and the Cowboy
Certificate A: Carlton Director: Joshua Logan WHEN one of Broadway's plays, frank and uninhibited, gets bought up by Hollywood, it
inevitably goes through a bowdlerising process because what gets by in the theatre would soon he halted by the Hays office. We in this country haven't had a chance to set the play " Bus Stop" and so we can't be sure how much has been toned down. My impression is that all is not said and that therefore there is a sense of incompleteness.
What concerns the filmgoer, however, is that " Bus Stop," it is claimed marks the emergence of Marilyn Monroe from the film personality which she has been up to now, into the film actress. I confess she still has me baffled, much as 1 enjoy seeing her on the screen. Sometimes it seems that she is really taking charge and giving her own interpretation, sometimes she delivers her lines as though she learned them by rote and is the creature of the man sitting up on the director's ladder.
Here Miss Monroe appears as a chalky white faced girl, experienceworn for her years, who is making her way as best she can (fleeing from poverty a child of the underprivileged) a c r o s s t h e American continent with Hollywood as her goal. When the film opens she has landed a job in Phoenix, Arizona — a scantilyclad singer of the hooky took class — with no technique and no talent.
But that doesn't worry the customers. Her job is to come down after the "show" and get the wild men to order drinks for themselves (strong) and herself (cold tea).
About to descend on the town is a wild young rodeo man (Don Murray) whose life has so far been lassooing and breaking in horses and steers.
When he sees this pale. delicate looking girl clad in a gleam of green tinsel, he decides she is the realisation of all his dreams and he proceeds to woo her with the vigour and finesse he would apply to an untamed colt. Looks at the Films
The girl, at first intrigued, is later terrified, and it is her efforts to disengage herself from his cyclonic attentions that provides the major part of the action.
Of course, there are funny moments anti finally, some poignant ones when she, now a bit wistful for the comfort and security of a good man's love, has to tell him about "the others" in her life. I don't know how the play ended — but 1 found the tidying up at the end a thought contrived.
As for boisterous Mr. Murray, he is inclined to overdo it all but no doubt with all the high pressure Monroe salesmanship he felt he would have to assert himself or end up on the cutting room floor. The rodeo scenes, for those who like watching this sort of thing, are quite astonishing.
THE ATTACK Certificate A: London Pavilion Director: Robert Aldrich
HOLLYWOOD puts a section of the U.S. Army during the European invasion on the dissecting table, Its aim: to show that corrupt American politics can
even infiltrate into military operations with human lives as the sacrifice.
Director Aldrich, matching the dark tale it has to tell, has shot it all in black and not so black (very little white), as we watch the colonel (Lee Marvin) handing over a vital operation to a cowardly and dithering captain (Eddie Albert) so that he will have an excuse, if the operation comes off, to get him a citation.
This is in order to please the captain's old man back home (a judge) so that the colonel (when it is all over) will be due for political favours to come..
A terrifying set-up, you will admit. And no one is more horrified than the war-scarred lieutenant (Jack Palance), who, obeying orders with the singlemindedness of the Light Brigade, nevertheless. swears to kill the ditherer if his men are killed because of him. The rest is concerned with the operation itself — a devastating picture of German tanks looking in the streets of the ruined Belgian village like prehistoric monsters, and reminding me of a sledge hammer being used to kill a gnat.
The case may have been overstated, but all the same this is a well made picture. I'm only surprised that it didn't have the foreword (as used in the Boultings' Privates Progress) — "Produced with the co-operation of absolutely nobody."
THE BIGAMIST Certificate U. Curzon Director: Luciano Emitter
THIS is just a run of the mill Italian domestic comedy concerning the wrongful arrest of a personable young man on suspicion of being a bigamist until, striding like a giant among normal sized people. comes Vittorio de Sica as a publicity loving lawyer. He has been persuaded to take the case on, and from that moment we have eyes and ears for no one else but him.
No film star is ever more pursued by newshounds or cameramen than this handsome, posturing star of the law courts who never says then nay and who comes into court saying to his Clerk "What am I doing — prosecuting or defending?"
T enjoyed this enormously. I never tire of Italians on the screen —they can't be dull if they try and small fry though this film may be, it is lifted well out of the ordinary by de Sica's rich perf ormaffce.
FERNANDEL THE DRESSMAKER Certificate A: Cameo Poly Director: Jean Boyer
LIGHT, typical French comedy (the mixture very much as before) but the inimitable Fernandel is there to turn routine stuff into bright entertainment. In addition he has the volatile Suzy Delair to nag, browbat and bully him as his managing but often outwitted wife.