Boxoffice-December.17.1955

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Opinions on Current Productions
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I'll Cry Tomorrow
MGM (615) 117 Minutes Rel
F
Ratio:
1.85-1
Drama
The Man With the Golden Arm F ,"«;
Drama
To the ear-to-ground form iollowers among both exhibitors
and fans there will be but scant surprise in the report that
dominating this celluloid version oi Lillian Roth's biographical
tome is on indescribably superb performance by Susan
l i'lote.
Hayward. In sequences too numerous to list, the auburnhaired
player, whose past credits reveal many outstanding
and memorable delineations, rises to new heights of thespian
grandeur. Those who see the picture will be thrilled and
shocked over and over again because just after they've
witnessed a scene in which it appears that the star has
attained a climactic pinnacle of superior acting, comes
still another to top its predecessors.
Whether or not this uppermost quality of trouping will
in itself prove sufficiently attractive to garner the capacity
attendance that the feature—as great theatre—so richly
merits will possibly depend on the respective ramifications
of individual situations and how adroitly showmen
merchandise the offering. Inescapable is the fact that the
story is definitely downbeat most of the way, is often
frighteningly depressing and resultantly may discourage
patronage from those ticket buyers seeking nothing but
cheery, escapist screen fore. About the only blithesome
moments are those early sequences in which Susan sings—
and in surprisingly pleasing voice—several of the hit
numbers of yesteryear, tunes that were employed and
recorded by songbird Roth while she was at the apex of
her career as an entertainer. These limited lighter moments
may mitigate, to some degree, the vehicle's over-all severity,
and there is an additional touch of cleanliness in the glimpse
that is supplied of the admirable credo of Alcoholics
Anonymous and the good that is accomplished by its patient,
sympathetic methods. Theatremen might do well to give
consideration to this duo of less-austere facets when planning
their exploitation campaigns.
There can be little doubt that the excellence of the topliner's
characterization is due, partially, at least, to contributing
factors; for, regardless of limitless talents, no mummer
could register so magnificently without them.
Foremost among these elements is the sensitive, understanding
direction by Daniel Mann, whose piloting of the
difficult and volatile subject dealing with chronic alcoholism
and the degradation of its victims is done in the best taste
that the theme permits, and at the same time sacrifices little
of the basic and atmospheric sordidness that is an unavoidable
adjunct thereto. Paralleling praise must be directed
toward the craftsmen responsible for Miss Hayward's makeup
and costuming. Breathtakingly arresting is the manner
in which her face, and apparently her figure, change as
she develops her drunken habits and licenses.
Runnerup for acting honors is Jo Van Fleet, who portrays
Katie Roth, the actress' mother. And a most difficult role it
is. Miss Van Fleet, with consummate skill, etches the delineation
from that of a scheming, ambition-ridden, heartless
stage mother, rather despicable in the yarn's early
situations, to one that becomes a sympathetic part—as griel
over her daughter's weaknesses and vices break her heart
and spirit. Other portrayals are comparatively insignificant
but are adequately handled.
The screenplay adheres to the original as concerns the
Roth career, her development into a miserable drunk and
her ultimate redemption through AA. It treats, however, with
only two of her four marriages, those to the flier and the
brutal sadist. Produced by Lawrence Weingarten.
Susan Hayward, Richard Conte, Eddie Albert, Jo Van
Heet, Don Taylor, Hay Danton. Margo, Don Barry.
CATCHLINES:
You'll Weep When You See the Real-Life Story of a Girl's
tHeart-Lifting Fight to Come Back From Defeat to Decency
I. . . Here Is a Classic of the Screen . . . The True-Life Tale
^of Lilli&n Roth's Battle Against the Bottle.
^^^*
ffice.
BOXOFFICE
United ArtistB (5540) 119 Minutes ReL Jan. '56
If for no other reason than because it has become a headline—demanding
cause celebre within the trade—a volatile
.] tt,^ controversy that the press, pulpit and censors undoubtedly
-^ will carry to the public—Otto Preminger's "The Man With
the Golden Arm" should encounter well above average
bookings and profitable patronage. It is not the function
of a movie critique to comment on the fairness and wisdom
of the Johnston office in denying a code seal to the feature
because it treats with that verboten subject, narcotics. That
will be left to the editorialists—and what a field day they
will have in projecting both sides of the argument that the
existing taboo on films' reference to dope addiction is
archaic and unrealistic. But regardless of which sshool of
thought individuals or groups may attend, few, if any, will
deny that the screen version of Nelson Algren's widely read
and discussed novel is a superior job of picturemaking,
which superlative qualities apply to every department.
The script by Walter Newman and Lewis Meltzer adheres
closely to the original, with its background of the sordid,
slummy side of sprawling Chicago. It unequivocally poses
the problems and passions of narcotics victims and arrestingly
reveals the modus operandi of the slimy traffic that
panders to and fattens on their weaknesses. The story is
unfolded in application to one user, the title roler, portrayed
by Frank Sinatra. He has just returned from a federal hospital
after "kicking" the habit and full of ambition to give up
his old way of life—a dealer in a poker establishment— to become
a drummer with a dance band. However, he is
saddled with a neurotic, wheelchair-ridden wife and is
caught up in the old, unsavory routine; goes back on dope;
and, in a final, desperate try, overcomes addiction and faces
I CO
° newer, happier life after the death of his wife.
Sinatra's performance, most especially that climactic sequence
when he goes through the agonies of hell while
breaking himself of the drug habit for the second time, adds
still more substance to the man's mushrooming stature as one
of the screen's most talented thespian craftsmen. Part after
masterfully delineated part demonstrate that the excellence
of his first dramatic, Oscar-winning role in "From Here to
Eternity" was no mere happenstance. Tried and proven
Eleanor Parker, as his malingering helpmeet, disposes of an
unusually difficult and unsympathetic characterization with
expected expertness. But it is the portrayal by newcomer
Kim Novak which is perhaps the most amazing. Herein she
displays acting ability greatly transcending anything she
has previously registered.
For the above-mentioned trio of outstanding trouping accomplishments—as
well as many of comparable quality by
the large, deftly selected supporting cast—much credit is undoubtedly
due the sensitive direction by Preminger. And in
his other capacity—as producer—he again proved his creative
and executive resourcefulness, which is reflected in every
atmospheric and technical detail that entered into mounting
the vehicle; with a particular nod to the desert of the music
by Elmer Bernstein.
But, even in the face of all this productional excellence,
how showmen and their customers react to the photoplay's
seal-less status will probably be the dominant factor in determining
its treatment and reception. In considering this
facet—and in planning their merchandising—exhibitors might
do well to remember the grosses garnered by "The Moon Is
Blue," also sans seal and also a Preminger picture.
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