Boxoffice-January.24.1953

Opinions on Current Productions; Exploitips
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(FOR STORY SYNOPSIS ON EACH PICTURE, SEE
REVERSE SIDE)
The Stars Are Singing
p Comedy With Music
•'
(Technicolor)
Paramount (5124) 99 Minutes Rel. March '53
Initial starring pictures for luminaries who have established
large ioUowings in other entertainment medic have
been annoyingly unpredictable. Some have been outstanding
hits, others have come a v/oeful cropper. There seems
no discernible reason why this venture into the field
shouldn't carve for itself an impressive niche in the former
category. While it stresses the talents of the bright, clever
young performers—many of them newcomers to feature films
— if adroitly adheres to proven techniques for successful filmmaking,
and offers a wide appeal to celluloid and musical
tastes. Certainly for hepsters, who constitute a legion of
Rosemary Clooney fans, the feature is a must; while for the
longhairs there are sallies into the classical by Alberghetti
and Melchior, and for all a breezy, laugh-laden slory. Has
plenty to exploit—cast, music and Technicolor, principally.
Norman Taurog directed the Irving Asher production.
Rosemary Clooney. Anna Maria Alberghetti. Lauritz Melchior,
Bob Williams. Tom Morton. Fred Clark. John Archer.
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Niagara F ,,^Zon
20lh-Fox (30S) 92 Minutes Rel. Feb. '53
Every detail of mighty Niagara Falls is revealed in beautiful
Technicolor photography. Within the bare limits of the
production code, the some goes for Marilyn Monroe. The
former has long been recognized as one of the wonders of
the world. The latter, if one is to believe the press agents
and one's eyes, might be considered a temporary anatomical
contender lor compa.-able distinction. These two physical
phenomena of nature and the manner in which they are
projected should in themselves be enough to assure highly
profitable business. But they serve merely as backgrounds
for a soundly written, solidly produced, ably directed, exciting
murder tale, the telling of which is wisely entrusted to
established, competent mummers. They also have talents
and merchandising value, albeit less potent than that of
La Monroe, who should be the piece de resistance of
exploitation. Henry Hathaway directed for Producer Charles
Brackett.
Marilyn Monroe, Joseph Gotten, Jean Peters, Richard Allan,
Casey Adams, Russell Collins, Denis O'Dea, Don Wilson.
Confidentially Connie
F
Comedy
MGM ( ) 71 Minutes Rel.
Mildly satirical, projecting a gentle social message, refreshingly
wholesome and, above all, exceptionally humorous in
both dialog and situations, this comedy will warm the hearts
and stimulate the laugh muscles of everyone who sees it.
Entertainmenlwise, it certainly earns that overworked and
ambiguous designation as a sleeper. Whether it can be
built into one commercially probably will depend upon how
enthusiastically showmen merchandise it. In which connection,
the cast is a tangible approach, while an intangible one
lies in the support that it can request from educators, whose
cause it champions. Armed with a brilliant screenplay.
Director Edward Buzzell kept the mirthful proceedings moving
at an engrossing pace, sparkplugged by sterling performances
by every member of an enthusiastic cast. Even though
the mountings supplied by Producer Stephen Ames are
modest, they are always in good taste and atmospherically
authentic.
Van lohnson, Janet Leigh, Louis Calhem, Walter Slezak,
Gene Lockhart, Hayden Rorke, Robert Burton.
Girls in the Night
F
"""'
Univ.-Int'l (311) 83 Minutes Rel. Feb. '53
A realistic melodrama of juvenile delinquency in ihe New
York slums which should do good business generally if
heavily exploited to play up the attention-getting title and
theme. The picture was actually filmed on the lower
East Side of New York with four young New York players,
who will aid U-I in promoting the film. Patricia Hardy and
Glen Roberts, who play the romantic leads, show great
promise and Jaclynne Green makes a vivid impression as
an ugly girl. The two best-known players ore Glenda
Farrell, who is outstanding as a drab mother, and Harvey
Lembeck. Director Jack Arnold shows the dirty tenements
and crowded, streets to splendid effect and his climactic
chase through a warehouse on the pier is crammed with
suspense. Teenagers will appreciate the neighborhood
beauty contest and even a rather daring youthful striptease.
Produced by Albert J. Cohen.
Glenda Fc;rrell, Harvey Lembeck, Joyce Holden, Glen Roberts,
Patricia Hardy, Anthony Ross, Jaclynne Green.
Sword of Venus
RKO (- -) 75 Minutes
A
Melodrama
Rel. Feb. '53
This is a program picture about the son of the count of
Monte Cristo in the old days in France. It features the
type of romance, desperate intrigue, racing stagecoaches,
acrobatics, swordplay and violent death that characterized
the pictures of Douglas Fairbanks sr. and has been featured
recently in films starring Gene Kelly and Cornel Wilde. It
should hold the interest of the average audience, though a
little too much plot requires explanation through detailed
speeches by the players and sometimes slows down the
action. The principals do well against picturesque and
often striking backgrounds. The film was written and produced
by Aubrey Wisberg and Jack PoUexfen and directed
by Harold Daniels. The cast has slight name value and
exploitation should be based on heralding another exciting
story in the Monte Cristo series. Just how the title fits the
story isn't clear.
Robert Clarke, Catherine McLeod, Dan O'Herlihy. William
Schallert, Marjorie Stapp, Merritt Stone, Renee de Marco.
1444 BOXOFHCE
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January 24, 1953
Treasure of the Golden Condor F
°"'"'
. _ (Technicolor)
20lh-Fox (308) 93 Minutes ReL Mar. 12, '53
Intrigue, romance and adventure that will take the ticket
buyers from the edges of their seats half-way around the
18th century world are the meaty ingredients of this jet-paced
costume drama. In the concoction of the screenplay, there
was nary a curb placed on hokum, but it is the kind that
seekers of escapist film lore relish and, resultantly, it is
difficult to conceive of any customer who will not agree
that he has had more then his money's worth. Productionwise,
the offering is definitely on the lavish side, what with
its expensive sets and numerous extras and bit players.
That part of the picture unfolded in Guatemala was filmed
on location there, and is engrossingly authentic in atmosphere
and backgrounds, submitting breathtakingly beautiful
Technicolor views of that country. The cast, color and
adventure appeal are the things to sell. Delmer Daves
scripted and directed for Producer Jules Buck.
Gomel Wilde, Constance Smith, Finlay Currie, George
Macready, Walter Hampden, Anne Bancroft, Fay Wroy.
Winning of the West
F
Western
Columbia (571) 57 Minutes ReL Jan. 'S3
As standard in their own way as are Detroit's output of
automobiles are the Gene Autry starring gallopers—and
equally as serviceable. Which is by way of saying that
the appraisal of any individual new entry in the venerable
Autry series hinges primarily upon only one factor—how it
stacks up with past chapters. This one fits neatly into the
prescribed groove, which means that to showmen who
utilize westerns in general and the Autrys in particular as
programming staples the film's acceptance is preordained.
All of the expected ingredients are there—cornball comedy
as supplied by Smiley Burnette; skullduggery by the heavies,
this time led by Bob Livingston; musical interludes; and the
star's own brand of two-fisted heroics. Produced for the
Autry unit by Armand Schaefer, and directed by George
Archainbaud, the feature measures up, technically, to its
budgetary classification. Standard merchandising is indicated.
Gene Autry, Gail Davis- Smiley Burnette, Bob Livingston,
Richard Crane, House Peters jr., Gregg Barton.
Savage Mutiny
Columbia ( ) 73 Minutes ReL
F
Melodrama
In those situations where previous adventures of Jungle
Jim—in the person of Johnny Weissmuller—have been dated
to the satisfaction of the cash customers, this latest chapter
appears equipped to deliver in standard fashion. It, like its
predecessors, is designed for the action slot in dual situations,
including the Saturday matinee juvenile trade. There is
made-to-order exploitation value in the Weissmuller name,
the African jungle locale, and the widespread circulatiori
of the King Features comic strip upon which the series is
based. Merchandising campaigns hinged upon these factors
can be amplified, in this instance, through emphasis upon
a topical story twist that involves an atom bomb test.
Producer Sam Katzman supplied the necessary jungle settings
and integrated stock footage to contribute an aura of
realism. Technical contribution, performances and direction
by Spencer G. Bennet are up to the series' par.
Johnny Weissmuller, Angela Stevens, Lester Matthews, Nelson
Leigh, Charies Stevens, Paul Marion, Ted Thorpe.
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