Variety (March 1959)

PICTURES 23 Wednesday, March 18, 1959 PRteityrY film Reviews Continued from page 6 The 159 Steps to have another stab at a yam that has all the ihgredients for popular adventure; -mystery, thrills and comedy. .Though somewhat altered from Hitchcock’s original, the main idea remains unchanged and the new version stands up very well. With Kenneth More and Taina Elg starring in the roles first played by the late Robert Donat and Madeleine Carroll, the pic should be a winner in most houses. When a strange young woman is stabbed to death in his flat, More finds himself involved in a mys¬ terious adventure involving espion¬ age and murder. Before her death the girl tells him that she is a secret agent and gives him all the clues she knows about a spy organ¬ ization seeking to smuggle some important plans out of the country. All he knows is that the top man is somewhere in Scotland and that the tangle is tied up with strange words told him by the victim— “The 39 Steps.” Suspected of the murder of the girl. More has just 48 hours to pull off a stiff job, to find out the secret of the 39 Steps, expose the gang and so clear himself of the murder rap. With the police and members of the secret organization on his trail, More gets to Scotland and has some rather odd adventures before the trail leads back to Lon¬ don and a hefty climax in a London vaude house. Film starts off brilliantly with tremendous tension and suitably sinister atmosphere. After awhile that mood wears off as the pic set¬ tles down to an exciting arid often amusing chase yarn, set amid some easy^on-the-eye Scottish scenery. More's escape from a train and getaway over the Forth Bridge, a funny scene where he is mistaken for a lecturer and has to deliver a natural history lecture to a girls’ school, the dilemma when he finds himself handcuffed 'to a pretty schoolmistress and has to drag her all through the Scottish moors on his quest (including a night spent in a small hotel) and the final sock climax are all high spots in a film Which only occasionally lags. More’s performance is a likeable : mixture of humor and toughness while Miss Elg is appealing as the pretty schoolmistress who is dragged into the adventure against her will. Then there are Barry JoBes, as a sinister professor; Brenda de Banzie, as a fake spirit¬ ualist who, with her eccentric hus¬ band (Reginald- Beckwith) helps More’s getaway; James Hayter as a vaude “memory man” who is a tool of the gang; and Faith Brook, whose murder sparks off the drama, all pitch fn splendidly in a well acted picture. Ralph Thomas has kept the ac¬ tion moving and brought out the best in Frank Harvey’s neatly con¬ structed screenplay. Cameraman Ernest Steward has" keept the at¬ mosphere of the film well and at the same time taken full advan¬ tage of the pictorial opportunities provided by the Scottish moors. “39 Steps” should not disappdint those who remember the original with affection. For newcomers, it should click entertainingly. Rich . The Little Savage Unimportant pirate yarn strictly for the kids. Hollywood, Mrach 11. Twentieth-Fox release of Jack Leewood production. Stars Pedro Armendariz, Chiistiane Martel, Rodolfo Hoyos, Terry Rangno, Robert Palmer. Directed by Byron Haskin. Screenplay, Eric Norden; based on story by Frederick Marryat; camera, George Stahl Jr.; editor. Albert E. Valenzuela: music, Paul Lavista. Pre¬ viewed March 10, ’59. Running time, 73 Captain Tiburon.Pedro Armendariz Taursus . Rodolfo Hoyos Frank (Boy). Terry Rangno Nanoa . Christiane Martel Frank (Man) . . Robert Palmer This low-budgetter is strictly for the juve trade, there being lit¬ tle or no appeal for the adult pa¬ tron. Filmed entirely in Mexico, its story lines the relationship be¬ tween a pirate and a small boy on a deserted island, well enough handled: for what it is but of ques¬ tionable value in today’s market. It will be lower-bracketed with “The Sad Horse.” The Jack Leewood production swings back into the 1700’s on the Spanish Main for period, al¬ though it will be touch and go how acceptable Some of the con¬ trived dialog will be* accepted by modern-day k'ds. Eric Norden screenplay ge s underway after Pedro Avmr u.' ’.riz, frst mate on a pirate ship, : s shot and left for dead by Rodolfo Hoyos. the cap¬ tain, after they have buried two treasure chests on a Caribbean is¬ land. He is found by Terry Rangno. only other occupant of the.island •and a survivor of a ship sunk by -pirates' some years before, and their life together is etche^ down through the years as they await rescue. When the captain returns for his loot, he is killed by his former mate, -who in turn is killed in an exchange of shots. The boy, now grown to young manhood, sails away with the treasure and a girl whom he and the old pirate rescued from a war party of na¬ tives, who had brought the girl from another island as a sacrifice. Armendariz portrays the pirate in flambuoyant and lusty style, and Terry Rangno as the boy, and Rob¬ ert Palmer in same role after he' gains maturity, are okay. Christi¬ ane Martel looks fetching in her brief appearance, and Hayos de¬ livers a violent characterization in his few scenes. Direction by By-I ron Haskin fits the assignment, i Technical credits are competent-: ly handled, with George -Stahl Jr.,, at the cameras; Albert E. Valen-; zuela, editor; Paul Lavista, music; John Mansbridge and Ramon Rodriguez, art direction. Whit. Arson for Hire Weak half of Allied Artists package with “The Giant Behemoth.” Hollywood, March 10. Allied Artists release of a William F. Broidy Pictures Production. .Stars Steve Brodie, Lyn Thomas. Directed" by Thor Brooks. Screenplay, Tom. Hubbard; cam¬ era, William Margulies; editor, Herbert R. Hoffman. Previewed at the studio March 10, ’59. Running time, 67 MINS. John Keeiy ... Pop .- Foxy .... Clcte ... v arbo Boswell . Manly Hollister Cindy .. Barney .. Jim ... umK .. Hot D 02 Vendor. Dispatcher . Nurse . Ben... .. Steve Brodie . . Lyn Tbomcs Frank Scannell Antony Carbone . John Merrick . Jason Johnson Robert Riordan .. Wendy Wilde ... Welter Reed . Lari Laine .... Reed Howes Lyn Osborn Frank Richards .. Ben From me r Lester Dorr Florence Use?m . Tom Hubbard “Arson For Hire”'is a crime, no matter how you look at it. A cold story about a hot subject, it lends no support, in its Allied Artists’ packaging with “The Giant Behe¬ moth.” thus serving only to sepa¬ rate the monster’s end from its beginning. Producer William F. Broidy and his staff perhaps deserve credit for ferreting out some rather good holocaust footage and interpolating it skillfully into their storyline. It’s when the firemen take off their red hats that the tale bogs down. Tom Hubbard’s screenplay, while ridden with cliches, deserves bet¬ ter rendering than was given it by director Thor Brooks. The scenes are static, the characters often im¬ mobile, and the result is that bad¬ ly needed action only infrequently is part of the picture, its wind-up being the most effective. The .story tells of a professional ring of arsonists, led by no less than the arson squad’s second-in-r command, which sets fire to the biggest buildings in town, then blackmails or bullies the owners, into splitting the insurance money, with them. Steve Brodie, as the squad’s chief inspector, is believ¬ able, with okay support from Lyn Thomas, as one of the ring’s vic¬ tims, ard serlpter Hubbard does a fine job of acting as the heavy: From the supporting cast comes a bit of overacting from Antony Car¬ bone, a bit of sex from Lari .Laine, capable performances from Frank Scannell and Jason Johnson and a fine sincere portrayal from Wendy Wilde, as the daughter of the fire- setter. Film editor Herbert R. Hoffman did a good job of lacing William Margulies’ photography with the newsreel-like fire shots., and other technical credits, including sound by Ralph Butler and art direction by George Troast, are adequate. Ron. Mustang # Low-grade oater. Hollywood, March 13. United Artists release of Robert Arnell production. Directed by Peter Stephens; screenplay, Tom Gries; based on the book. ‘Capture of the Golden StaUion.’’ by Rutherford Montgomery; camera, William C. Thcmoson; music, Raoul Kraushaar; -editor,.Mike Dozen. Previewed at Goldtvyn studio, March 10, ’59. Running time, 73 Gate .. Jack Beutel | Nancy.Madalyn Trahey Lou . Steve Keyes Practically everything that could ' be v.Tcng with a motion picture af¬ flicts “Mustang,” produced in-J dependently and then peddled to United Artists, which will release it. UA has a job on its hands, be* cause this film is likely to be re¬ jected even by audiences at the most rudimentary action level, and even as double-bill filler. The story line, in the screenplay by Tom Gries, has Jack Beutel as a rodeo star forced to earn a living as a cowhand, after he gambles away his prize earnings. He goes to work for Steve Keyes and his sister, Madalyn Trahey, ranch owners. The plot revolves around a wild stallion, which Keyes wants killed and which Beutel wants to saye. The horse is disrupting Keyes’ tame mares. All ends with Beutel, the horse and Miss Tra* hey a happy menage a trois. -The film, produced by Robert Arnell and directed by Peter Stephens, actually has an accept¬ able story line and some knowl¬ edgeable dialog about the contem¬ porary west. However, its devel¬ opment is decidely amateur. It also has, for an outdoors film, some stunning bloopers, such as iden¬ tifying an opossum as a raccoon, making casual reference to seeing moose in Oklahoma, where they haven’t been since approximately the Pleistocene Age, and worst of all, calling the lead horse a mus¬ tang when he is plainly (and later so identified) as a purebred Palcmino. The film seems to have been shot in 16m, then blown up and masked for 1.85 projection. The result is a consistently fuzzy and grainy print, with awkward com¬ positions, heads cropped, etc.. The sound seems to have been largely dubbed, editing is poor, shots don’t match. It is padded with incongruous shots of wild* life, some of which wouldn’t be found within a hundred miles of each Other, apparently inserted for no other reason than to stretch the thin dramatic sections. No con¬ tributions to this film can be credited, except, possibly, for per- i sistence. Powt. Carhon-Broivne of tfio F«0. (BRITISH) Offbeat, satirical comedy on misadventures of a dim-witted Foreign Office diplomat; joke wears thin, but creates plenty of yocks. * London, March 10. British Lion release of Boulting Eros, prouueticn. Stars Terry-Thomas, Peter Sellers, Luciana' Paoluzzi. Directed by . e frey Dell. Roy Boulting. Screenplay, Jeffrey Dell, Roy Boulfing; camera, Mfcx Greene; editor. Anthony Harvey; music, John Addison. At Studio One, Lon¬ don. Running time, 87 M1N5. Carlton-Browne ..Terry-Thomas Prime Minister ..... Peter SeUers Princess Hyena .Lucirna Paoluzzi Colonel Bellingham.Thorley Walters Young King . Ian Bannon British resident .. Miles Malleson Foreign Office minister Raymond Huntley Crand Duke . John Le Mesurier Sir Arthur Carlton-Browne Kynaston Reeves Lady Carlton-Browne- Marie Lohr Archipelagos . Marne Maitland Hewitt. John Van Eyssen Rodgers -:. Nicholas Parsons Security Officer . Basil Dignim Sir John Farthing.Ronald Adam SignaUer .. Sam Kvdd Hotel receptionist .....Michael Ward Mother in newsreel-.. Irene Handl Interviewer .Johrt Glvn Jones Commentator . Harry Locke Admiral.James Dyrenforth Celebrating th'eir 21st year as a film producing team, John and Roy Boulting take another of their sa¬ tirical, irreverent swings at British institutions. They did it to the army in “Private’s Progress” and tc the law via “Brothers In Law.” The F.O. in the title of this cur¬ rent entry stands for Foreign Of¬ fice and the film is a crazy peek at the indiscretions of foreign di¬ plomacy. The film certainly will entertain most British audiences but may prove too private a joke for international consumption. Much of the dialog is brilliantly witty. There are some excellent situations and some firstclass prods at dignity. But the comedy tends to get out of hand and, at times, develops merely into a series of not totally, relevant sketches. The many plums in it guarantee a carefree evening, blit the Boulting Brothers have done better than this. Part , of the trouble stems from the fact that they have put their faith in two comedians who are far too associated with their own tele personalities to fit snugly. into the general scheme of things. Terry-Thomas and Peter Sellers are often wildly'"funny but they cannot he accepted in the roles they are playing. Hence, the thin edge of satire is blunted. The pic concerns the mishaps that happen to a Foreign Office junior official when an ex-colony ef Britain’s-—Gaillardia—becomes news. Rich mineral deposits are indicated on the tiny island. Learn¬ ing that other Great Powers are sniffing around the island. Carle-, ton-Browne (Terry-Thomas) is dis¬ patched to sort things out. A series of incredible diplomatic blunders leads to a revolution and peace eventually is restored by a sheer, incredible accident. Here’s a good idea which veers between satire, light comedy and utter farce. The result is funny, but of¬ ten unsatisfactory. A “show-of- strength” demonstration by the Gaillardians’ puny military forces and a haywire Commando engage¬ ment in the revolution are -both yock-rousing though the latter is too prolonged. There are also some neat throw¬ away gags and a few choice mo¬ ments but he is a comedian better enjoyed in smaller doses. Sellers plays the Gaillardian blackguard of a Prime Minister with relish. But, here again, the Sellers personality tends:to throw the part off-balance. Best of the major performances come from Raymond Huntley, as a pompous Foreign Office minister, and Ian Bannon, who, as the young king suddenly brought to the throne, brings a most engaging charm and humor to his role. Lu¬ ciana Paoluzzi provides the-glaqi- or. Among the many supporting pieces of thesping which labor suc¬ cessfully to the film’s benefit are those of Harry Locke as a . local radio commentator; Miles Malle- son, as the British resident, and Thorley Walters an inefficient Mili¬ tary Adviser. Carry on Nurse (BRITISH) Rollicking hospital farce that will raise the laughs with all but complete eggheads; pre¬ dictable slapstick situations and dialog, but a surefire b.o. winner here. • London, March 10. Anglo Amohiameted release of a Peter Rogers production. Stars Shirley Eston. Kenneth Connor, Charles Hawtrey, Hattie Jacques, '•’erence Longdon, BUI Owen, Leslie PhiV.i?, Joan Sims, Susan Stephen, Kenneth William.':, Wilfrid Hyde White. Directed by Gerald Thomas. Screenplay, Norman ILndc; remora. Reg Wyler; editor, John Shirle--; music, Bruce Montgomery. At Studio One, London. Running time, 88 MINS Bernie Bish p . Kenneth Connor Oliver Recki'.t . Kenneth Williams Hinton Charles HaWtrey Ted York .Terence Longdon Percy Xli-kscn..•. Bill Owen Jack BeU . Leslie PhiUips Bert Ab’c . Cyril Chamberlain Henry Bray . Brian Oulton Colonel .. Wilfrid Hyde White Matron ...?■»«,. Hattie Jacques Sister . - Joan Hickson Dorothy Dentm :. Shirley Eaton Georsie Axweli . Susan Stephen SteUa Drw.'cn . Joan Sims Frances Jrmes .Susan Beaumont Helen Ll-.vt 5 Ann Firbank Nightie N.-h'.lngcle - Rosalind Knight Rose Harper Marita Stanton Mick . Harry Locke Miss Winn Leieh Madison Stephens .... John Van Eyssen Anaesthe.'i-t .... John Horsley 1st Ambul-nee M- n .Anthony Sagar lnd Ambul-'n'-e Man . . Fred Griffiths Hard on the tremendous boxof- fice click of “Carry On, Sergeant,” The uneven trend of the direct¬ ing may be because it was shared by Roy Boulting and Jeffrey Deli, who also wrote the screenplay. There are ohvious moments when the couple’s Vtdeas clash. Max Greene’s lenStng is sound and at¬ mosphere is polished and convinc¬ ing. With this film, the dignity of the Foreign Office is often amus¬ ingly pricked but never fully punc¬ tured. It is the sad case of a film rarely living up to the promise of its initial moments. Rich . The Giant Behemoth Exploitable, well-done horror. Hollywood, March 9. Allied Artists release of a David Dia¬ mond production. Stars Gene Evans. Andre Morell, John Turner; features Leigh Madison, Jack MacGowran, Maurice Kaufman. Henry Vjdon, Leonard Sarf)£. Directed by Eupene Lourie. Screenplay, Lourie, from a story by Robert Abel and Allen Adler: camera, Ken Hodges; special effects, J-ck Rabin. Irving Block, Louis De Witt, W ; llis O’Brien, Pete Petterson; music, Ted Astley; editor, Lee Doig. Pre¬ viewed at the studio March 9, '59. Run¬ ning time, 79 MINS. Steven Karnes . Gene Evans Prof. 3ickford .. Andre MoreU Duncan . John Turner Jean MacDougall . Leigh Madison P r - Sampson .Jack- MacGowran Submarine Commdr... Maurire Kaufmna Thomas MacDougall .Henry Vidon Interrupting Scientist.Leonard Sacks “The Giant Behemoth” has been around before, terrorizing citizens and generally tearing urban and ru¬ ral life to shreds. Still, his curious behavior commands attention, par¬ ticularly when it’s as alluringly horrifying as it is in this David Diamond production. An Allied Ar¬ tists release being booked with “Arson For Hire,” it should be exploitable, marketable and profit¬ able. Special effects were designed and created by the talented team of Jack Rabin, Irving Block and Louis De Witt plus Willis O’Brien and Pete Petterson. It’s effective, but as is the case in so many mon¬ ster films, the true terror is in the. reaction of the people, the fear of the victims and the effect of the unseen monster rather than in the ugly sight of the creature itself. In this case it's due to skillful han¬ dling by producer Diamond and scripter-director Eugene Lourie. The Robert Abel-Alien Adler story is believable enough, 'moving quickly and never getting out of hand. It tells of a prehistoric crea¬ ture, revitalized by radiation from atomic blasts, which grows to gi¬ gantic proportions and sizzles its British victims to death. Director Lourie has successfully pilfed one chill an another, a propo¬ sition that the cast goes along with. Gene Evans and Andre Morell, as the calm hut fearful scientists, are fine, and equally good work comes from co-star John Turner and the remainder of the cast. Jack Mac¬ Gowran, Maurice Kaufman, Henry Vidon and Leonard Sacks. A stand-out is Leigh Madison, a strik¬ ing young woman who, in a small role as the daughter of a victim, proves entirely capable of acting as well as attracting. Filmed in England, the benefits of seldom-scene settings are a de¬ cided bonus as effectively caught by photographer Ken Hodges. Sound by Sid Wiles, editing by Lee Doig and art direction by Harry White are completely professional, and Ted Astley’s music builds the suspense appropriately. Make-up by Jimmy Evans rates a terrifying nod. Ron. a slapstick army farce which kept both audi?nccs and exhibitors hap¬ py over here, comes a similar win¬ ner from t'-e same stable. “Carry On, Nurse” is the second in what should be a golden series. It does for hospital whrt its predecessor did for military life. It likely will chalk ud an equal or even bigger financial success. For this one has the added advantage of girls and glamor. Unlike most hospital pix, il ignores drama and scorns pathos. It is an unabashed assault on the patrons’ funnybones. The yo'ks come thick and fast. There is m concession to subtlety between them, director Gerald Thomas, scriptwriter Norman Hfi- dis and a large cast have provided a fun-fest which is irresistible, even though the average patron will be ah’e to see the gags, puns and situations earning up a mile, away. The'humor tends to be repe¬ titious, flirting with sex and deal¬ ing with such tvpical hospital sub¬ jects as bedpans, enemas, prepar¬ ing patients, for operations and so on. Often risque, it is never of¬ fensive, being done with such high humor. There is no story, as such. Hinds has merely creamed up an anthol¬ ogy of hospital humor, involving a string o £ vaucle situations and ec¬ centric characters. Several of the _ performers who were in “Carry j On, Sergeant” crop up again. Oth¬ ers are added, including a number of easy-on-the-eye girls. The dialog is brisk. For in¬ stance, a nurse hisses to patient: “Shhssh, matron’s round.” Patient to nurse; “I don’t care if she-’s tri¬ angular. I want to sleep.” Oddly enough, this corny stuff fits into the pic. Situat ons are not much more original. Patient falls in love with . his nurso. Clumsy nurse causes di-aster in the hospital routine. That the film gets over is con¬ siderably dun to the actors. In a long cast which involves every type of nurse, a gorgon-like matron and a mixed'bag of eccentric patients it is only possible to pick out Hat¬ tie Jacques, as the matron; Wil¬ frid Hyde White, as a suave pa¬ tient; Ann Firbank, Shirley Eaton, Susan Stephen and Diana Beau¬ mont as pretty, -efficient nurses; Joan Sims, c.s the blunderer, and Kenneth Connor, a pugilist-patient with a broken hand. But Terence Longdon, Kenneth Williams, Charles Hawtrey, Michael Medwin, Bill Owen and Harry Locke are also among the long string of popu- j lar British players who enter into ] this romp as if it were a Christmas ' party. Reginald Wyler’s photography helps this film, which cost only about $200,000 to make. At the Doxoffice, it certainly will be worth very much more. Rich. German Crix Pick Kaye Berlin, March 10. “Preis der deutschen Filmkritik J958-59.” West Germany’s highest distinction as to the artistically best pix and performances,, went- to Danny Kaye as the best foreign ac¬ tor. James Stewart, currently here on a visit, accepted the prize for his American colleague. Best foreign actress award went taTatjana Samoilowa for her work in the Russian pic, “Flying Cranes.” A panel of 13 German film crix made the choices.