Film Reviews Foreign Capsule Reviews - …vruetalo/Sarli-Bo Research/Film Texts/WV... · Film...

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24 PICTURES fAlZIETY Wednesday, September 4, 1957 Film Reviews Continued from page 6 The Unholy Wife however, would have been better had it been released closer to Brit- ish actress' smash publicity buildup last year, when RKO staged a sex campaign around her. The John Farrow production is a carefully developed narrative of an amoral wife who manages to escape punishment for a murder she commits but finally is convicted for a dsath of which she's inno- cent. Rich Technicolor gives splashy pictorial values to pic, lensed p:irtia!ly in the grape coun- try of northern California, and offers fine mounting for femme star's dazzling personality. She dis- plays a definite dramatic sense in her interpretation of a difficult role, and has' a capable costar in Rod Steiger as her husband, who registers impress'vely in a semi- character role. Farrow's direction of the Jonathan Latimer screen- play maintains good pace and he keeps proceedings on a moving level. Miss Dors plays a B-girl with a shady past who weds Steiger, wealthy California vineyard and winery owner. She becomes clan- destinely involved with a rodeo rider, Tom Tryon, and resolves to kill her husband, sure she can get away with the crime on her claim she mistook him for a prowler her mother-in-law, who lives with them, has frequently mentioned. Prowler actually is Tryon, who visits the wife when her husband is away. Conspiracy goes wrong when •wife mistakenly kills her husband's best friend. She talks her husband Into taking the blame, Steiger thinking he's certain of acquittal. He's convicted, however, upon her faked testimony. Mother-in-law overhears the frame, suffers a paralytic stroke and later swallows some powerful medicine which points to wife as her murderess. Femme star turns in an excellent account of herself, and Steiger is on a par. Tryon make his work count in a smaller role, Beulah Bondi as Steiger's mother delivers dramatically- and Arthur Franz as a priest, Steiger's brother, scores as another kev character. Joe De- Santis and Marie Windsor lend good support. Lucien Ballard's color photo- graphy leads off technical credits, Eda Warren keens her editing sharp, Daniele Amfitheatrof's music score is dramatically sustaining and art direction by Albert S. D'Agostino and Frank Barhelin matches up. Whit. Amazing Colossal Man Imaginative science - fictioner which may be exploited for heavy returns. Hollywood, Aug. 30. American-International release of a Bert I. Cordon production. Stars Glenn Langan, Cathy Downs, William Hudson, James Seay, Larry Thor. Directed by Gordon. Screenplay, Mark Hanna, Gordon; camera, Joe Biroc; editor, Ronald Sin- clair; music, Albert Glasser; special ef- fects, Gordon. Previewed Aug. 27, '57. Running itme, SI M1NS. Lt.-Col. Glenn Manning Glenn Langan Carol Forrest Cathy Downs Br. Paul Lindstrom William Hudson Colonel Hallock James Seay Dr. Eric Coulter Larry Thor Riehard Kingman Russ Bender Sgt. Taylor Lynn Osborn Typist Diana Darrin Control Officer William Hughes Lt. in Briefing Room Jack Kosslyn Girl in Bath Jean Moorhead Sgt. Reception Desk Jimmy Cross Henry Hank Patterson Delivery Man Frank Jcnks Army Guard at Gate Harry Raybould Sgt. Lee Carter Scott Peters Capt. Thomas Myron Cook Police Lt. Keller Michael Harris Lt. Peterson Bill Cassady Sgt. Hanson Dick Nelson Dr. McDermott Edmund Cobb Robert Allen Judd Holdren Attendant Paul Hahn Nurse June Jocelyn Lt. Kline Stanley Lachman balance of his cell growth, and unless they can halt it he will con- tinue to soar upwards until he dies. Pic's thrills come in the final reels when he escapes from the isolated Army sanitarium where doctors working night and day finally find a cure. Now 70 feet tall, he makes his way to Las Vegas, where he causes pandemonium as he appears in the downtown section and later on the luxury hotel Strip. He finally is killed on Boulder Dam, when it becomes clear he has become so mentally deranged there is no chance of giving him the cure. These sequences are played for fine effect. Glenn Langan delivers persua- sively in title role as the man who becomes a monstrosity, and Cathy Downs as his fiancee, who does her best to help him maintain Irs sanity, is likewise convincing. Wil- liam Hudson and Larry Thor score as the doctors fighting to find a cure, and James Seay is good as an Army officer in charge of the case. Technical departments are well handled throughout, leading off, apart from Gordon's special effects, with Joe Biroc's smooth photo- graphy. Ronald Sinclair's editing catches the mood and Albert Glasser's music score further enhances it. Whit. Parson and the Outlaw (COLOR) For dyed - in - the-woolly-west fans only. Columbia release of Charles (Buddy) Rogers production. Stars Anthony Dexter, Sonny Tufts, Marie Windsor, Rogers; features Jean Parker, Robert Lowery, Madalyn Trahey, Bob Steel. Directed by Oliver Drake. Screenplay, Drake. John Mantley; camera (Technicolor), Clark Ramsey; editor, Warren Adams; music, Joe Sodja. Previewed in N.Y., Aug. 26, '57. Running time, 71 MINS. Billy the Kid Anthony Dexter Jack Slade Sonny Tufts Tonya Marie Windsor Rev. Jericho Jones Buddy Rogers Mrs. Jones - Jean Parker Colonel Morgan Robert Lowery Elly McCloud Madalyn Trahey This one might have been taken from the files of a Junior. Lone Ranger. An oldfashioned oater, the Charles (Buddy) Rogers pro- duction might rate a nod in un- demanding sagebrush situations but otherwise rates only the brush. Story has Billy the Kid a peace- able man no longer toting his guns and trying to forget the past when he was forced to permanently puncture 21 hombres. This was a difficult period in Billy's career; he found it hard to live with him- self with the knowledge of all those defunct bodies strewn across the west. But even in the present he can't, try as he may, remain aloof from such forms of violence as killing. His old friend, the parson, gets himself plugged in taking on the town's heavies. Billy steps in and mows them down but he, too, gets a Colt .45 clobbering. Some familiar names are in- volved; Rogers as the parson. An- thony Dexter as Billy, Sonny Tufts, Marie Windsor, Jean Parker and others. They fail to put much wal- lop in the old west; the outdoor adventure is put together in only partially skilled fashion. Nothing special about the technical credits. CJenc. From Hell It Came Amateurishily done, but stack- ed with horror appeal for the young:. Special effects figure importantly In the unfoldment of this Bert I. Gordon production,, which should lap up plenty of green stuff from the exploitation trade. With an imaginative story premise and good handling — except for over-footage which can easily be tightened — film is one of the most unusual science-fiction yarns to come along in some months. (Pic is packaged with "Cat Girl.") Gordon, who also directs from his and Mark Hanna's screenplay and executes the special effects which lend high melodramatic potency to the suspense, has chosen the ultra-modern atomic blasts near Las Vegas as basis for his theme. When an Army colonel is frightfully burned in a plutonium explosion and against all rules of medical science overnight re- grows healthy skin, he makes with the shock—he starts growing at the rate of 10 feet per. day. Doctors explain the blast upset the Hollywood, Aug. 27. Allied Artists release of Jack Milner Production. Stars Tod Andrews, Tina Carver; features Linda Watkins, John Mc- Namara, Gregg Palmer, Robert Swan, Baynes Barron, Suzanne Ridgway, Mark Sheeler, Lee Rhodes, Grace Matthews, Tami Marsh, Chester Hayes, Lenmana Guerin. Directed by Dan Milner. Screen- play, Richard Bernstein, from story by Bernstein and Jack Milner; camera, Bry- don Baker; editor, Jack Milner; music, Darrell Calker. Previewed Aug. 16, "57. Running time, 71 MINS. Dr. William Arnold Tod Andrews Dr. Terry Mason Tina Carver Mrs. Kilgore Linda Watkins Prof. Clark John McNamara Kimo •. .; Gregg Palmer 'Witch Doctor Tano Robert Swan Chief Maranka Baynes Barron Korey Suzanne Ridgway Eddie Mark Sheeler Norgu Lee Rhodes Orchid Grace Matthews Naomi Tani Marsh Maku Chester Hayes Dori Lenmana Guerin Combo is being packaged by Allied Artists. Basic story idea of Richard Bernstein and Jack Milner is good; the former's screenplay, however, often results in cliche wordage. Locale is a Pacific isle where an atomic research group composed of Tod Andrews, Tina Carver and John McNamara is headquartered. They're there to care for natives suffering from radiation burns, but the witch doctors are blaming the Americans for deaths caused by the black plague. Meantime Gregg Palmer, son of the deceased island chief, has been put to death by the p^wer-seeking witch doctors and cohorts because of Palmer's friend- ship with the Americans. Before he dies, however, he promises to return from the grave for revenge. "It" returns to stalk and kill and even kidnap the pretty femme scientist before being toppled into quicksand by a bullet. By that time the villains are also dead, the natives and the Yanks are at peace and the two leads are pitching woo. Tina Carver, a looker with thespic competence, stands out in the femme lead, while Tod An- drews and McNamara are okay. Film "introduces" Linda Watkins, who performs satisfactorily as a white widow on the island. Gregg Palmer is good in a comparatively brief role. Miss Watkins, of course, is a vet thesp of both stage and screen; she just hasn't been in pix for some years. Dan Milner's direction of the Jack Milner production often leaves much to be desired. Above average technical contributions are Brydon Baker's photography and the special effects of James H. Donnelly. Weal. Bitter Victory (Amere Victoire) (U.S.—FRENCH) Venice, Aug. 29. Columbia release of Paul Gzaetz Trans- continental Films production. Stars Rich- ard Burton, Curd Jurgens, Ruth Roman; features Raymond Pellegrin, Anthony Bushell, Sean Kelly, Christopher Lee, Alfred Burke. Directed by Nicholas Ray. Screenplay, Ray. Gavin Lambert, Rene Hardy, from novel by Hardy; camera, Michel Kelber; music, Maurice Le Roux. At Film Festival, Venice. Running time, 97 MINS. Major Brand Curd Jurgens Capt. Leith Richard Burton Mrs. Brand Ruth Roman Makron Raymond Pellegrin "It," in this case, is a living monster-stump which has risen from the grave for revenge—more succinctly put, a tree man. Al- though somewhat amateurishly turned out, film does have the necessary horror ingredients for which teenagers are storming the b.o. just now and pic serves as a good complement to "The Disem- bodied" (see review, in this issue). (English Version) Good press notices should pre- cede this psychological actioner into most situations, with France offering the best market bet for the expansive production. Other European areas appear spotty, though the general outlook ap- pears good. Stateside chances de- pend on a top bally job and on cast values in the Richard Burton and Ruth Roman names—as well as the newly "acquired" Curd Jurgens— for a better-than-average payoff; though eventual recouping of heavy costs remains problematical. Rene Hardy's successful novel has been translated for the screen into a literary, hard-hitting screen- play which almost always manages to overcome some of the incongrui- ties of the original story line. This sets up a deadly struggle between two British Army officers during the World War II African cam- paign. Conflict between Capt. Leith and Major Brand derives from fact that Leith knows of Brand's basic cowardice in action, and also from jealousy over Brand's wife, with whom Leith has had an affair. Re- turning from a dangerous mission in German-held Bengasi, Brand tries twice indirectly to bring about Leith's death, once by leaving him behind to guard two wounded Ger- mans, again by deliberately let- ting a scorpion bite his rival. Leith finally dies and the "victorious" major brings his commando force remnants back to the post, ironi- cally earning a medal but losing his wife's affection as well as what was left of his soldiers' respect. Script is basically flawed by the unclearly delineated key character of the major—and Curd Jurgens' competent, straightforward per- formance is less successful because of it. Otherwise it includes many basic truths about the horrors of war, the relationships of man, the disintegration of character under the stresses of action, etc. It also features such strong stuff as the mercy shooting, by Burton, of a mortally wounded German soldier and the aforementioned mortal bite by the scorpion. Fine thesping by Burton leads a series of top performances by other members of large cast. Miss Roman is good in a limited role, while Raymond Pellegrin, as an Arab guide who joins the expedi- tion, is relegated to a compara- tively minor part. Nicholas Ray's direction is in his forceful, visually very effective manner, as witnessed by the" action scenes depicting the attack on the Bengasi post, the various incidents (Continued on page 28) Foreign Capsule Reviews Continued from page t "Shall I Be the Keeper of my Brother?". While the inadequate direction by Rolf Hansen is mostly to blame, Jochen Huth, one of Germany's ablest writer, has provided unreal- istic dialog passages. Even a quali- fied player such as O. E, Hasse (as lawyer-brother) does not come off too well. Maximilian Schell as his brother is nearly miscast although the material furnished him is not rewarding. Swedish actress Ulla Jacobsson as the girl Wanda, is very sympathetic but hardly more than that. Technically, film is very well made. Camerawork by Weihmayr even surpasses the German averr age. Editing and other technical credits are good. Hans. El Trueno Enrre Las Hojas (Thunder Among the Leaves) (ARGENTINE-PARA- GUAYAN). Films AM production and re- lease. Stars Armando Bo, Isabel Sarli; features, Andres Lazlo, Felix Rivero. Written and directed by Bo. Camera, E. Baez; editor, J. France. At Karlovy Vary Fest. Running time, 105 MINS. This is another Latino film about a revolt in a slave labor camp of the South American wilds. This over-does its brutality but has a direct candor which, at times, gives this some action moments. It is strictly for Hispano lingo spots but also has some nude epi- sodes and a rape scene for possible exploitation if it can be gotten through. Armando Bo stars, directs and writes, but has not managed to combine all three successfully. Isabel Sarli has a gratuitous nude bathing scene and displays more bare skin than thespic ability. Production credits are standard. Technical aspects are ordinary but acceptable for the first Paraguayan pic try. Mask. Jagte R»ho (Under Cover of Night) (INDIAN). Ra] Kapoor production and release. Stars Kapoor; features, Rana Sahib, Pradip Kumar, Sumitra Devi. Di- rected and written by Shanbhu Mitre, Amit Maitra. Camera, Radhu Karmakar; editor, Irani; music, Salil Chaudhuri. At Karlovy Vary Fest. Running time, 115 MINS. A poor man from the villages, looking for some water in a Bom- bay, wanders into an apartment house. He is chased by a police- man, which awakens the outsize house occupants, and a wild chase starts after the frightened little man. This mixes slapstick, satire, social protest and allegory into an uneven but interesting pic. This is limited to special situa- tions in the U. S., but it is unusual enough to be worth exploiting. Raj Kapoor at times overplays the little man whose humility still do not interfere with an uncanny sense of saving his own skin. He uncovers all sorts of crimes in the house during his flight. Technical credits are okay, and acting ac- ceptable with songs worked in for Indian tastes. In short, this is an offbeater which may rate Yank at- tention. Mosk. Uns Leg (Youth At Play) (DANISH). Dansk Film production and release. With Ghita Norby, Anne Thomsen, Fritz Hel- muth, Klaus Pagh. Written and directed by Johannes Allen. Camera, Karl An- dersson; editor. Anker; music, Arne Lam- berth. At Karlovy Vary Fest. Running time, *5 MINS. This Danish pic treats delin- quent youth problem via various phases going from what appears to be a sex lecture to talks on divorce, parental responsibility, etc. How- ever, it is to the film's merit that this rarely gets preachy. It shapes primarily as something for U. S. language spots. Though it talks frankly, this doe* not have sensa- tional values. " Two 16-year-olds manage to fall in love despite broken homes, lack of moral values, etc. U. S. film in- fluences are plainly manifested via its mentions of jazz, Marlon Bran- do and use of American slang. Technical credits are okay, acting fine but this lacks a moving point of view. It emerges an interesting pic without the deeper facets need- ed for international chances. Mosk. Zle Pare (Cursed Money) (YUGOSLA- VIAN). Lovcen Film production and re- lease. With Dubravka Gal, Antun Nalis, Vaso Perisic, Petar Vojovcie, Ljuba Tadic. Directed by Velimir Stojanovic. Screen- play, Ratko Burovic; camera, Hrvoje Saric; editor, Bojan Adamic. At Karlovy Vary Fest. Running time, 110 MINS. A cache of money, hidden by the government in flight during the early years of war, is found by a group of peasants. Film details the effect of the money on the farm people and efforts of a trio of opportunists to get the coin and flee the country. Their efforts lead to two deaths, only to find that the money is now worthless. Story is good, and at times, witty but the tempering of irony, satire and drama is too heavyhanded. As is, this shapes a likely language house entry, and could be worth dualev attention on its imaginative story. Technical credits are excellent as is most of the acting. Mosk. Kabuliwala (INDIAN). Charuehitra pro- duction and release. Written and directed by Tagrin Sinha from story by Rabind- ranath Tagores. Camera and editing, Sibodh Ray; music, Ravi Shankar. At Karlovy Vary Fest. Running time, »0 MINS. Film is handicapped by bad stu- dio work which conflicts with the matching of exteriors plus obvious cheapie budgeting. But this has a simplicity and feeling that makes it entertaining despite these flaws. Pic is limited for the American marjtet except for possible special situations. It concerns a farmer who goes to the city to make some money. He misses his daughter but fills the void with the little girl of the town poet. When he gets into a fight with an avaricious landlord he is jailed and comes out 10 years later and tries to see the little girl. She is now grown and getting mar- ried. Then he realizes that the same has happened to his daugh- ter. Film is well acted, and man- ages to avoid mawkishness. Music is a fitting counterpart to the emo- tional carryings - on. Technical credits are below par. Mosk. Hans Tuah (MALAYAN; COLOR). Shaw's Malay Film production. Stars P. Ramlee, Sa Adiah, Ahmad Mahmud, Hajl Mahadi. Directed by Phani Majumdar. Screenplay, M. C. Sheppard; camera, N. B. Vasudev. At Berlin Film Fest. Run- ning time, 130 MINS. This Eastmancolored offering from Malaya is the story of a young merchant who does everything to serve his sultan. After numerous fights, he wins over his opponents. A love story is woven in and there are a number of colorful rhythmic dances along the line. In many respects this is an in- teresting presentation despite be- ing overlong and occasionally too sentimental. Technically, pic offers good color but a rather clumsy camera technique. However, a re- markable entry by a film nation nearly unknown to European audi- ences. Hans. Lagoon of Desire (GREEK). Anzervo production and release. Stars Georges Fountas, Jenny Karezi, Heleni Zafiriou; features Christoforos Nezer, Sonia Zoides. Directed by Georges Zervos. Screenplay. Jacques Campanellis from plav bv Nicoi Tsekouras; camera. Jerry Caloferatosj editor, Zervos. At Karlovy Vary Fest. Running time, t5 MINS. Pic nixes a neo-realistic look at poor fishermen trying to form a cooperative against the big money people and some raw sex shen- anigans, which do not quite come off. It has some colorful locale work but characters are naively drawn and nudie scenes overdone. This film shapes only as an ex- ploitation subject for the U.S. mar- ket if the frank footage can be re- tained. Heleni Zafiriou is a bux- «"i looker. General technical mat- ter Is par. Mosk. Hannibal Tanur Ur (Professor Hanni- bal) (HUNGARIAN). Hungarofilm pro- duction and release. With Erno Szabo. Noeml Apor, Emmy Buttykai, Zoltan Gre- guss. Hilda Gobbi. Directed by Zoltan Fabri. Screenplay, Istvan Gyenes, Peter Szasz, Fabri from novel by Ferenc Moraj camera, Ferenc Szecsenyi; editor, Istvan Ambrozy; music , Zdenko Tamassey. At Karlovy Vary Film Festival. Running time, 50 MINS. Film concerns a Hungarian little man, during the Admiral Horthy facistic regime there in the 1930's, who becomes a victim of political oppression and expediency. Film is briskly made but makes its points over and over again. Director Zoltan Fabri depicts a filmatic mastery in a series of bravura scenes and make a point of mob and political madness that can destroy even when it wants tc> help. Film is expertly mounted and acted and could make for a specialized U.S. entry on its theme. It is also a fine lingo entry. Mosk. La Flnestra Sul Lunapark (The Window To Luna Park) (ITALIAN). Noria Film production. Stars Giulia Rubini, Gastone, Renzelli, Pierre Trabaud, Giancarlo Dami- ani. Directed by Luigi Commencini. Screenplay, L. Commencini, Suso Cecchi D'Amico; camera, Armando Nannueci. At Berlin Film Fest. Running time, 97 MINS. One of the better films of the artistic type shown at the Berlin fete. Well made and never dull, pic deals with poor people. Direc- tor Luigi Commencini has created here a human and realistic film which packs emotional impact. Taking into consideration, how- ever, that this is actually the Ital- ian film school of 1947, it's a little disappointing for fastidious pa- trons. But it's still a pic consider- ably above average. Commercially, it has good export possibilities. Hans.

Transcript of Film Reviews Foreign Capsule Reviews - …vruetalo/Sarli-Bo Research/Film Texts/WV... · Film...

24 PICTURES fAlZIETY W e d n e s d a y , S e p t e m b e r 4 , 1 9 5 7

Film Reviews Continued from page 6

The Unholy Wife however, would have been better had it been released closer to Brit­ish actress' smash publicity buildup last year, when RKO staged a sex campaign around her.

The John Farrow production is a carefully developed narrative of an amoral wife who manages to escape punishment for a murder she commits but finally is convicted for a dsath of which she's inno­cent. R i c h Technicolor gives splashy pictorial values to pic, lensed p:irtia!ly in the grape coun­try of northern California, and offers fine mounting for femme star 's dazzling personality. She dis­plays a definite dramatic sense in he r interpretat ion of a difficult role, and has' a capable costar in Rod Steiger as her husband, who registers impress'vely in a semi-character role. Farrow's direction of the Jonathan Latimer screen­play maintains good pace and he keeps proceedings on a moving level.

Miss Dors plays a B-girl with a shady past who weds Steiger, wealthy California vineyard and winery owner. She becomes clan­destinely involved with a rodeo rider, Tom Tryon, and resolves to kill her husband, sure she can get away with the crime on her claim she mistook him for a prowler her mother-in-law, who lives with them, has frequently mentioned. Prowler actually is Tryon, who visits the wife when her husband is away.

Conspiracy goes wrong when •wife mistakenly kills her husband's best friend. She talks her husband Into taking the blame, Steiger thinking he's certain of acquittal. He's convicted, however, upon her faked testimony. Mother-in-law overhears the frame, suffers a paralytic stroke and later swallows some powerful medicine which points to wife as her murderess.

Femme star turns in an excellent account of herself, and Steiger is on a par. Tryon make his work count in a smaller role, Beulah Bondi as Steiger's mother delivers dramatically- and Ar thur Franz as a priest, Steiger's brother, scores as another kev character. Joe De-Santis and Marie Windsor lend good support.

Lucien Ballard's color photo­graphy leads off technical credits, Eda Warren keens her editing sharp, Daniele Amfitheatrof's music score is dramatically sustaining and art direction by Albert S. D'Agostino and Frank Barhelin matches up. Whit.

Amazing Colossal M a n Imaginative science - fictioner which may be exploited for heavy re turns .

Hollywood, Aug. 30. American-International release of a

Bert I. Cordon production. Stars Glenn Langan, Cathy Downs, William Hudson, James Seay, Larry Thor. Directed by Gordon. Screenplay, Mark Hanna, Gordon; camera, Joe Biroc; editor, Ronald Sin­clair; music, Albert Glasser; special ef­fects, Gordon. Previewed Aug. 27, '57. Running itme, SI M1NS. Lt.-Col. Glenn Manning Glenn Langan Carol Forrest Cathy Downs Br. Paul Lindstrom William Hudson Colonel Hallock James Seay Dr. Eric Coulter Larry Thor Riehard Kingman Russ Bender Sgt. Taylor Lynn Osborn Typist Diana Darrin Control Officer William Hughes Lt. in Briefing Room Jack Kosslyn Girl in Bath Jean Moorhead Sgt. Reception Desk Jimmy Cross Henry Hank Patterson Delivery Man Frank Jcnks Army Guard at Gate Harry Raybould Sgt. Lee Carter Scott Peters Capt. Thomas Myron Cook Police Lt. Keller Michael Harris Lt. Peterson Bill Cassady Sgt. Hanson Dick Nelson Dr. McDermott Edmund Cobb Robert Allen Judd Holdren Attendant Paul Hahn Nurse June Jocelyn Lt. Kline Stanley Lachman

balance of his cell growth, and unless they can halt it he will con­tinue to soar upwards unti l he dies.

Pic's thrills come in the final reels when he escapes from the isolated Army sanitarium where doctors working night and day finally find a cure. Now 70 feet tall, he makes his way to Las Vegas, where he causes pandemonium as he appears in the downtown section and later on the luxury hotel Strip. He finally is killed on Boulder Dam, when it becomes clear he has become so mentally deranged there is no chance of giving him the cure. These sequences are played for fine effect.

Glenn Langan delivers persua­sively in title role as the man who becomes a monstrosity, and Cathy Downs as his fiancee, who does her best to help him maintain Irs sanity, is likewise convincing. Wil­liam Hudson and Larry Thor score as the doctors fighting to find a cure, and James Seay is good as an Army officer in charge of the case.

Technical departments are well handled throughout, leading off, apart from Gordon's special effects, with Joe Biroc's smooth photo­graphy. Ronald Sinclair's editing catches the mood and Albert Glasser's music score further enhances it. Whit.

P a r s o n a n d t h e O u t l a w (COLOR)

For dyed - in - the-woolly-west fans only.

Columbia release of Charles (Buddy) Rogers production. Stars Anthony Dexter, Sonny Tufts, Marie Windsor, Rogers; features Jean Parker, Robert Lowery, Madalyn Trahey, Bob Steel. Directed by Oliver Drake. Screenplay, Drake. John Mantley; camera (Technicolor), Clark Ramsey; editor, Warren Adams; music, Joe Sodja. Previewed in N.Y., Aug. 26, '57. Running time, 71 MINS. Billy the Kid Anthony Dexter Jack Slade Sonny Tufts Tonya Marie Windsor Rev. Jericho Jones Buddy Rogers Mrs. Jones - Jean Parker Colonel Morgan Robert Lowery Elly McCloud Madalyn Trahey

This one might have been taken from the files of a Junior. Lone Ranger. An oldfashioned oater, the Charles (Buddy) Rogers pro­duction might rate a nod in un­demanding sagebrush situations but otherwise rates only the brush.

Story has Billy the Kid a peace­able man no longer toting his guns and trying to forget the past when he was forced to permanently puncture 21 hombres. This was a difficult period in Billy's career; he found it hard to live with him­self with the knowledge of all those defunct bodies strewn across the west.

But even in the present he can't, t ry as he may, remain aloof from such forms of violence as killing. His old friend, the parson, gets himself plugged in taking on the town's heavies. Billy steps in and mows them down but he, too, gets a Colt .45 clobbering.

Some familiar names are in­volved; Rogers as the parson. An­thony Dexter as Billy, Sonny Tufts, Marie Windsor, Jean Parker and others. They fail to put much wal­lop in the old west; the outdoor adventure is put together in only partially skilled fashion. Nothing special about the technical credits.

CJenc.

F r o m Hell I t Came Amateurishily done, but stack­ed with horror appeal for the young:.

Special effects figure importantly In the unfoldment of this Bert I. Gordon production,, which should lap up plenty of green stuff from the exploitation trade. With an imaginative story premise and good handling — except for over-footage which can easily be tightened — film is one of the most unusual science-fiction yarns to come along in some months. (Pic is packaged with "Cat Girl.")

Gordon, who also directs from his and Mark Hanna's screenplay and executes the special effects which lend high melodramatic potency to the suspense, has chosen the ultra-modern atomic blasts near Las Vegas as basis for his theme. When an Army colonel is frightfully burned in a plutonium explosion and against all rules of medical science overnight re-grows healthy skin, he makes with the shock—he starts growing at the ra te of 10 feet per . day. Doctors explain the blast upset the

Hollywood, Aug. 27. Allied Artists release of Jack Milner

Production. Stars Tod Andrews, Tina Carver; features Linda Watkins, John Mc-Namara, Gregg Palmer, Robert Swan, Baynes Barron, Suzanne Ridgway, Mark Sheeler, Lee Rhodes, Grace Matthews, Tami Marsh, Chester Hayes, Lenmana Guerin. Directed by Dan Milner. Screen­play, Richard Bernstein, from story by Bernstein and Jack Milner; camera, Bry-don Baker; editor, Jack Milner; music, Darrell Calker. Previewed Aug. 16, "57. Running time, 71 MINS. Dr. William Arnold Tod Andrews Dr. Terry Mason Tina Carver Mrs. Kilgore Linda Watkins Prof. Clark John McNamara Kimo •. .; Gregg Palmer 'Witch Doctor Tano Robert Swan Chief Maranka Baynes Barron Korey Suzanne Ridgway Eddie Mark Sheeler Norgu Lee Rhodes Orchid Grace Matthews Naomi Tani Marsh Maku Chester Hayes Dori Lenmana Guerin

Combo is being packaged by Allied Artists.

Basic story idea of Richard Bernstein and Jack Milner is good; the former's screenplay, however, often results in cliche wordage. Locale is a Pacific isle where an atomic research group composed of Tod Andrews, Tina Carver and John McNamara is headquartered. They're there to care for natives suffering from radiation burns, but the witch doctors are blaming the Americans for deaths caused by the black plague. Meantime Gregg Palmer, son of the deceased island chief, has been put to death by the p^wer-seeking witch doctors and cohorts because of Palmer 's friend­ship with the Americans. Before he dies, however, he promises to return from the grave for revenge. "It" re turns to stalk and kill and even kidnap the pretty femme scientist before being toppled into quicksand by a bullet. By that time the villains are also dead, the natives and the Yanks are at peace and the two leads are pitching woo.

Tina Carver, a looker with thespic competence, stands out in the femme lead, while Tod An­drews and McNamara are okay. Film "introduces" Linda Watkins, who performs satisfactorily as a white widow on the island. Gregg Palmer is good in a comparatively brief role. Miss Watkins, of course, is a vet thesp of both stage and screen; she just hasn't been in pix for some years.

Dan Milner's direction of the Jack Milner production o f t e n leaves much to be desired. Above average technical contributions are Brydon Baker's photography and the special effects of James H. Donnelly. Weal.

Bi t t e r Vic tory (Amere Victoire) (U.S.—FRENCH)

Venice, Aug. 29. Columbia release of Paul Gzaetz Trans­

continental Films production. Stars Rich­ard Burton, Curd Jurgens, Ruth Roman; features Raymond Pellegrin, Anthony Bushell, Sean Kelly, Christopher Lee, Alfred Burke. Directed by Nicholas Ray. Screenplay, Ray. Gavin Lambert, Rene Hardy, from novel by Hardy; camera, Michel Kelber; music, Maurice Le Roux. At Film Festival, Venice. Running time, 97 MINS. Major Brand Curd Jurgens Capt. Leith Richard Burton Mrs. Brand Ruth Roman Makron Raymond Pellegrin

"It ," in this case, is a living monster-stump which has risen from the grave for revenge—more succinctly put, a tree man. Al­though somewhat amateurishly turned out, film does have the necessary horror ingredients for which teenagers are storming the b.o. just now and pic serves as a good complement to "The Disem­bodied" (see review, in this issue).

(English Version) Good press notices should pre­

cede this psychological actioner into most situations, with France offering the best market bet for the expansive production. Other European areas appear spotty, though the general outlook ap­pears good. Stateside chances de­pend on a top bally job and on cast values in the Richard Burton and Ruth Roman names—as well as the newly "acquired" Curd Jurgens— for a better-than-average payoff; though eventual recouping of heavy costs remains problematical.

Rene Hardy's successful novel has been translated for the screen into a literary, hard-hitting screen­play which almost always manages to overcome some of the incongrui­ties of the original story line. This sets up a deadly struggle between two British Army officers during the World War II African cam­paign. Conflict between Capt. Leith and Major Brand derives from fact that Leith knows of Brand's basic cowardice in action, and also from jealousy over Brand's wife, with whom Leith has had an affair. Re­turning from a dangerous mission in German-held Bengasi, Brand tries twice indirectly to bring about Leith's death, once by leaving him behind to guard two wounded Ger­mans, again by deliberately let­ting a scorpion bite his rival. Leith finally dies and the "victorious" major brings his commando force remnants back to the post, ironi­cally earning a medal but losing his wife's affection as well as what was left of his soldiers' respect.

Script is basically flawed by the unclearly delineated key character of the major—and Curd Jurgens ' competent, straightforward per­formance is less successful because of it. Otherwise it includes many basic t ruths about the horrors of war, the relationships of man, the disintegration of character under the stresses of action, etc. I t also features such strong stuff as the mercy shooting, by Burton, of a mortally wounded German soldier and the aforementioned mortal bite by the scorpion.

Fine thesping by Burton leads a series of top performances by other members of large cast. Miss Roman is good in a limited role, while Raymond Pellegrin, as an Arab guide who joins the expedi­tion, is relegated to a compara­tively minor part.

Nicholas Ray's direction is in his forceful, visually very effective manner, as witnessed by the" action scenes depicting the attack on the Bengasi post, the various incidents

(Continued on page 28)

Foreign Capsule Reviews Continued from page t

"Shall I Be the Keeper of my Brother?".

While the inadequate direction by Rolf Hansen is mostly to blame, Jochen Huth, one of Germany's ablest writer, has provided unreal­istic dialog passages. Even a quali­fied player such as O. E, Hasse (as lawyer-brother) does not come off too well. Maximilian Schell as his brother is nearly miscast although the material furnished him is not rewarding. Swedish actress Ulla Jacobsson as the girl Wanda, is very sympathetic but hardly more than that.

Technically, film is very well made. Camerawork by Weihmayr even surpasses the German averr age. Editing and other technical credits are good. Hans.

El Trueno Enrre Las Hojas (Thunder Among the Leaves) (ARGENTINE-PARA­GUAYAN). Films AM production and re­lease. Stars Armando Bo, Isabel Sarli; features, Andres Lazlo, Felix Rivero. Written and directed by Bo. Camera, E. Baez; editor, J. France. At Karlovy Vary Fest. Running time, 105 MINS.

This is another Latino film about a revolt in a slave labor camp of the South American wilds. This over-does its brutality but has a direct candor which, at times, gives this some action moments. It is strictly for Hispano lingo spots but also has some nude epi­sodes and a rape scene for possible exploitation if it can be gotten through.

Armando Bo stars, directs and writes, but has not managed to combine all th ree successfully. Isabel Sarli has a gratuitous nude bathing scene and displays more bare skin than thespic ability. Production credits are standard. Technical aspects are ordinary but acceptable for the first Paraguayan pic try. Mask.

Jagte R»ho (Under Cover of Night) (INDIAN). Ra] Kapoor production and release. Stars Kapoor; features, Rana Sahib, Pradip Kumar, Sumitra Devi. Di­rected and written by Shanbhu Mitre, Amit Maitra. Camera, Radhu Karmakar; editor, Irani; music, Salil Chaudhuri. At Karlovy Vary Fest. Running time, 115 MINS.

A poor man from the villages, looking for some water in a Bom­bay, wanders into an apartment house. He is chased by a police­man, which awakens the outsize house occupants, and a wild chase starts after the frightened little man. This mixes slapstick, satire, social protest and allegory into an uneven but interesting pic.

This is limited to special situa­tions in the U. S., but it is unusual enough to be worth exploiting. Raj Kapoor at times overplays the little man whose humility still do not interfere with an uncanny sense of saving his own skin. He uncovers all sorts of crimes in the house during his flight. Technical credits are okay, and acting ac­ceptable with songs worked in for Indian tastes. In short, this is an offbeater which may rate Yank at­tention. Mosk.

Uns Leg (Youth At Play) (DANISH). Dansk Film production and release. With Ghita Norby, Anne Thomsen, Fritz Hel-muth, Klaus Pagh. Written and directed by Johannes Allen. Camera, Karl An-dersson; editor. Anker; music, Arne Lam-berth. At Karlovy Vary Fest. Running time, *5 MINS.

This Danish pic treats delin­quent youth problem via various phases going from what appears to be a sex lecture to talks on divorce, parental responsibility, etc. How­ever, it is to the film's merit that this rarely gets preachy. It shapes primarily as something for U. S. language spots. Though it talks frankly, this doe* not have sensa­tional values. " Two 16-year-olds manage to fall

in love despite broken homes, lack of moral values, etc. U. S. film in­fluences are plainly manifested via its mentions of jazz, Marlon Bran­do and use of American slang. Technical credits are okay, acting fine but this lacks a moving point of view. It emerges an interesting pic without the deeper facets need­ed for international chances.

Mosk.

Zle Pare (Cursed Money) (YUGOSLA­VIAN). Lovcen Film production and re­lease. With Dubravka Gal, Antun Nalis, Vaso Perisic, Petar Vojovcie, Ljuba Tadic. Directed by Velimir Stojanovic. Screen­play, Ratko Burovic; camera, Hrvoje Saric; editor, Bojan Adamic. At Karlovy Vary Fest. Running time, 110 MINS.

A cache of money, hidden by the government in flight during the early years of war, is found by a group of peasants. Film details the effect of the money on the farm people and efforts of a trio of opportunists to get the coin and flee the country. Their efforts lead to two deaths, only to find that the money is now worthless. Story is good, and at times, witty but the tempering of irony, satire and drama is too heavyhanded. As is,

this shapes a likely language house entry, and could be worth dualev attention on its imaginative story. Technical credits are excellent as is most of the acting. Mosk.

Kabuliwala (INDIAN). Charuehitra pro­duction and release. Written and directed by Tagrin Sinha from story by Rabind-ranath Tagores. Camera and editing, Sibodh Ray; music, Ravi Shankar. At Karlovy Vary Fest. Running time, »0 MINS.

Film is handicapped by bad stu­dio work which conflicts with the matching of exteriors plus obvious cheapie budgeting. But this has a simplicity and feeling that makes it entertaining despite these flaws. Pic is limited for the American marjtet except for possible special situations.

It concerns a farmer who goes to the city to make some money. He misses his daughter but fills the void with the little girl of t he town poet. When he gets into a fight with an avaricious landlord he is jailed and comes out 10 years later and tries to see the little girl . She is now grown and getting mar­ried. Then he realizes that the same has happened to his daugh­ter. Film is well acted, and man­ages to avoid mawkishness. Music is a fitting counterpart to the emo­tional carryings - on. Technical credits are below par. Mosk.

Hans Tuah (MALAYAN; COLOR). Shaw's Malay Film production. Stars P. Ramlee, Sa Adiah, Ahmad Mahmud, Hajl Mahadi. Directed by Phani Majumdar. Screenplay, M. C. Sheppard; camera, N. B. Vasudev. At Berlin Film Fest. Run­ning time, 130 MINS.

This Eastmancolored offering from Malaya is the story of a young merchant who does everything to serve his sultan. After numerous fights, he wins over his opponents. A love story is woven in and there are a number of colorful rhythmic dances along the line.

In many respects this is an in­teresting presentation despite be­ing overlong and occasionally too sentimental. Technically, pic offers good color but a ra ther clumsy camera technique. However, a r e ­markable entry by a film nation nearly unknown to European audi­ences. Hans.

Lagoon of Desire (GREEK). Anzervo production and release. Stars Georges Fountas, Jenny Karezi, Heleni Zafiriou; features Christoforos Nezer, Sonia Zoides. Directed by Georges Zervos. Screenplay. Jacques Campanellis from plav bv Nicoi Tsekouras; camera. Jerry Caloferatosj editor, Zervos. At Karlovy Vary Fest. Running time, t5 MINS.

Pic nixes a neo-realistic look at poor fishermen trying to form a cooperative against the big money people and some raw sex shen­anigans, which do not quite come off. It has some colorful locale work but characters are naively drawn and nudie scenes overdone.

This film shapes only as an ex­ploitation subject for the U.S. mar­ket if the frank footage can be re ­tained. Heleni Zafiriou is a bux-«"i looker. General technical mat­ter Is par. Mosk.

Hannibal Tanur Ur (Professor Hanni­bal) (HUNGARIAN). Hungarofilm pro­duction and release. With Erno Szabo. Noeml Apor, Emmy Buttykai, Zoltan Gre-guss. Hilda Gobbi. Directed by Zoltan Fabri. Screenplay, Istvan Gyenes, Peter Szasz, Fabri from novel by Ferenc Moraj camera, Ferenc Szecsenyi; editor, Istvan Ambrozy; music , Zdenko Tamassey. At Karlovy Vary Film Festival. Running time, 50 MINS.

Film concerns a Hungarian little man, during the Admiral Horthy facistic regime there in the 1930's, who becomes a victim of political oppression and expediency. Film is briskly made but makes its points over and over again.

Director Zoltan Fabri depicts a filmatic mastery in a series of bravura scenes and make a point of mob and political madness that can destroy even when it wants tc> help. Film is expertly mounted and acted and could make for a specialized U.S. entry on its theme. It is also a fine lingo entry.

Mosk.

La Flnestra Sul Lunapark (The Window To Luna Park) (ITALIAN). Noria Film production. Stars Giulia Rubini, Gastone, Renzelli, Pierre Trabaud, Giancarlo Dami-ani. Directed by Luigi Commencini. Screenplay, L. Commencini, Suso Cecchi D'Amico; camera, Armando Nannueci. At Berlin Film Fest. Running time, 97 MINS.

One of the better films of the artistic type shown at the Berlin fete. Well made and never dull , pic deals with poor people. Direc­tor Luigi Commencini has created here a human and realistic film which packs emotional impact.

Taking into consideration, how­ever, that this is actually the I tal­ian film school of 1947, it's a little disappointing for fastidious pa­trons. But it's still a pic consider­ably above average. Commercially, it has good export possibilities.

Hans.