Boxoffice-March.10.1951

Opinions 00 Correof Prodaetlons; Exp/o/f/ps for Soling to tbo PoUlc FEATURE REVIEWS
Rawhide
(FOB STOBT SYNOPSIS ON EACH PICTCBE, SEE BEYEBaE SIDB)
Western
20th-Fox (113)
86 Minutes ReL
As tough as the production from which it drew its name
is this exciting, suspenseful drama which, because of its
circa and locale, comes under the classification of westerns
but greatly transcends such category in dramatic wallop.
Somewhat in the tradition of the same company's popular
"The Gunfighter," the picture's appeal will not be limited to
the dyed-in-the-wool galloper fans but will be just as strong
for ticket-buyers who seek tense, action-laden screenfare
regardless of backgrounds. Add to such inherent entertainment
worth the fact that the feature is luminously cast and
inescapable is the conclusion that it will be a top revenue
producer in all bookings. Performances, production, writing
and direction all contribute their equal parts to the offering's
excellence. The stellar cast presents one exploitation approach
and much can be done with the colorful, historical
literary source. Directed by Henry Hathaway.
Tyrone Power, Susan Hoyword, Hugh Marlowe, Dean Jagger,
Edgar Buchanan, Jack Elam, George Tobias, leii Corey-
Fourteen Hours
20th-Fox ( ) 91 ACnutes ReL
Drama
Told as only the motion picture camera can tell it—in
broad, vivid strokes that reach masterful heights of sustained
suspense— is a story that most certainly will be regarded
by appraisers of film values as an outstanding and memorable
contribution to the season's output of celluloid. It's a
safe bet that, wherever booked, the feature will have the
cash customers gnawing their fingernails down to the
knuckles until the final compelling fadeout. As a deft combination
of cinematic artistry and productional knowhow,
the offering is certain to benefit from that most potent of all
exploitation angles—word-of-mouth—while from the merchandising
standpoint astute showmen also have the unique
story line and the strong performance of Paul Douglas, an
established marquee name, with which to work. It is a solid
credit for all concerned, particularly Director Henry Hathaway
and Producer Sol C. Siegel.
Paul Douglas, Richard Basehart, Barbara Bel Geddes, Debra
Paget, Agnes Moorehead, Robert Keith, Howard da Silva.
Oni
lerul/
Only the Valiant F ^'
Warner Bros. (002) 105 Minutes Rel. Apr. 2L '51
Filmdom's annals have been dotted, since the early days
of the silent screen, with memorable motion pictures in which
the protagonists have been the redoubtable U.S. cavalry
combating bloodthirsty redskins on the warpath. Of late, in
fact, there has been almost an over supply of such subjects.
Very few in the recent or distant past can, however, claim
much Superiority over this stirring, suspenseful and sweeping
entry, which veers sufficiently away from the established
formula to kindle and hold audience interest and at the
same lime packs a super-abundance of tested, rugged action
ingredients to satiate the most insistent adventure
addicts. Unstintingly produced by William Cagney, it boasts
a top-drawer cast, headlined by Gregory Peck, who is in
himself a strong boxoffice draw. His popularity and the
feature's many other exploitable assets point toward healthy
grosses and satisfied customers. Directed by Gordon Douglas.
Gregory Peck, Barbara Pcryton, Ward Bond, Gig Young, Lon
Chcmoy, Neville Brand, Jeff Corey.
Historical
Inside Straight
^
Drama
MGM (123) 87 Minutes Rel. Mar. 16, '51
A screenplay that bears down heavily on dialog but is
a bit light on the action ingredients that could have been
assembled, considering the film's subject matter and backgrounds,
emerges as the major weakness in this costume
piece. Consequently it is a distinct possibility that the offering
will not generate too great a degree of interest on the
part of average spectators, with indications that its rather
slow tempo may be paralleled in the ticket-selling department.
Prominent on the credit side of the ledger is a handpicked
and capable cast, in which David Brian and Arlene
Dahl are the headliners, while the technical contributions
also are noteworthy, with emphasis on the authentically
fabricated sets and costumes. "The merchandising campaign
can be most effectively concentrated on those facets, in
addition to the scenes which make reference to the fabulous
Comstock Lode mining country. Directed by Gerald Mayer.
David Brian, Arlene Dahl, Barry Sullivan, Lon Chtmey,
Mercedes McCambridge, Paula Raymond.
p
^^ L^_ Historical
T-"
y^UeOeC r
(Technicolor)
Drama
Paramount (5017) 85 Minutes Rel. Apr. '51
Because the picttire was produced largely in and around
the community from which it derived its title, the scenery and
backgrounds—filmed in Technicolor—are arrestingly impressive.
In the above-menti9ned asset lies the picture's only
hopes for audience satisfaction; and, parenthetically, its
best angle for exploitation. As concerns scripting, performances
and direction, it is as amateurish a job as has borne
a major company's label in many months. John Barrymore
jr., who showed considerable promise in his earlier tries,
herein is thrown for a loss in the attempt to have him follow
in the footsteps of his late father. Despite which his contribution
is as good as those from other members of the cast. In
toto the offering, despite its pseudo-historical genesis, is
reminiscent of the blood-and-thunder costume melodramas in
which traveling repertory companies specialized a halfcentury
ago. Directed by George Templeton.
John Barrymore jr., Corinne Calvet. Barbara Rush, Patric
Knowles, John Hoyt, Arnold Moss, Nikld Duval.
5oo)
Flame of Stamboul
Melodrama
Columbia (314) . 68 Minutes ReL March '51
Gendarmes-and-gangster stuff with an exotic, oriental
background has always been one of the favorite dishes of
that segment of film fans that like action, no matter how
much hokum accompanies. There is plenty of aforementioned
hoke in this one, but, at the some time, there ore
comparable quantities of action, villainy, gore and suspense.
Which makes the offering acceptable supporting fare and a
prize package for those situations which cater to the ticket
buyers described above. The production accouterments with
which Wallace MacDonald endowed the film accord its
backgrounds an air of authenticity. Under direction of Ray
Nazqrro, performances are adequate. The story is given a
timely twist through injection of an espionage theme, which
could be used for topical exploitation, while houses that go
in for more spectacular merchandising can do something
about the dancing gal after whom the film is named.
Richard Denning, Lisa Ferraday, Norman Lloyd. Nestor Paiva
George Zucco, Donald Randolph, Peter Mamakos.
The Long Dark Hall
Eagle Lion Classics 87 Minutes Rel.
F
Suspense
Drama
Several picture-making characteristics have come to be
associated with the better grade of British film imports
principally a meticulous attention to the selection of casts,
the development of well-etched portrayals and good technical
craftsmanship. All those ingredients are present in
this entry from the tight little isle. Ftirther, there is a bonus
in the fact that there is a certain amount of marquee magnetism
for American audiences, beyond the usual run of English
product, in the names of the co-stars, Rex Harrison and
Lilli Palmer, both of whom have made several U.S. pictures.
Consequently this feature's domestic bookings, either in the
art theatres or as supporting fare in conventional situa^ons,
should prove moderately successful. There are proven
elements of suspense and drama in the script—written,
incidentally, by Nunnally Johnson. The offering was co-directed
by Anthony Bushell and Reginald Beck.
Rex Harrison, Lilli Palmer, Tania HelcL Henrietta Barry, Doro
Sevening. Ronald Simpson. Raymond Huntley.
)0,0i
arti
The Inheritance
Drama
Fine Arts 90 Minutes ReL
A broadly played period piece in the "Wuthering Heights"
tradition, this British-made is best suited to art house showings.
Produced by Two Cities Films and released in England
in 1947 as "Uncle Silas," the picture is probably being
released in the U.S. now mainly because of the increasing
popularity of Jean Simmons, who played opposite Olivier in
"Hamlet" and is in two current British releases, "Trio" and
"So Long at the Fair." Miss Simmons gives a convincing
portrayal of a frightened young girl but Derrick DeMarney
is badly cast as a white-wigged old menace and Katina
Paxinou is guilty of such mugging and atrocious over-acting
that many audiences will chuckle at her black-hearted
villainies. Her stage fame may have some name value in
key cities. The production is a lavish one. Charles Frank's
direction is as mid-Victorian as the plot. Fine Arts is at
1501 Broadway, New York City.
Jean Simmons, Derrick DeMarney, Katina Paxinou, Derek
Bond, Sophie Stewart, Manning Whiley.
i9'?a BOXOFFICE March 10. 1951 1917