FILM REVIEWS &SBIET? Wednesday, October 31, 1962 What Ever Happened and Michael Luciano's expert edit­ Period Of Adjustment some progressively mora intoxi­ Live Now—Pay Later ing although the latter still has (PANAVISION) cated caroleers has been over­ To Baby Jane? work to do. Once the inept, draggy worked to the point of diminishing (BRITISH) start is passed, the film's pace returns. All production credits are Powerful acting by Bette Davis Tennessee Williams' serio-eom- Somewhat uncertain combo of builds with ever-growing force. edy about marital mayhem. favorable, including Paul C. Vogel's comedy and drama. Some neat and Joan Crawford overcomes photography, Fredric Steinkamp's tedious beginning; word-of- Occasionally, Aldrich oversteps Uneven film, but more peaks performances, but a sprawling his generally strong power of sug­ than valleys. Savvy trade and editing, Lyn Murray's score and script which doesn't suffi­ mouth could make it top the George W. Davis-Edward Oar- grosser. gestion. Instance: a carefully- consumer selling could pay off. ciently develop the key char­ dropped remark by Jane about a fagno art direction. Tube. acters. Hollywood, Oct. 20. rat, seconds after bringing the Hollywood, Oct. 12. already-terrorized Blanche her Metro release of Lawrence Weingarten Warner Bros, release of Seven Arts- production. Stars Tony Franciosa, Jane Tanze Mit Mir in Den London, Oct. 23. Associates and Aldrich production. Stars luncheon tray, tells everything Fonda, Jim Hutton. Directed by George Regal Films International release of a Bette Davis, Joan Crawford. Features Vic­ (and here a Hitchcock would have Roy Hill. Screenplay; Isobel Lennart, Morgen Jay Lewis (Jack Hanbury) production tor Buono. Produced and directed by based on Tennessee Williams' play; cam­ (Dance With Me Into the Morning) for Woodlands Productions. Stars John Robert Aldrich. Screenplay by Lukas stopped). There is no reason for era, Paul C. Vogel; editor, Fredric Stein- Gregson, June Ritchie, Ian Hendry; fea­ Heller, based on novel by Henry Farrell; showing the rodent, and it is repul­ kamp; music, Lyn Murray; assistant di­ (AUSTRIAN—SONGS—COLOR) tures Liz Fraser, Geoffrey Keen, Jeanette usie, Frank DeVol; camera, Ernest sive. Aldrich immediately recov­ rector, Al Jennings. Reviewed at Beverly Berlin, Oct. 30. Sterke, Peter Butterworth, Nyree Dawn Saller: editor, Michael Luciano; sound, Theatre, Oct. 12, '62. Running time, 112 Nora (German) release of Stadthalle Porter, Ronald Howard, Harold Berens, Jack Solomon; asst. director, Tom Con­ ers, however, by a brilliant over­ MINS. Wien production. With Paul Hoerbiger, Thelma Ruby, Monty Landis, Joan. Heal, nors. Reviewed at Pantages Theatre, Los Guggi Loewinger, Rex Gildo, Oskar Sima, Geoffrey Hibbert, Judith Furse, Andrew Angeles, Oct. 18. Running time, 132 MINS. head shot of Blanche, endlessly cir­ Ralph Baitz Tony Franciosa Lotte Lang. Guest singers: Gerhard Cruickshank, John Wood. Directed by cling in her wheelchair, as cer­ Isabel Haversack Jane Fondo Wendland, Camela Corren, Danny Mann, Lewis. Screenplay, Jack Trevor Story ane Hudson Bette Davis tainly trapped as a squirrel in a George Haverstick Jim Hutton Peter Beil, Peter Hinnen, Chris Howland, from Jack Lindsay's novel, "All On the lanche Hudson Joan Crawford Dorothea Baitz Lois Nettleton Ines Taddio, Kurt Grosskurth and George Never Never"; music, Ron Grainer; edi­ idwin Flagg Victor Buono cage. Dimu. Directed by Peter Doerre. Camera, larjorie Bennett Delia Flagg Stewart P. McGill John McGiver tor, Roger Cherrill; camera, Jack Hill- Some fast takes throughout the Mrs. Alice McGill Mabel Albertson Hanns Matula; choreography, Willi Dirtl; yard. At Carlton, London. Running time, lvira Stitt Maidie Norman Desk Sergeant Jack Albertson artistic supervision, Paul Loewinger. At 104 MINS. [rs. Bates Anna Lee film add much to the suspense, Roxy Palast, West Berlin. Running time, •iza Bates Barbara Merrill including a pan shot of a billboard »3 MINS. Albert Ian Hendry aby Jane (child) Julie Allred "Period of Adjustment" is lower Treasure June Ritchie Blanche (child) Gina Gillespie advertising an undertaker, and one case Tennessee Williams, but it Johann Ebeseder Paul Hoerbiger Callendar John Gregson :ay Hudson Dave Willock of a drunken Buono, careening Franziska, his grand-daughter Joyce Corby Liz Fraser lorn Hudson Ann Barton also illustrates that lower case „. Guggi Loewinger Reggie Corby Geeoffrey Keen about the hallway in Blanche's Williams is superior to the upper Stefan Breuer Rex Gildo Grace Jeanette Sterke wheelchair, almost scaring Jane Franz Biedermann Oskar Sima Fred Peter Butterworth I Many of the prime ingredients case of most modern playwrights. Daisy, his daughter Evi Kent into her wits, Marjorie Mason Nyree Dawn Porter of a boxoffice smash—notably a The lapses, inconsistencies and un­ Amalia Strassmeier Lotte Lang Cedric Mason Ronald Howard euspenseful story, outstanding di­ Beyond the two femme stars and likelihoods of Williams' stage com­ Wenzel Kainz Rudolf Carl Solly Cowell Harold Berens their heavy-weighted male back­ Max, his son Udo Juergens Hetty Thelma Ruby rector, topflight technicians, and edy-drama have not been eradi­ Arnold Monty Landis topnotch performances by two stop, the supporting cast is merely cated in Isobel Lennart's screen The best that can be said about Jackson Kevin Brennan female "stars," in the truest sense that, Maidie Norman has some ef­ adaptation for producer Lawrence Ratty Malcolm Knight this Nora release is that it will Gloria Bridget Armstrong ©f the word—are present in Seven fective moments as the maid, but Weingarten, but neither, happily, probably please large segments of Mrs.- Ackroyd Judith Furse Arts' "What • Ever Happened to Anna Lee, Julie Allread, Gina Gil­ have the insights and substance the German teenage set. Produc­ Mrs. Pocock Joan Heal Baby Jane?" The potential is some­ lespie and Marjorie Bennett are that enable this examination of Bailiff Michael Brennan tion cashes in on the popularity of Major Simpkini William Kendall what hampered, however, by a long limited in their roles. One fast shot modern marriage to involve an several German disk faves includ­ Lucy Georgina Cookson introduction that creates less sus­ that might escape many viewers is audience emotionally with the ing Gerhard Wendland whose cur­ Coral Wentworth Justine Lord of the child Blanche's face as she Price Geoffrey Hibbert pense than tedium, and needs seemingly comical but fundamen­ rent hit, "Tanze mit mir in den Vicar Andrew Cruickshank drastic pruning. Once past the utters a single vengeance-promis­ tally critical experiences of two Morgen" supplies the title for this Curat* John Wood Intro and credits, "Baby Jane" ing remark, to be recalled later young couples on the brink of mar­ thin-plotted musical. Pic will do becomes an emotional toboggan during the adult Blanche's confes­ ital disaster. well in the German-lingo market The pernicious influence of ride, stopped only by its horribly sion. "Period of Adjustment" is an but there's nothing special about widespread credit buying, causing obvious outcome. Frank DeVol's score, except for uneven film, but at least when it it to give other than limited wives to get into debt, corruption, Teaming Bette Davis and Joan an ear-and-taste violating song, hits its dramatic and comedic chances elsewhere. distortion of personal views and Crawford now seems like a veri­ "I've Written a Letter to Daddy," peaks, it hits them with impact. Film is a routine mixture of a a cynical "grab what's going while table prerequisite to putting Henry which serves as Jane's leit-motif, Very likely—and understandably— meagre plot, some familiar situa­ you can" attitude is a valid, timely barren's slight tale of terror on is routine. Minor plot inconsisten­ the Metro release will be bally- tions, a bit of sentiment plus a theme for a picture. But this one the screen. Although the results cies pop up, but not enough to hoped as Tennessee Williams' first lineup of guest singers. Story con­ wavers too uncertainly between heavily favor Miss Davis (and she detract the hypnotized-with-horror comedy, which could be unfortu­ cerns a poor theatre director who broad comedy, farce and romantic earns the credit), it should be average viewer. A film clip, prob­ nate in the respect that many cus­ struggles along to keep his pitiful drama. There is also the jarring recognized that the plot, of neces­ ably from the 1933 "Parachute tomers may be unprepared for and enterprise alive; there are the introduction of the death of a sity, allows her to run unfettered Jumper," inserted to establish resultantly confused by its more authorities that want to tear down young wife in a road accident through all the stages of oncoming Jane's ineptness as an actress, fails serious dramatic aspects. The film, the shabby house; there's a young which is a contrived plot point but Insanity, which the uninhibited to do so. Despite its shortcomings, therefore, should not be described man among the authorities who certainly doesn't fit the general lady proceeds to do—like a mad however, "Baby Jane" gives the as an out-and-out, open-and-shut falls in love with the director's atmosphere of the film. Organist, warming up to Berlioz' motion picture screen its best case of comedy. A potential audi­ twist - conscious granddaughter; Jack Trevor Story's screenplay "Damnation of Faust," with, even­ "shocker" since "Psycho," and two ence must not be thus misled. and it goes more of the same. In has many amusing moments, but tually, every stop out. fine actress worthy roles. Robe. There should be a tipoff that the the end, the theatre burns down overall it is untidy and does not Whisky-voiced, slovenly, wonder­ picture embodies a more substan­ but suddenly a rich American develop the personalities of some fully and hideously gowned and tial and intimate streak. Handled woman, a far-distant relative of of the main characters sufficiently. madeup throughout the film, Miss Un Dia de Dicicmbre with salesmanship finesse, it could the theatre director, shows up and Extraneous situations are dragged Davis quickly overcomes a view­ (One Day in December) evolve into a very' successful at* gives him money so that he can in without helping the plot devel­ er's earlier impatience, finally (MEXICAN) traction for Metro. The relatively buy himself a show-boat. There are opment overmuch. Jay Lewis has Mexico City, Oct. 30. youthful and attractive cast pitches several song and dance sequences directed with verve. Also there are leaving one emotionally exhausted. Peliculas Nicionales release of Produc­ Her slip-over into total madness tion Cinematografica Mexicana Independi- in with some sound performances, along the line. some very useful performances, Is, possibly, less effective than was ente production. Stirs Jorge Martinez and these factors will aid the com­ okay artwork, satisfactory lensing de Hoyos. Beatriz Aguirre, Emir Angel Of the various warblers, only a Gloria Swanson's in "Sunset Boule­ Dupeyron; features Luis Aragon, Jacque­ mercial cause. few rate adult attention. This ap­ by Jack Hillyard and a lively vard," but only because the viewer line Andere. Directed by Fernando Jane Fonda-Jim Hutton and Lois plies in particular to two of foreign enough score by Ron Grainer. Cortez. Screenplay, Alejandro Verbintzky Where the film falls down is in its knows all along that it is unavoid­ from original by Roberto Gomez Bolanos; Nettleton-Anthony Franciosa are nationality: Carmela Corren, young able. camera, Jorge Sthal. At Mariscala Thea­ the two teams whose emotional Israeli chirp, proves that she's a sheer superficiality and that few tre. Mexico City. Running time. 90 MINS. Miss Crawford gives a quiet, re­ instability is explored. The to­ win for the German disk market, of the characters can be taken markably fine interpretation of the getherness of the first couple— and British Chris Howland, who seriously, or beget sympathy. crippled Blanche, held in emotion­ This is one of the independently newlyweds—is threatened by the has made himself a name via dee- Ian Hendry plays a smart aleck, ally by the nature and tempera­ produced films, of three made un­ insecurity of the afflicted groom, jaying, disks, pix and tele in this philandering, doublecrossing tally­ ment of the role. Physically con­ der auspices of the Mexican Assn. whose periodically severe out­ country, clicks with his amusing man who, with two illegitimate fined to a wheelchair and bed of Independent Exhibitors. Orig­ breaks of the shakes are the mani­ "piggy bank" song. Of the actors, babies to his discredit, still finds throughout the picture, she has to inal plan by these independents festation of a long-standing com­ only the oldtimers such as Paul that the easiest way to bluff his act from the inside and has her had been to turn out 30 films with plex wherein he feels compelled Hoerbiger (the theatre director), femme patrons into getting hocked best scenes (because she wisely accent on quality, but the project to hide behind a false he-man Josef Egger, Rudolf Carl and es­ up to their eyebrows in installment underplays with Davis) with a has been suspended pending reor­ facade for fear of being found pecially Oskar Sima give evidence buying is via the boudoir. The char­ maid and those she plays alone. ganization of association plans. inadequate or below par at the that they know their trade. acters-has a certain brash, breezy In one superb bit, Miss Crawford This film is by no means a fes­ supreme sexual moment. Peter Doerre directed this un­ assurance, but no charm. And that's reacting to herself on television tival award product but, surpris­ Relations of the second pair are pretentious musical. Okay techni­ the way Hendry plays it, to the (actually, clips from the 1934 ingly enough, it is sympathetically impaired by a more routine issue cal credits. The Blue Danube city point of irritation. "Sadie McKee"), makes her face directed by Fernando Cortes and — in-law interference — coupled supplies the background for this In most of the film he is trying fairly glow with the remembrance develops a Christmas story about with the wife's accurate knowledge of fame past. A genuine heart- production. Hans. to patch up a row that he has had an average Mexican boy, full of she was wed for money, not love— with his steady girl friend. For the breaker. innocence and who wishes to reaf­ an original mercenary motive Printemps De Jeunes remainder, he is cheating his em­ The slight basic tale is of two firm the Xmas spirit within his disolved, however, after six years ployer (John Gregson), a real sisters, complete opposites. As family and in his neighborhood. of marriage. Doesn't sound very Filles estate agent and a string of cred­ children, Jane is "Baby Jane" (a There are no monsters, giants, funny, but there are spurts and (Springtime For the Girls) itors. He is also not above a little travesty on the many Mary Pick- geni or rides on a magic carpet. flashes of good fun, both in dialog (RUSSIAN-COLOR-SCOPE) blackmail to further his progress Director Fernando Cprtez develops and situation. And both stories are Paris, Oct. 30. with his boss. It is Hendry's first ford-Shirley Temple imitators), a resolved happily, ultimately tip­ : Sovexport release of Mosfilm produc­ vaudeville star and the'idol of the a simple story intended for chil­ tion. With Mira Koltsova, Lev Barachkov, major film and, on this showing, dren and habe patrons, with a full ping the scales in favor of comedy Lioudmilla Ovtchinnikova, Beriozka Bal­ judgment must be reserved as to public. Offstage, she's a vicious over drama. let. Directed by Veniamin Dorman, Gen- brat, domineering her plain, in­ share of tear-jerker situations. rikh Oganissian. Screenplay, M. Dolgo- his future. hibited sister and preening parents. Youngster Emir Angel Dupeyron polov, I. Prout, N. Nadejdina; camera The promising Miss Fonda gives (Sovcdlor), Viatcheslav Choumski; music, June Ritchie, as the main girl in Eventually both girls go into films, is believable as central character. an animated performance and Alexandre Fliarkovski; choreography, Na- the case, confirms the promising where the dark, mousey Blanche Beatriz Aguirre is effective as the makes an impression, but there are dia Nadejdina. At Kinopanorama, Paris. impression she made in her debut blossoms into a beauty and fine mother as is Jorge Martinez de times—particularly at the outset— Running time, 85 MINS. in "A Kind of Loving," but she actress, and becomes Hollywood's Hoyos in role of an understanding when animation lapses into over- Galia Mira Koltsova can do little in this cardboard role father. Volodia Lev Barachkov top star. Jane, unable to grow animation, stripping the character Nasstia Lioudmila Ovtchinnikova of wronged young mistress. Two beyond her limited child-talent, This depicts a world without of believability. The character, established players, John Gregson works only because Blanche forces malice, replete with love and com­ however, tends to be fuzzy and in­ One of the rare out-and-out and Geoffrey Keen, confidently Studios to give her roles. passion. This one merits success consistent as written, and this may commercial, Russo pix finds its handle the roles of Hendry's ambi­ As the result of an accident, in Spanish language markets. be the major part of Miss Fonda's way here, dubbed into French. It tious, conniving boss and an hazily presented, Blanche is per­ Emit. . problem. She does have some fine is a slight romantic story geared equally ambitious, scheming and manently crippled. Jane, de­ moments, though. Hutton does gen­ to the dances of the all-femme pompous real estate man. pendent on her sister for her. live­ erally well by the part of the Beriozka Ballet. Somewhat stodgy Playing Keen's simple, humili­ lihood, is forced to care for her, Airas de las Nnbes afflicted husband, although here and sweet, it still has some good ated wife is Liz Fraser. This film her hate growing with the years. (Behind The Clouds again there are inconsistencies and humor with some expert dance sets up some sort of a record in So, also, does the "Baby Jane" illu­ (MEXICAN) contradictions in the character's sequences. But the film is a lim­ that Miss Fraser, till now mostly sion until, living it daily, she de­ Mexico City, Oct. 30. personality, as penned. Franciosa ited item at best. Peliculas Nacionales release of Cine­ engaged in frothy bosomy, undress termines to get rid of Blanche and matografica Jalisco production. Stars Luis has the meatiest part, and plays it A young optician falls for a roles, keeps her clothes on through­ return to vaudeville (wherever that Aguilar, Marga Lopez; features Dagoberto to the hilt, creating an appealing, dancer in the ballet company and Rodriguez, Joaguin Cordero, Ofelia Mon- out while most of the other femmes Is!). Advertising for an accompani­ tesco, Jose Elias Moreno, Andres Soler attractive, masculine person. Miss gets a job on a boat to follow them seem to be stripping at the drop of ment, the sole applicant is a huge, and Arturo Martinez. Directed by Gil- Nettleton is solid as the gradually on a tour of the Volga factories berto Gazcon. Screenplay, Josefina Vi- Hendry's hat. Miss Fraser 'is ungainly lout (a superb off-beat cens and Gilberto Gazcon from original more desirable wife. John McGiver and countryside. After some mis­ anxious to break away from pinup performance by Victor Buono), by Jesus Mario Valentin Gazcon; camera, is effective as the intrusive father- understandings the boy finally is roles and this small, but effective who sizes up the situation's oppor­ Ignacio Torres. At Alameda-Ariel Thea­ in-law, Mabel Albertson excellent tres. Mexico City. Running time, 90 MINS. well on the way to getting girl. performance (she's the woman who tunities and goes along, planning as his troublemaking spouse. Jack All this is quite good natured. But gets bumped off) proves that she to get enough money to enable him Albertson has a good scene as a the pace and flair for a tuner are This is yet another revolution­ deserves more significant, worthy to break the tarnished-silver cord desk sergeant. missing. roles in the future. binding him to a possessive ary tale, but with the accent on George Roy Hill's direction has The ballet portion is eyecatch­ mother. a romantic love story. Singer Luis peaks and valleys. He's coaxed and ing entry as the girls seem to float Nyree Dawn Porter and Justine The chain of circumstances grow, Aguilar debuts in this as copro- captured some perfectly timed and above the stage. Color is accept­ Lord, two of the salesman's willing Violence creating violence. To de­ ducer with Valentin Gazcon. perceptive reactions from his play­ able but the players shape stereo­ bedroom victims, are both well tail the plot beyond this point is While not an extraordinary ef­ ers, but at other times he's settled typed if competent. It probably equipped for their roles. Judith meaningless. Director Robert Al­ fort, story is pleasantly developed for unnecessary exaggeration, and will be sock at home but somewhat Furze, Joan Heal, Thelma Ruby drich has generally made good use and acting is professional by all has failed to detect the fact that too facile for untoward foreign and Bridget Armstrong chip in of Ernest Haller's camera wizardry concerned. Emil. a pregnant running gag Involving chances in the West Mosk. (Continued on page 20)