shoes have been stolen in the middle of the night and how Corp (Jack Hedley) beats up sneak-thief Tich (Jack Rodney) in getting them back, to suffer in consequence m permanent ban on returning to the flophouse. But into this Exton wove the stuff of life: the hopeless¬ ness and fear of old age, person¬ alized by Grandpa; the disillusion and aimlessness following personal tragedy that hadn’t destroyed the integrity of Corp; the downright amorality of Tich; and the straight¬ forward decency of the fourth protagonistfLofty (Michael Gwynn). All portrayals were tops, notably from Brambell. Direction was en-* tirely in sympathy and the setting captured the right air of imper¬ sonal coldness. Erni. QUAKER OATS INTO WALT DISNEY TV-ER Quaker Oats moves into ABC- TV’s “Walt Disney Presents” .on April 10 as an alternate week half- hour sponsdr, filling the vacancy that Kellogg will make shortly. The cereal money comes from “Naked City,”, which Quaker -re¬ cently dropped-on the same net¬ work. In the two weeks of the Friday Disney show,, between Kellogg’s departure and Quaker’s start, Mars Candy - had bought the available time. Technically, “Naked City,” on Tuesdays, is SRO, with alternate sponsor Brown & Williamson hav¬ ing upped its ; share when Quaker decided to anklj*. But ABC is seek- ink a regular half-sponsor to match BAcW, which will then retract to its 50% ownership. ,