Variety (March 1959)

n» mows MhtMfr Wednesday* Marclr 18* 195? Mary tf Am© Frank (CSCOPE) George Stevens* compassionate rertellinr of the Anne Frank . story makes f«r long, but pro¬ foundly moving film. Expertly produced, it shapes as top grosser. Twentieth-Fox release of,,?- eor l? ens production. Stars Millie Perkins, JoLpli Schildkraut, Shelley Winters, Richard Beymer, Gust! Huber, Lou Jacobi, Ed Wynn. Directed by George Stevens. Screenplay, Frances Goodrich and Albert Hackett. based on their stage play, taken ftom “Anne Frank: Diary of a Young Girl”; camera* William C, Mellor and Jack Cardiff; music,. Alfred Newman; editors, David Bretherton* Robert Swink, William Mace. Previewed in N.Y., March 16, *59. Running time, 17u MIN5. Anne Frank ..Millie Perkins Otto Frank ' : .Joseph Schildkraut Mrs. Vm Daan.SheUey Winters Peter Van Daan.Richard Beymar Mrs. Frank . Gusti Huber Mr. Van Daan . Lou Jacobi Margot Frank.■ • Diane Baker Kraler . Douglas Spencer Miep .Dody Heath. Mr. Dussel .- Ed Wynn Few stories in our time have so caught the imagination and moved the emotions as has “The Diary of Anne Frank,” first published in its original form, then made into a play by Frances Goodrich and Albert Hackett and now produced and directed as a fine motion pic¬ ture by George Stevens. It is a heart-breaking story and yet also an uplifting one that speaks of the dignity of the human spirit, of hope and of decency, through the image of a young girl. “The Diary of Anne Frank,” pho¬ tographed in black-and-white C'Scope, is a film of often extraor¬ dinary quality*, not only because of the excellence of its acting, direc¬ tion and the technical execution, but also because it manages, within the framework of a tense and tragic situation, to convey the beauty of a young and inquiring spirit that soars beyond tl^e cramped confine¬ ment of the Frank family's hideout in Nazi-occupied Amsterdam. Cinematcgraphically, the picture is a major accomplishment. The camera moves in with the Franks, the Van Daans and Dnssell, the dentist; it lives with them during those frightful months when a sin¬ gle wrong move could draw atten¬ tion and bring the “Green Police,” the Dutch Gestapo to the hideout; it tunes in on the frictions, the personal jealousies, the resent¬ ments generated by this long pe¬ riod of close living; it shares the group’s little celebrations, the touching pathos of the present-giv¬ ing ceremony at Hannukah time, the tender growth of love between Anne Frank and Peter Van Dam and that moment of final terror when the knock of the Gestapo men signals that the end has come. And yet, with all its technical perfection, the inspired direction and the sensitivity with which many of the scenes are handled, “Diary” is simply too long. It runs very close to three hours, and is being shown with an intermission. Though the camera moves out, pro¬ viding shots of the outside as it is seen from the hideout atop the spice factory, the length of the pic¬ ture detracts from its impact. Everything possible is being done to keep the action moving within its narrow', cluttered space, and a remarkable balance is achieved between stark terror and comedy relief, yet, there are moments, par¬ ticularly right after the intermis¬ sion, when the film lags and the dialog becomes forced. Unlike the play, the picture leaves too little to the imagination. Because Stevens is a craftsman of such high order, a stickler for detail who nevertheless manages to create a great diversity of moods, “Diary” has—for the most part— 7 a well-developed sense of authenticity about it. There is nothing “phoney” about the in¬ geniously contrived set, which cor¬ responds exactly to the original in Amsterdam, which still exists to¬ day, having been turned into a museum. But, more important, the picture has to a large degree re¬ tained the spirit of the play, even though its final impact may not be quite as great. Perhaps this is due to the fact that the picture, even more than the legiter, puts the accent on hope- and faith, on the unquenchably youthful and buoyant spirit of Anne who so loved life that those around her were nourished and inspired by the strength of her belief in people and the better tomorrow. The film, with a great many moving touches, and some exquisitely humorous ones, por¬ trays the flowering of a young girl into womanhood, the adult world seen through her eyes. 20th’s pre-sell on “Diary” is tremendous, and its international appeal is unquestioned, yet the dis¬ tributor may have to overcome some resistance on the grounds that this appears to be a “depress¬ ing” picture. Actually, the way it’s been, done, the film- Is almost in- j spirational and the- action, includes some delightful sequences. v Perkins pays Anne. It is her first film role and, fir Stevens’ capable hands, she turns in a charming and captivating perform¬ ance. She’s devoid of mannerisms. Not beautiful, girl has an expres¬ sive face, dominated by large, dark eyes. Whether Miss Perkins, a model, is absolutely right for the part is open to question. It’s cer¬ tainly difficult to accept her as a 13-year old, which was Anne’s age at the time the Franks went into hiding. She has the right, awkward, high-pitched voice for the role, j which is important since a good ; • deal of the time it is heard in ; narration. But the voice barely; i changes from* beginning to end, : land it’s difficult to completely be-i : lieye in the. process of growing-up j ! as ’ portrayed by Miss Perkins. - ; Though her outward behavior ; changes with the passage of time ; and the maturing of the emotions, i • that inner feeling of passing into , adulthood is missing. i As Otto Frank, Joseph Schild- ; kraut repeats his marvellous per- | formance on the stage. There is j dignity and wisdom in this man, a deep sadness too, and a love for; ! Anne that makes the scene of his i : return to the hideout after the war La moment full of pain and com- 1 : passion. Schildkraut, in his re-; t strained way, is a tower of strength ; ! in a world gone mad. There is not; ; a false note in, his performance.; {only a kind of warm beauty and; : understanding that brings to the : : film some of its most poignant j scenes. j As the Van Daamcounle, Shelley j Winters and Lou Jacobi come un ■ . with vivid characterizations that ! score on dll levels. Miss Winters, ■ emotional and frank, turns in an j i excellent performance, a simple' ' woman with meager resources who ! can barely cope with the situation • and who goes to pieces when her. : greedy husband wants to sell her j i fur coat. Jacob is nothing short of superb as the disgruntled, grab- ! bing Van Daan, who misses his , comforts and his food and who. in : the erd, turns thief to fill his ; stomach. I As young Peter Van D 2 an. Rich-: j ard Beymer is touchingly sincere j j and perfectly matched with Miss I I Perkins, a boy who discover* in j • the girl the deDth he has been • i seeking in himself. Gusti Huber is : convincing as Mrs. Frank, worry¬ ing about her family and unable i to comprehend the growing-uo of i ■ Anne. Ed Wynn registers solidly j j as the dour Dussell, and he tosses ; J off his many good lines in style., • Diane Baker’s sensitive face is i pleasing in the comnarativelv small ■ . role of Margot Frank. Douglas Spencer plays Kraler and Dody: • Heath plays Mien—the two Gen-' tiles who risk their lives hiding out: : the little group of Jews. ' ! But the key to the film is Stevens ; ; who has created here a picture of depth and frequently stunning,; throat-catching imnact. Perhaps because he tends to be his ow T n editor, some scenes become too extended. Jack Cardiff's lensing is ? perfect and compassionate, catch¬ ing every nuance. The Goodrich- Hackett script at no point cheapens . the story for the sake of the-photo- ; graphic medium. It is still essen- : t»ally based on the lines in Anne’s : diary, and the ending remains un- . changed, with Anne’s voice saving: r “In spite of everything, I rfill be- lieve that people are really good ; at heart” and Otto Frank closing . her diary with the ouiet comment. “She outs me to shame.” It is; probably one of the most moving curtain lines every written. ! George Stevens Jr. directed the , location seouences in Amsterdam, . William C. Mellor was director of i ; photography and Alfred Newman wrote the background music, which . is on the saccharin'* ride. : Bretherton. Robert Swink and Wil- : liam Mace are credited for the [ editing. i With the tremerdous interest I that exists in “The Diary of Anne: I Frank,” the picture shanes as a i potent earner for 20th. And here; j is a film for. which the industry' ' can take a prideful bow. Hift. j ; --- Mex Catholic Legion Puts Okay on ‘Laurent’ Mexico City, March 10. The Mexican Legion of Decency has given its official okay to a film , treating a childbirth theme, al¬ though reluctantly. Film in ques¬ tion, the French “Case of Dr. Lau¬ rent” (billed here as “Modern Mothers”), gets a “special cate- I gory” classification because “while morally inoffensive, it requires certain analysis and explanation as a protection for the public in gen¬ eral against false conclusions or misinterpretations.” Pic itself treats of natural child¬ birth theme. Xhe Hwge I realize they are going to play a big (C’SCOPE-COLOR) .P 3 * 1 * n ^ life - i . _ Gabrielle Upton’s screenplay, Slery of a boy ah*. his dog, star- based cm the book by Frederick ring David Ladd, and ChiU WiHs; Kohner* is played mostly out-of- good program entry; doors on the ocean front west of _ Los Angeles that constitutes the Hollywood, March 11. play grounds and mating grounds Twentieth-Fox release of Richard E. for the young of the area. It makes aures Gregg Palmer, Eve Brent. Directed with the youngsters involved Chief- by James B. Clark. Screenplay, Charles ly costumed in brief bathing suits, Hoffman; based on story by Zee AJdns; f nrp( ,rnimri« art* hriaht tnn camera (DeLnxeCoIor), Karl Struss; edF * ne foregrounds are Drigm, 10O. tor* c ;, Mey 4 fi rmisic. PauiSaw- The simple plot is a contempo- tell, Bert Shefter. Previewed March 10, _____ octnddnt *59. Run ning time, 78t mins. rary restatement of the Student Jackie .... David Ladd Prince” theme. The “surf bum,*’ .captain .. ... Chm WiUs as surf board enthusiasts are i ..*■••• Patn Rex^Reason termed, who Miss Dee falls in love j Bart L'.V.V.V.V.V.V.V.LV.V,*.' Gregg Palmer with, James Darren, turns out to ...."'wmiam r Yip the respectable son of a busi- ] Jonas .. Leslie Bradley ness acquaintance of her father. . Sam .. David De Paul Young Darren, with summer's end, i - ^ „ faces maturity, abandons plans to i The perenmally-favorite boy-and- follow the sun and returns-instead dog theme gets fresh exposure in to college !^ h fwiiif'qSf Miss Upton’s screenplay is some- i ^ what short on improvisation, in 'ject, backed by fine use of color, elaborating the slight sto ry, so ; there is repetition in some scenes. ™ ^ t Paul Wendkos’ direction is ingeni- : production and pic emerges as a in delineating the youthfuL good entry for the program market. characterSj not so easy in present-] The Zoe Akins original takes its i n g normal youngsters of no par- title from an ailing racing champ, ticular depth or variety. Direction • brought to Wills’ horse ranch by could have been more fluid, how- • its owner, Patrice Wymore, to re- ever, particularly in the musical i cuperate from a state of depression numbers. A greater number of ; caused by the disappearance of its camera set-ups would have de- dog-mascot. Arriving at the same feated a certain static quality that : time is young Ladd, sent to spend occasionally crops up. But Burnett ! the summer with his grandfather Guffey’s sun-washed photography ; while , his father reweds. With the effectively captures the summer S 10-year-old youngster comes his spirit and has some exciting shots dog. Drama of the Charles Hoff- of surfing. j m „ a " screenplay twirls around the 1U ss Dee makes a pert and pret- ° £ „ the , °T’ er *° set ^ heroine, and Cliff ^ Robertson, as . away from the h°y as new the only adult of the beach group, mascot for her horse, which has j, accep jable although the part regained its spirit because of the isn , t m " h for an f ctor o£ h is i aog ; . . . stature. James Darren is especially Plottage unravels legitimately effective as the young man torn under James B. Clark’s under- between the carefree life and the ; standing direction, action never be- problems of growing up. Darren, coming maudlin in dealing with who becomes increasingly lmpres- j the boy’s problem of losing his dog. sive as a character juvenile with j For melodramatic suspense there’s each outing, also displays a pleas- i the attack of a rattlesnake while ant singing voice in the film’s best the boy-dog combo is searching for song, “The Next Best Thing To supposed treasure in the hills, and Love,” by Stanley Styne and Fred a giant puma stalking the pair Karger. Arthur O’Connell and through the darkness of night. Mary LaRoche are aimable as Miss : Production helming by Richard E. Dee’s Parents, and Jo Mofrow, j Lyons is expert. Joby Baker, Tom Laughlin, Sue | Young Ladd, who scored so [ George, Robert Ellis, Yvonne Craig, : favorably previously in “Proud j Patti Kane, Doug McClure and ! Rebel,” repeats with a slick por- Burt Metcalfe make up the beach : trayal of a lad whose summer on * gang, and it’s a pleasure to see the ranch endows him with maturi- much handsome young people, i ty, and Wills turns in one of his Morris Stoloff’s conducting of [customary sympathetic characters, orchestrations by Arthur Morton ! Miss Wymore, semi-heavy in her and John Williams Jr. is helpful, ! role, acquits herself well 'and Rex utilizing the songs, including a nice ■ Reason scores as her estranged title tune by Patti Washington and ; husband, the pair brought back Fred Karger. Josh Westmoreland’s 1 together by Wills. Gregg Palmer, sound is good, preserving the loca- ; Eve Brent and William Yip top tion feel without losing dialog. : supporting cast Eastman Color of the print shown Color camera work by Karl for review was often unbalanced, Struss shows quality, Richard C. hut this will probably be corrected. .-■Meyer’s editing is tight, music Potce. „ ; score by Paul Sawtell and Bert -:-— Shefter appropriate and art direc- f Trinp« nn ; tion by Lyle R. Wheeler and John ^ LeS ®® leil jMansbridge fits the backgrounds. T Gidget (COLOR; C’SCOPE; SONGS) Summer comedy - romance; New young names for younger trade. “I Was a Normal Teen- Age American” is basic idea. Promising release though story thin.. Hollywood, March 13. Paris, March 17. Fernand Rivers release of Lodice- Zodiaque-Globe production. With Jacques Robert, Gregoire Aslan, Douta ‘ Seek, Millie Vitale, Toto Bissainthe, Roger Blin, Anne Carrere. Written and directed by Claude-Bernnrd Aubert. Dialog, Claude j Accursi; camera, Jean Isnard; editor, Gabriel Rognier. Preemed in Paris. Run¬ ning time, 105 MINS. Bob .•.... Jacques Robert Bessie . Toto Bissainthe Stanley . Gregoire A£an Vance . Douta Seek Prostie ... MiUie Vitale Tourist .. Anne Carrere ! Columbia release of Lewis J. Rachmil ’ Guide ...-.;.... Roger Blin 1 production. Stars Sandra Dee, Cliff Rob- I - ertson, James Darren, Arthur O’Connell. Talp of ranial fpneirm talrpc nlaco ■ Directed by Paul Wendkos. Screenplay, ' . ■ Laie OI racial tension taxes place Gabrielle Upton; based on the novel by \ 1U a supposedly mythical, SOmnO- Frederick Kohner; camera, Burnett Guf- lent town whieh lnnk<? likp a prncc . fey; music, .Morris Stoloff; editor, William w ™ a. Lion. Previewed at the Stanley War- between a town in the American ner Theatre, Becerly Hills, March 11 , 59. Southwest and One in Latin Running time, 95 mins. America. Also it’s a cross between ! Sho^a^".‘.::::::::::::::'ciiff^ n obe a rtoon a satire and problem pic, and does ! Moondoggie . James Darren not quite jell. This emerges main- I g^Sy^^e-::::: Ar ^^e exploitation item for local ! stim^ . ..-. Joby Baker A guide shows some tourists I Lover°Boy^ r . ep . s . . . .V.V.*. .*. Tom h ^|hiin around the town where a local har- b. l. ... Sue George lot makes love before a window, :S°L‘ Shot *...... Robert Ealy the Negroes dance in the streets patty vo patti and the local bagnio operates for ; Waikiki ... Doug McClure? tourist pleasures. Tourists are : cS' *Z r T alter sampling the town- Cop No. 2.Ed Hinton hall and examples of town justice, - etc., done like revue sketches. “Gidget” is a class teen-age com- Then the film settles down to show edy in which the kids are, for once, how a lynching is almost accom- healthy and attractive young peo- "plished. pie instead of in some phase of A local white man desires a love- juvenile depravity. Lewis J. Rach- ly Negress and is beaten up by mil’s production for Columbia, di- white bullies. It is blamed on the rected .by Paul Wendkos, has a Negroes and trouble starts. But the gaggle of attractive youngsters boy manages to stop it and throws cavorting on the California beaches an artificial leg into the white as the chief action, so for spring faces. Pic goes on to show how and summer playdates it has a the boy’s and girl’s fathers find certain timeliness. “Gidget” seems water to bring prosperity- to the a natural for younger audiences. town. Sandra Dee is the “gidget” of Production is technically well the title, being a young woman so done. Acting is fair, but a strident slight in stature she is tagged with jazz music score and the general the nickname which is a contrac- talkiness make this a limited af- tion of girl and midget Miss Dee fair. Its main chances are on the is in that crucial period of growing notoriety it has garnered on its up where she doesn’t like boys censorship ban here and its theme, very much but is beginning to Mosk. Alias Jesse James (COLOR—V’VISIQN) B.O. will rest entirety on Bob Hope appeal in this mild satire on the traditional oater. Hollywood, March 13. United Artists release of Hope Enteri prises. Inc., production. Stars Bob Hope, Rhonda Fleming, Wendell Corey. Pro¬ duced by Jack Hope. Directed by Nor* man McLeod. Screenplay, William Bow. ers and Daniel D. Beauchamp; based on a story by Robert St. Aubrey and Bert Lawrence; camera, Lionel Lindon; music, Joseph S. LiUey; editors, Marvin Coil and Jack Bachom. Previewed at the Pic- wood Theatre, March 9, ’59. Running time, 92 MINS. Milford Farnsworth.-..Bob Hope Cora Lee Collins ...... Rhonda Fleming Jesse James . Wendell. Corey Frank James .. Jim Davis Indian Maiden . Gloria Talbot Titus Queasley . Will Wright “Ma” James . Mary Young . Bob Hope’s latest cinema outing is a broad spoof of the traditional western, with the star as a cow¬ ardly, greenhorn insurance man Who has, misguidedly, sold a life insurance policy to Jesse James. This is 'a fair enough premise for the kind of gags and situations that Hope can play off his left hand. Unfortunately, not enough script has been given him for even one finger of the left hand, and the result is an extremely mild comedy that will find fans only among the staunchest Hope adherents. United Artists is releasing. William Bowers and Daniel D. Beauchamp did the screenplay, from a story by Robert St. Aubtray and Bert Lawrence. It gets off to a slow start with a semi-documen¬ tary approach that could be imme¬ diately cut; it slows the initial stride to a halting walk without any compensating humor. Hope is sent off to chase Jesse James when it’s discovered a $100,000 policy he issued covers the extremely poor risk of Jaynes’ life. Beneficiary of the policy is Jesse’s girl, Rhonda Fleming, so Hope must look her up, which he does; up and down. Wendell Corey, as Jesse James, gets the idea that he can substitute Hope for himself. Hope will then be killed, and Jesse will collect the principal along with Miss Fleming. When Hope tumbles he begins to fight back, eventually knocking off the whole James* gang with the surprise appearance (and aid) of every, tv lawman in the west. The finale has surprise, bit appearances by James Arness, Ward Bond, Hugh O’Brian. Gail Davis, Gene Autrey, Hugh O’Brian, James Garner, etc., as his unexpected allies. Some of the dialog is amusing, and director Norman McLeod has created some traditional film slap¬ stick sequences. But often the lines don’t play, and the gag setups and their playoffs miss, almost con¬ sistently in the early and middle portions of the picture, indicating the direction and timing are off. It’s only in the last half hour or so of the film that it really gets going. Hope does not show to particular advantage; he has been funnier in a five-minute, stand-up spot. But he’s likeable as ever, and creates sympathy. Miss Fleming is only re¬ quired to look stunning, an assign¬ ment she fills admirably. Wendell Corey, as the cold-eyed Jesse, plays it down the middle. Others chiefly involved are Jim Davis, Gloria Tal¬ bott, Will Wright and Mary Young, and they perform acceptably. Jack Hope produced “Alias Jesse James,” for Hope Enterprises. Powe. The 39 Steps (BRITISH—COLOR) Slick, exciting remake of John Buchan’s “chase” yarn, with Kenneth More in good form as the hero; worthwhile b.m prospect for all houses. London, March 17, Rank Film Distributors release of Betty Box-Ralph Thomas production. Stars Ken? neth More, Taina Elg, Brenda de Banzie, Barry Jones. Directed by Ralph Thomas-. Screenplay, Frank Harvey based on. novel by John Buchan; camera, Ernest Stert*:. ard; editor, Alfred Roome; music. Cliftoo ; Parker. At Qdeon, Leicester Square, Lott-' Ion. Running time, 93 MINS. Richard Hannay.Kenneth More Fisher. .Taina "Elf Nellie Lumsden .. Brenda de Dantie' Professor Logan.. Barry Jones i Lumsden .. Reginald Beckwith’ Nannie . Faith Brook Brown ......_ : ..Michael Goodliffe Mr. Memory.. James Haytef Kennedy ... Duncan Lamont McDougal . 1 Jameson Clark Sheriff .Andrew Cruikshank Milkman . Leslie Dwyer Mrs. McDougal _Betty Henderson Miss Dobson .. Joan Hickson Perce .. Sidney James Mr. Pnngle. Brian Oulton It’s been about 25r years since Alfred Hitchcock, taking consider¬ able liberties with John Buchan’s novel, “The 39 Steps,” turned out a brisk, tense thriller. With a new generation of filmgoers on hand, it was a smart move on the part of Betty E. Box and Ralph Thomas . (Continued on page 23)