Variety (February 1961)

FILM REVIEWS The Misfits Clark Gable’s last film. Hot b.o. a foregone conclusion. A stirring adventure pic on the surface, but * psychological overtones are a bit murky. Hollywood. Jan. 23. United Artists release of Frank E. Tay¬ lor production. Stars Clark Gable. Mari¬ lyn Monroe. Montgomery Clift; features - Tiielma Ritter, Eli Wallach. James Bar¬ ton. Directed by John Huston. Screen¬ play, Arthur Miller; camera. Russell Metty; editor. George Tomasini; art di¬ rectors, Stephen Grimes, William New- berry; music. Alex North: sound, Philip Mitchell: second unit director. Tom Shaw; assistant director, Carl Beringer. Re¬ viewed at Screen Directors Guild Theatre, Jan. 23. '61. Running time. 124 MINS. Gay Langland . Clark Gable* Roslyn Taber . Marilyn Monroe Perce Howland . Montgomery Clift Isabelle Steers . Thelma Ritter Guido . Eli Wallach Old Man . James Barton Church Lady . Estelle Winwood Raymond Taber . Kevin McCarthy Young Boy . Dennis Shaw f *- eers-. Philip Mitchell Old Groom .Walter Ramage Young Bride . Peggy Barton (Vwboy . . J. Lewis Smith Susan . Marietta Tree Bartender .Bobby LaSalle Man Rybll Bowker Ambulance Attendant ... Ralph Roberts At face value, “The Misfits” is a robust, high-voltage adventure drama, vibrating with explosively emotional histrionics, conceived and executed with a refreshing dis¬ dain for superficial technical and photographic slickness in favor of an uncommonly honest and direct cinematic approach. Those who ac¬ cept it on this basis will enjoy it thoroughly. Within this wholesome, com¬ pelling framework, however, lurks a complex mass of introspective conflicts, symbolic parallels and motivational contradictions the nuances of which may seriously confound general audiences and prove dramatically fallible for pa¬ trons unable to cope with author Arthur Miller’s underlying philo¬ sophical meanings. Where “The Misfits” fits most snugly is into the current box- office picture. Certain to have a profound influence over its com¬ mercial fate is the fact that the John Huston-Seven Arts produc¬ tion marks Clark Gable’s farewell to the screen. And a most gratify¬ ing aspect of the film’s nature is that it enabled Gable to tackle with his customary zeal and virility a character tailor-made for his spe¬ cial gifts as an actor. Gable essays the- role of a self- sufficient Nevada cowboy, a kind of last of the great rugged indi¬ vidualists—a noble rmsfit improvis¬ ing an unnaturally natural exist¬ ence on the free, non-conformist fringe of modern society. Into his life ambles a woman 'Marilyn Monroe) possessed of an almost uncanny degree of humanitarian i compassion, an instinctive appre-} c»ation of the natural order of things in their tree, desirable state. Their relationshto matures smoothly enough until Gable goes “mustanging.” a ritual in which wild, “misfit” mustangs are rudely roped into captivity—a kind of survival of the <mis‘fittest contest that underlines the drama with an ironic parallel. Revolted by what she regards as cruel and mercenary. Miss Monroe, with the aid of yet another misfit, itinerant, disillusioned rodeo per¬ former Montgomery Clift, strives t» free the captive hors"s. Gable, since he is already perplexed over the less commendable asuects of his endeavor, reacts violently to this impassioned attack on his iden¬ tity, desperately engaging and defeating the lead staTon of the pack in a breathtaking duel of physical endurance on!v to set h's adversary free once ho has subdued It. Having asserted his will and proved his point (“I don’t want nobody makin’ un my mind for me —that’s all”). Gable rejoins the perceptive Miss Monroe on an eye- to-oye, heart-to-heart bas : s. The film, produced bv Frank E. Tavlor. is somewhat uneven in pace and not entirely sound in dramatic structure. Character development ic choppy in several instances. The one essayed by Thelma Rittor is essentially superfluous and. in fact, abruptly aband^n^d in the course of the stor’\ Fli Wr> 11 ?.'‘ v s character undergoes a severely sudden and fa’ntlv mconrt'-tent transition. Even Miss Monroe's never comes fully into focus. But these shortcom r n«s are, for the most part, erased bv the gen¬ uine excitement generated in t'rn final third of the picture. The flashy, informative “mustanging” sequence is a gem of fPmma-'ino from start to finish. And it is here that Gable really hines, meeting the b* utal eh' * ; <"al demands of the action with the masculine grace. ardor and dexterity of a young roflTi, Miss Monroe never quite fully submerge* her own identity into the character, which In terms of fragile* sensitivity yet basic naivete might!easily be construed as a P'fiwEffi Hie Yeung One Offbeat melodrama dealing with sex and bigotry in the deep South. Doesn’t fit snug¬ ly into domestic b.o, scheme. Hollywood, Jan. 21. Wednesday, February . 1, 1961 rniitrfc nr» Tier nirn nersnn- Valiant Films release of George Werker rougn takeoff on ner own person production> with Zac hary Scott. Kay allty or public image, especially Meersman, Bernie Hamilton, Claudio sinr« It wse written bv Miller In Brook, Crehan Denton. Directed by "Luis smee It was written Dy ivimer.iu Bunuel Screenplay, H. B. Addis, Bunuel. spite of any such similarities that based on story by Peter Mattbl«sen; cam- may be observed, Miss Monrpe’s n£&» ££" familiar breathless, childlike man- James Fields; music, Leon Dibb. Reviewed nerisms have a way of distracting, at HoRywood Theatre, Jan. 21, *81. Run- of drawing attention away from M MI " ■. z,ch,ry Scott the inner conflicts and complexi- Evie .. Kay Meersman tjpc of the character itself Traver .. Bernie Hamilton ues OI tne cnaracier Rev . Fleetwood . Claudio Brook Clift is excellent. He displays Jackson--- a. Crehan Denton a respect for and a thorough _ *——— understanding of his character, ^he Young One is an odd, conveys effectively Its rather per- complicated and inconclusive at- verse wit, gamely meets its physi- tempt to interweave two sizzling cal challenge. Wallach is another contemporary themes—race pre- who comes through in a difficult Judice in the deep South and an role, that of a frail character who almost “Lolita -like sex situation thrives on sympathy. Miss Ritter is with Tennessee Williams overtones her usual dependable, gently caus- —into an engrossing and salable tic self. James Barton does what melodramatic fabric. The offbeat comes naturally to him—the high- project, lensed in Mexico under spirited old westerner routine, but the production aegis of George he plays second fiddle in this in- Werker, artistic jurisdiction of stance to young Dennis Shaw, who writer-director Luis Bunuel, Is enjoys a moment of memorable likely to be more popular abroad, humor as a lad stunned by alco- where slice of life and modest dra- holic intake. Balance of the sup- matic environments are more porting work is vigorous. warmly received, than domestical- Some of Miller's scenario con- ly. where more penetrating social tains deeply penetrating insight Probes are required for art houses, into human behavior under emo- toore marquee might and slicke , Fox release is not much of an attraction for the busy, sophisti¬ cated urbanite, but it should have special impact in rural areas and lure the family trade in most situations. Considering its modest budget, the Everett Chambers pro¬ duction ought to rack up more than an ample number of playdates. . “Tess” is, of course, no new heroine to seasoned filmgoers. The role was essayed by Janet Gaynor in 1932, Mary Pickford prior to The Mark (BRITISH) Overlong, occasionally pled- ding but honest yarn about * social problem, with likeable performances by Stuart Whit¬ man, Rod Steiger, Maria Schell. Worthwhile hooking for adults, London, Jan. 24. 20th-Fox release of a Raymond StroM- tional stress. But several of his clearer stories are the preferable lines and situations ring false, and tic ^ t fou general situations, it appears as if some of his ex- ^ r f ve S a . sh ° rt pository material wound up on the Jy P eter Mattluessen is theorigm cutting room floor for there are Bunuel s screenplay, which he one or two instances when the peo- 5®* d°w n m collaboration with H. pie of his screenplay reveal B. Addis The story takes place on knowledge not compiled in the nat- an island wild game preserve off ural course of events witnessed by South Carolina occupied by an un- the audience. Sequence of exposi- savory gamekeeper iZachaiy Scott tion is also questionable now and al )d a 13 or 14-year-old orphan girl then. The artistic touch of director whose handyman-grandfather has John Huston gives the United i ust expired. Into this potentially Artists release its special quality, explosive scene drifts a hip-talking an unusually lifelike, character al- Negro (Bernie Hamilton) falsely most New-Waveish in mood and accused of rape and on the run. technique, stirring in impression. The girl is unwillingly compro- But he has failed to instill an even niised by the gamekeeper, the Ne- tempo and there are some unac- firo engaged in a hypothetical de- countably awkward passages such bate in which he counters the as one in which a carload of people white.naan’s overuse of the term, stop everything apparently to “«iigge;r,” with his own inevitable eavesdrop on a phone booth con- recourse to salutations of the versation between Clift and his “white trash” variety. It r s a very mother. It isn’t natural. unrealistic, academic discussion, An outstanding contribution is considering the locals and the na- AleX North’s score, melodically tui^of circumstances. Eventually listenable. dramatically potent, f Reverend arrives from the raain- George Tomasini’s editing is ex- land S£ d hel P? resolve both the ceptionally quick in mechanical sexual. and racial predicament, transition. Lenswork of Russell Scott is convincingly unpleasant Metty conveys that almost crude, Hamilton equally believable and this-is-life photographic quality, sympathetic. Kay Meersman cuts a and art direction by Stephen rather pitiful figure as the inno- Grimes and William Newberry is cent, nymphet-hke nature girl accurately modest in interior set- creature involved helplessly in the tings, interesting in exterior locale emotional turmoil. A detestable and characteristic. Tube. southern bigot is essayed neatly by _ Crehan Denton. The Reverend is played acceptably by Claudio The Executioners Brook. - Bunuel has done an alert, per- Uninspired documentary study ceptive job of directing, succeeding of Nazi atrocities. in getting the Carolina geograph- —- ical flavor out of the Mexican loca- Hollvwood. Jan. 21 tion. He has incorporated the Continent Films production. Directed skilled assistance of lensman Gab- I by Felix Podmanitiky. Written by Joe J. - i viemorna art Hirortnr Tpciic I HcvdrcJrer ?nd John Leeb. Commentary, rlel * lgueroa, art OirCCtOr jesUS Jay Willke. Reviewed at Hollywood Thea- i Bracho and editor Carlos Savage. lre ; Jan. 21, *61. Running lime. 77 MINS, ; fiut thpse vi „ orous efforts are la- “The Executioners” is a need- ; lessly repulsive reminder of the i i£?n thp atrocities in Germany. Illustrated ! I JUSf 1 Uninspired documentary study of Nazi atrocities. Hollywood. Jan. 21 that Chari pc T,an p’s ccenario re- Sidney Buchman producti&n. Star* Maria tnat. unaries L,ang s scenario re SchnelL Stuart - Whitman. Rod Steiger* tains hardly even the plot skeleton features Brenda de Banzle. Donald Wolfit, of the Grace Millpr White novel Maurice Denham. Paul Rogers. Donald oi tne trraceiviiuerwniie novel HoUfton< Dlrect ed by Guy Green. Screen- and Rupert Hughes dramatization play by Sidney Buchman & Stanley Mann, upon which it is based " The s”£™& I p”,r tSito revised tale involves “Tess” (Diane mt ^ c , Richard Bennett; At Carlton, Baker) in a three-ply co un try feud London. Running time, 127 MINS, among farmers, the owners and JCp^^ -.-.lr.r.ir.'.rsiu.rt'wsrSSS operators of an undesirable chemi- dt. McNally . Rod Steiger cal plant contaminating the waters .V.V.V. B D;Sid *h™SSS of the region and killing the stock, cuve ....,. Donald Wolfit and a Mennonite family that ere- . ated the uglysituation by selling *Se ld ..V.V.V.V.'.'.V.’.V.'. .^AmandaBlack land to the chemical company. EUen . . Marie Devereux In the midst of this turmoil, two ^i. I FuUer ' -' ’. -' - ■ • Anne Monaghan Romeo-Juliet affairs are conducted Patricia . Josephine FTayno between farmerette,Tess and Men- i^ c e j e ^.Bandana Gupta nonite lad Jack Ging, chemical .HI- foreman Bert Remsen and Men- Producer Raymond Stross in tha nonite maiden Nancy Valentine, past has made a number of pix Miss Baker plays the heroine which have tended to rough up sex with spirit. Ging rings pretty true i n equal mixtures of naivete and in his part. Miss Valentine has the sleaziness. With “The Mark,” proper fragile, delicate quality, stross still .clings to an undeniable Remsen and Lee Philips are com- belief in sex as an ingredient that petent. There’s a good deal of interests adult filmgoers. But, this colorful character work, notably time, he’s set his sights higher. Re- fr’om Archie Duncan, Wallace Ford, suit Is an overlong, sometimes plod- Grandon Rhodes and Robert F. ding, but honest, . interesting Simon. Director Paul GUilfoyle glimpse at a sex dilemma, the cir- keeps most of It rolling along custances of which could be regret- gently. That several of the scenes tably topical in the U.K. these days, are rather stiff and artificial seems It should prove a good booking for as much a fault of the dialog as audiences not in sheer escapist the direction. mood, though it needs some care- The scenery in and around So- ful exploitation, nora, Calif., where the film was Filmed at Ardmore Studios in shot in becoming De Luxe Color, Eire, “The Mark” has marshalled looks far more lovely through the some sound all-round talent in writr James Wong Howe lens, which is ing, technicians and acting. Rod equally flattering to the players. Steiger, Stuart Whitman and, Mana Capable assists to the production Schell form a useful marquee pull are fashioned bv editor Eddy for the U.S. There are one. or two Dutko, art director John Mans- obvious flaws in the story line and bridge and musiemen Paul Sawtell some of the flashbacks are irritat- and Bert Shefter. Tube. ing. But quietly it makes engross- - ing impact. XIia XVliStf a Whitman is on parole after serv- ^YaSs^OPE^COLOR) ; Ing a three ->’ ear sentence, for a (Dx ALIo CQPE IU1AJK) crime comm itted when he was sick, . j- At t u j during which time he has under- Ponderous, undistinguished gone therapy and has now been de- adventure meller f****** Glared well. He continues 4he against war between Czarist kl therapy with a psychiatrist Russia and its Caucasus tribes. • (Stelger ) but is not fully con- Lean b.o. prospects. vinced that he is now a fit man. It’a I _ T ~r . _ some time before the audience dis- Hollywood, Jan. 20. covers whv he was jugged. Through Warner Bros, release. Stars. Steve covers wiiyiic w«*P j use ^ °- Reeves; with Georgia Moll. Renato Bal- talks With the psychiatrist ana dlni, Gerard Herter. Nicola PopoYic, Scilla flashbacks tQ prison life, it S reveal- Gabel. Directed by Richard Freda. Screen- . ui, urltVi • ivpalr play, Gino DeSanctis. Akos Tolney, from ed that his Childhood, Wltn a weax novel by Leo Tolstoy; camera (Techni- father dominating mother and 8S ,£££• m iu>vic "music\ rt r ort'°Nieoio3.* youngest of a family consisting of Reviewed at the studio, Jan. 26, *6i. Ryn- five sisters, has given him a com- ning time, u mins. plex i ea( ji n g to a sickness which _ .. .. ., T . . . . . . makes him doubt whether he can Ordinarily these Italo-originated ^ normal relationship with wo- costume epics can be forgiven It also lea ds him to the their lean premises, exaggerated C0Qler when he Ig foun d guilty of melodramatics and transparent abductlng a io-vear-old girl with a characterizations thanks to the j ■ to rape Though not guilty saving grace of some furious quasi- of the actual crime< he is s0 horri- histoncal combat spectacle pro- fied bv the thought that it was in d uctl on s av vv ; No such virtue res- . his m ' fnd that he puts up no de¬ cues “The White Warrior,’ latest ; fen ^ e and pre f e rs to be put away and one of the poorest arrivals in untfl he $hakes off his instability. a seemingly endless surge of brawny European spectacles cur- He builds up a good career in a new town, gradually falls in love | in documentary style through old cinematic d rama form. Tube, newsreal clips, the study is pegged j on the Nuremberg trial, each de- T< k KS OI TfiP Storm j fendant’s history traced rather rog- ‘ jgedly through the rise and fall of i.«uiwr> i Nazism. The film, produced by ~ _ ; Continent Films and “presented” .? I ent !? len ^ a l-MF aI11 ?„ 1 1, .* seon by Sig Shore .and Joseph Harris, G F ac f Ml B er char * is of little value in the current \ as * seen on screen market. Several television docu- 29 yea”s ago. Low-budget pic mentaries and dramas in the past Wl11 apn^^l to easygoing audi- ■ few years have dealt more nobly ences. B.o. projects; favorable ‘ and successfully with the subject. In appropriate situations, i Developed and mitten by Joe J Hollywood. Jan. 27. Heydecker and John Leeb, directed Twentieth-Fox release of Everett Cham- by Felix Podmanitzkv, the film ters production. Stars Diare Baker, Lee .-suffers most from incoherent con- F'^mon^A^hie^Dunqan, °Bert I struction. There IS a tendency to Remsen. Grandon Rhodes. Nency Valen- ; rarnhlo Irrnlovnnl Iccuac In tine - Directed by Paul Guilfoyle. Screen- ramoie into irreietani issues in- p , ay> Charles Lang, from novel by Grace Stead Of sticking to the trial prin- Miller White and dramatization by Rupert cinals under central surveillance Hughes; earner. - (De Luxe). James Wong crnais unaer cenuai surveillance. Howe; Pditon Dutko . art director. The tone Of the narrative IS emo- John Mansbridge; music. Paul Sawtell, tional, where it should, for best Bert Shefter; sound.. John Kean^assirtant director, Willard Kirkham. Reviewed at results, be absolutely objective, api projerMon r^m, Jan. 27 , ' 61 . Run- informative and penetrating. nin « time ' *3 mins. There is a tendency ?o be carried . Dia i"*v B r.! t rp away on tangents for their sheerly Eric Thorson Lee Philips sensational pictorial aspects. Among these are a brutally lengthy Mike Foley . Bert Remsen and graph* examination of the ;;;;; ;;; Cr .Sn “hoS.s victims of atrocities (piles of Mr. Graves . Robert F. Simon corpses etc., same clips shown in - ^ourt to the accused at Nurem- Wherever heavy doses of uncom- berg) and a long passage in which plicated screen sentiment are "va Braun is observed indulging warmly welcomed, wherever easy- n gymnastics and aouatic recrea- going audiences congregate, “Tess »on. latter in t^e nude as the audi- of the Storm Country” will be re- ence can plainly see. Tube. . ceived enthusiastically. The 20th- rently clotting U.S. cme-market ! w ith a young widow and is all set arteries and making motion picture j to lick b ? s problem when he is ad pages resemble a nightmare out j cruc jfi e d bv an unscrupulous local of Muscle Beach. The Warner Bros, j newspaperman. It leads to humil- ^release is a doubtful boxoffice can- | lation, a near breakdown and an didate. eventual ending with the young Even the work of the late, great * w idow which suggests a rosier fu- Russian novelist. Leo Tolstoy, has i t ure . This seems far-fetched, yet not been snared the painful process i nobodv knows enough of the com- of hasty adaDtation, his novel being J piexities of crimes that make ruth- the basis of this undistinguished ji e5S headlines. The screenplay is in¬ film. The stuffy Gino DeSanctis- i tell!gently written, but there’s one Akos Tolney scenario deals with a giving problem, notably the fact mid-19th century dispute between that no newspaper, under law, Czarist Russia and the Caucasus could behave in such Irresponsible mountain tribes under his sov- j fashion. ereign rule. The “White Warrior” j The early constant flashbacks are is the young lender (Steve Reeves) J sometimes jerky and irritating. But who successfully defends his tribe throughout, the audience will feel against Czarist tyranny while sur- compassion for the hero’s dilemma, mounting all sorts of political and since the screenplay offers a real romantic intrigue within his own man and not just a cardboard fig- domain. 'ure sketched out to provide a few Reeves delivers the usual mus- dramatic negs. Stuart Whitman cular nerformance.-and looks dash- gives a rather downbeat but ab- Inelv blank in his white play-war sorbing and likeable nerformance outfit. Romantic interest is sud- as the victim while Maria Schell plied by Georgia Moll and Scilla as the young widow is a pleasant Gabel, villainous passion by Re- character. Whitman’s scenes wjth nato Baldini and Gerard Herter. the eccentric yet understanding R ? rhard Freda’s direction Is slug- psvchiatrjrt. nlaved with sharp in- gish. There is surprisingly little cirive wit by Rod Steiger, are high- action for what basically Is an lights. adventure film. Donald Wolfit as a shrewd em- Photoeranhv. artwork and music oloyer. B r enda de Branzie and are. at best, routine. In short, there Maurice Denham, as the couple Is little to recommend “White with whom he lodges; Donald Hou- Warrior” to a oublje saturated with ston. as thp renorter: Paul Rogers similar uost-dubb^d endeavors of as ^h p man *nnnl?nts In the firm Pvriw tempo and more darting and A”*"** as Miss Schell’s content Tube. (Continued on page 22)