Boxoffice-October.01.1955

. . The
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)prnions on Current Productions
The Tall Men
F
2.5S-1 (CincmaScoiit,
Lucy Gallant
(VliliVltlon,
20lhFox (523-1)
121 Minutes
De Luxe Colof
Rol.
Paramouni (5-04) 104 Minutei
Ttthnlcolor)
Rol. Nov. "55
Ever since "The Covered Wagon" demonstrated that the
screen would munificently support king-size sagebrushers.
there have been occasional outdoor action dramas that were
richly deserving oi the overworked designation, superwestern.
When those mastodons ol the plains put in their
rare appearances, critics of celluloid have brought forth their
most glowing superlatives in description and praise thereof.
As a result, there is little left in the reviewing lexicon to
recount adequately the size and merits of 20th Century-Fox's
"The Tall Men."
It is one of the biggest— if not the very biggest—western
ever filmed, and there is every indication that its grossing
records will completely fulfill the fiscal promise of such
extravagant classification. For here is a photoplay that has
everything to attract long-run, capacity audiences, to hold
them enthralled and to send them forth shouting about its
superiority, with many determined to see it a second time.
Statistics may not support the above statement about the
subjects comparative magnitude. Possibly there have been
preceding ventures in its category that hove utilized more
cattle, more horses, more extras. so. they did not enjoy
If
the benefits of CinemaScope photography and De Luxe
Color to accent their vastness.
Sydney Boehm and Frank Nugent wrote the screenplay
and a solid, tightly woven script it is, expertly designed to
permit full use of the multiformity of lavish production and
at the same time accord a hand-tailored vehicle for the individual
talents of topliner Clark Gable.
Producer's credit is split between William A. Bacher and
William B. Hcrwks. but so majestically is the picture mounted
that half of the bows therefor are more than is the lot of most
filmmakers for any one effort. Spectacle, action, romance
and suspense—the story's ranking ingredients—are brought
to astronomical levels through the employment of expertly
chosen locations and thousands of cows, horses and atmosphere
players.
Gable dominates the acting front. It is the kind of virile,
rough-yet-romantic role that originally catapulted him to
ranking stardom. He's the Gable of old. and many the
iemme hearts—of various ages—that will flutter at his impressive
performance and surprisingly youthful appearance,
lane Russell, as the hard-bitten pioneer lass who loves him,
and whom he ultimately wins after plenty of stubborn misunderstandings
and bickering, contributes what is by fai^the
best portrayal of her career. Co-stars Robert Ryan and Cameron
Mitchell, and virtuglly every member of the large supporting
cast, keep stride with the fast thespian pace set by
Clark and Jane.
Gable and his hot-headed younger brother, Mitchell, fresh
from the defeated Confederate army, enter the Montana
Territory bent on a life of outlawry. They hold up Ryan,
prosperous cattle baron, who induces them to return his
money and join him in a venture to bring a herd of steers
up irom Texas. En route Clark rescues Jane from an Indian
attack. They discover one another, then quarrel, and she
turns to Ryan. After numerous hardships, bloody battles with
redskins and jayhawkers. the stock is brought through.
It is perhaps superfluous to note that top levels of directorial
excellence were necessary to blend so many cements
and such scope into a smooth, speedy ensemble.
Veteran Raoul Walsh supplied such skill in praiseworthy
abundance.
Cloik Gable. Jane Russell. Robert Ryan. Cameron
Mitchell, Juan Garcia. Harry Shannon. Emile Meyer.
CATCHLINES:
An Epic, Pulse-Stirring Story of the Historic Bozeman Trail
V/ith Clark Gable at His AII-Time Best ... in an Unforgettable
Adventure Saga . Greatest Frontier Drama
Ever Filmed
1850 BOXOFFICE
A:; alick as Iho oil that figures oo prominently in the story
is this celluloid vignette of a Texas boomtown and its
nouveau riche citizens. The picture has so many proven
business-guaranteeing qualities—every one of which cries
lor merchandising attention—that it is impos.'>iblo to lorosoe
mylhing ti\i\ substantial grosses and completely satisfied
:-.poctalors Based on a widely read novel by Margarot
Cousins, "The Life of Lucy Gallant," the film has but one
obvious weekness, namely, its necessity lor stretching loo
thinly a single plot element. Herein boy meets and loses
girl, and loses and loses and loses her, ad infinitum. He
finally gels her in the linal lootage. but by that time so many
others things have happened that no one will much care.
This sole dramatic situation, and the frailty it pre.'jents, is
so thoroughly glossed, however, that it does not too greatly
discount the offering's over-all attractiveness. Entering into
such glossing are the following most noteworthy ingredients:
an attention-commanding, somewhat sardonic screenplay by
John Lee Mahin and Winston Miller; a name-freighted cast of
magnetic stars and the expectedly line-grained performances
therefrom; opulent production values by Pine and Thomas
(it's that company's last for Paramount), including eye-filling
VistaVision and bright Technicolor; Robert Parrish's able direction;
and a style show that will have the femmes drooling
and their spouses hiding their bankrolls.
Miss Wyman, fleeing a broken engagement, is stranded
in a roaring town where she encounters and falls in love
with cattleman Charlton Heston. She gets rich selling finery
to the ladies of the new millionaires; he gets richer when
oil is brought in on his land. Heslon's stubbornness and hor
occupation with a career keep them apart until the tender
passion ultimately triumphs.
Jane Wyman, Charlton Heston. Claire Trevor. Thelma
Rilter. William Demorest. Wallace Ford. Tom Helmore.
CATCHLINES:
You'll Never Forget Lucy Gallant . . . the Woman Who Hit
Texas Like a Tornado ... a Woman Who Wanted Everything—Money.
Power, Position. Men—and Let Nothing Stand
in the Way as She Set Out to Get Them.
The Treasure of Pancho Villa
F
Onraa
(Supvuope.
Technicolor)
RKO Radio (601) 96 Minutes Rel. Oct. '55
Title to the contrary. Pancho Villa does not appear in this
fast-paced, action-laden, suspenseful yarn, which should bo
nonetheless as appealing to everyone appreciative ol sound,
valueful production, with an additional measure of magnetism
for the devotees of red-blooded, hard-as-nails adventure
stuff. Instead of the Mexican revolutionary hero, the plot
revolves around two comparably intrepid hombres and their
attempt to transport a shipment of gold they have hijacked to
Villa at a time when his fortunes and revolt were at a low
ebb. One of them, a dedicated colonel in the insurgent army,
is portrayed by always-reliable Gilbert Roland; the other, a
fearless mercenary renting his gun and his knowhow to the
cause, is delineated by Rory Calhoun. Ensuing is a brace
of highly-effective performances that brings believability and
engrossment to the plot.
Possibly as a sop to the distaff side, there is a meager and
never-satislactorily-completed romantic thread in which
figures Shelley Winters. How much this contributes to the
photoplay's over-all worth is dependent upon individual
opinions concerning La Winters' appeal as a
femme and abilities as an actress. Regardless, the film's
probably rosy financial fate—and its merchandising possibilities—hinge
upon the excellent acting contributions, the gory
tempo, Superscope photography in Technicolor, and impressive
mountings, backgrounds and atmospheric authenticity,
in search ol which producer Edmund Grainger took
his company to Mexico to fabricate the feature, and in which
able direction by George Sherman plays an important part
With the Federales in hot pursuit, Roland and Calhoun,
accompanied by Miss Winters, press on toward the expected
rendezvous with Villa. The journey is replete in intrigue
and double-crossing and the fortune is lost when Calhoun.
m a last-ditch fight, sets off a dynamite charge that wipes
^ut the attackers and buries the Ico!
Rory Calhoun. Shelley Winters. Gilbert Roland. Joseph
Calleia. Fanny Schiller, Carlos Mosquiz, Tony CarvaiaL
CATCHLINES:
One ol the Greatest Adventures of All Time . . Bringing
New Thrills. New Excitement, New Greatness to the Screen
... the Power-Packed Story of Villa, Terror of the Border .
and the Stolen Gold H-^ Prir,t.rl
October 1. 1955 1851