22 PICTURES iKIETY Wednesday, May 30, 1962 Le Caporal Epiugle finds gave him more freedom. He I.© Crime Ne Pale Paa (The Hard Luck Corporal) leaves everything behind, includ­ (Crime Does Not Pay) (FRENCH) ing his fiancee to start a new life (FRENCH—'SCOPE) Reviews at Cannes Festival Cannes, May 22. with another girl. Film story thus Cannes, May 29. Continued from page ( ; Pathe release of Films Du Cyclope depicts a rebellion against mater­ Under release of Transworld-Cosmaa production. Stars Jean-Pierre Cassel; Film production. Stars Edwige Feuillere, features , , ialism. Gabriele Ferzetti, Michel Morgan, Annie l/Amour A Vlngt Ana attempted escape has them con­ , Jacques Jouanneau, Mario Despite the fact that pic is Girardot, Christian Marquand, Pierre demned but German insistence has David, Conny Froboess, O. E. Hasse. Brasseur, Danielle -Darrieux, Peretta paternity responsibility. Getting to Directed by . Screenplay, neither fish nof fowl, there is no Pradier. Richard Todd. Directed by know her he finds he loves the girl the game go on anyway. The Renoir, Guy Lefranc from novel by doubt that it will lead to discus­ Gerard Oury. Screenplay, Oury, Paul and accepts his readymade family. cljeering fellow prisoners egg them Jacques Perret; camera, Georges Leclerc; sion. Ordinary cinema patrons are Gordeaux, Jean-Charles Tacchela, Jean on to'a victory which they know editor, Rene Lichtig. At Cannes Film Aurenche, Pittfe Bost, Henri Jeanson, Acting is fresh, and Ophuls looms a Fest. Running time, 103 MINS. asked to show too much patience. Rene Wheeler, Boileau-Narceja,c, Jacques new bright filmic talent. will still not alter their executions. Corporal' Jean-Pierre Cassel Reportedly, the film has been sold Sigurd, Frederic Dard: camera, Christian Polski filmmaker A deliriously happy group of pris­ Pater CTaude Brasseur to nearly a dozen countries. So a Matras; editor, R. Dvjyre. At Canne*. oners breaks onto the grounds and Ballochet Claude Rich Film Fest. Running time. 150 MINS. now looks at an ex-war hero who Emile Jean Carmet financial loss doesn't seem in­ Lucrezia Edwige Feuillere does a brave thing which brings prompts a touchy German to shoot Penche Jacques Jouanneau volved, which is some consolation Chevalier Gabriele Ferzetti one, and starts a mass slaughter. Erika Conny Froboess for the courageous filmmakers. Jeanne • Michele Morgan him the brief love of a girl. But Voyager O. E. Hasse Gabrielle Annie Girardot at a party he is kidded by boys Director Zoltan Fabri has han­ Hans. Martin Pierre Brasseur Louis Christian Marquand who are tired of war tales and in­ dled this with visual strength and Oldtime filmmaker Jean Renoir Lucienne Danielle Farrieux terested in themselves. There is framed a sort of parable on war is right in his element in this tale Helene Perette Pradier - a bite in this sequence, heightened as a sport. Film, however, has too of an escape-prone French soldier Koda Derevia Hvli Soldier Richard Todd by the bright beauty of Barbara many conventional types, even to in a prisoner of war camp during ltol«*liini Still another sketch pic with a Lass, the awareness of his unfit­ a comedy relief bit. Plot allows the last debacle. It has a height­ (When the Trees Were Big) ness among modern youth by clever connecting link of a man too many side issues to sometimes ened feel for human crisis and the (RUSSIAN) about to commit a crime seeing a Zbiginiew Zybulski. There is know­ obscure its dramatics. But this is need for action, leavened by ex­ Cannes, May 22. ing handling by director Wajra. film on the same subject. It has a solidly acted and technically im­ pert observation, to make this a Mosfilm release of Gorki Studios pro­ bevy of stars and some okay stories pressive. It's a contender for off­ film with art and general playoff duction. With Inna Goulaya, Youri Nikou- While the others manage to get line. L. Kouraviev. Directed by Lev based on famous crimes. Sketches a feeling for place and character, beat slotting. Mosk, chances abroad. Koulidjanov. Screenplay, Nicolay Figou- -are uneven but this production Renzo Rossellini's episode has the rovsky; camera, V. Guinsbourg; editor, Film is handled lightly without A. Afanassiev. At Cannes Film Fest. Run­ emerges a solid playoff item if faults of sketchiness. A kept young any undue dramatics. There are ning time, »5 MINS. . seemingly not quite of arty house man falls for a working girl but S*>ienta V«c#?s Siete well-blocked characters, the feel Kouzma Youri Nikouline calibre. Nataeha Inna Goulaya his hardbitten mistress makes it (Seventy Times Seven) for time and place, and a verve A man goes to see a film called clear that the boy can never leave (ARGENTINE) Boy L. Konraviev and zest in dialog, imagry and Director''...'.; - - V. Choukchine "Crime Does Not Pay." From this, the luxury she gives him. This Cannes, May 22. playing. After the French defeat three sketches are worked out. can be sharpened a bit by cutting. Araucania Films production and re­ A gentle, tender tale of a Rus­ lease. Stars Isabel Sarli, , and armistice, thousands are still Then his machinations make up The Japanese is the most dra­ Jardel Filho; features Blanca Lagrolta, kept as prisoners while the warsia n drone who finally has histh e fourth episode. matic one. An inhibited young Jacobo Finder, Nelly Prono. Directed by with England goes on. conscience awakened and decides First, located in 15th Century Leopoldo Torre Nilsson. Screenplay, Dal- to take his place in society, this worker suddenly turns to murder­ miro Saenz, Beatrice Guido Nilseon; The assorted French Internees Venice concerns the revenge of an ing women. There is a feeling and camera, Ricardo Younis; editor, Oscar is somewhat too sentimental to Lagomarsino. At Cannes Film Fest. Run­ gripe, protest, find easy niches or aging mistress on her lover who solid progression in the first part, ning time, ft MINS. have much chance in most of the deserts her. She is in turn avenged try to escape, as does the hero, foreign market. However, it man­ but it loses balance in the sudden Cora Isabel Sarli Jean-Pierre Cassel. His many at­ by the murdered lover's flame. turn to murder. Pascual Francisco Rabal ages to sustain its mood, and it Operatic and static, the main plus Pedro Jardel Filho tempts usually end in failure ex­ unveils a director with tempera­ This worldwide sketch produc­ Madre Blanca Lagrotta cept for a last try that gets him values are the Venice color and tion looms a worthwhile arty and Padre Jacobo Finder ment in Lev Koulidjanov and a smart costuming. Duena Nelly Prono back to . But then he is ready disarming actress in Inna Goulaya. playoff entry abroad. . Joe Levine's to go on and try to join the Free Another is a tale of political in­ Embassy Pictures already has take"n Elemental tale is treated with a French Army in England. A workshirker decides to pass trigue in 19th Century Fnance it for the U.S. Georges Delerue knowing imagery to make for a himself off as a young pretty girl's when an ^attempt to blackmail a has eoncocted a catchy tune sung Renoir easily breathes life into progressive public figure (by deceptively adventurous and re-his people and situations. The father on collective farm. And he in each lingo at the end of each vealingly dramatic tale. This looms succeeds and lives off her only to trumping up a vile story about his sketch. Mask. corporal, appealingly played by wife) ends in her killing the black­ as a definite Latin language bet Cassel, is disciplined severely after bring her trouble. mailer and being vindicated by for the U.S. on its surface quali­ every escape and finally takes a sift But he finally tells her the courts. It is properly melodramatic. ties. Harry Of Kammerl jen«r berth with a shrewd friend who truth, and she will not believe him. The third shows the best inven­ (Harry and His Valet) In an almost primitive Argen­ has worked out a system of com­ So he decides to stay on. All this tiveness. It as a conniving wife \. (DANISH) tine outpost a comely girl with a fort. But a sudden rebelling against is tastefully handled and it even persuading her husband to knoek Cannes, May 22. scarred face works in a sporting this setup when he realizes this is gently pokes fun at bureaucracy. off her lover, then doublecrossing nialto Film release of Christensen pro­ house. A growing remorse leads a form of evasion and cowardice, duction. With Osvald Helmuth, Ebbe The listless worker is made to him by having him arrested so she Rode, Gunnar Lauring, Henning Morit- to her fighting off a patron. Her keeps him trying to escape again. assume his responsibilities through can have a new romance, her doc­ aen, Lisa Ringheim. Directed by Bent past is seen in flashback. It also leads to a bravado attempt Christensen. Screenplay, Christensen, love rather than flag-waving. tor. But the husband had prepared Leif Panduro; camera. Kjed Arnholtz; It shows her as a resigned but by his chastened, slightly cowardly poison in the wine for the lover, friend. The imagery is clear and the editor, L. Mollera. At Cannes Film Fest. shapely girl, working in a run­ playing fresh. It is a plus mark for and the wife and doctor acciden­ Running time, 104 MINS. tally drink it. Harry Osvald Helmuth down roadhouse, who goes off with The Germans are mainly de­ the production that it manages to Fabrieius Ebbe Rode a sheepherder. There is a fugitive picted as simple soldiers and hu­ Last is a plodding one about a Eveque Gunnar Lauring keep interest alive and build up Igor Henning Moritzen she saves, and an episode by a man. But there is no whitewash the characters despite its tele­ husband's complicated attempt to Magdalena Lisa Ringheim well. intended. Renoir's generosity and graphed aspects. Another mark in murder his wife. Director Leopoldo Torre.Nilsson tenderness, without any false sen­ the thawing Russo cinema where Players all do adequately in their Quaint look at human foibles, has given this a controlled visual timentality or mawkisness, point individuals are becoming almost as short stints with comic Louis De with a picaresque twist, this is unity and*'shows a solid outlook. up the idiocy of war as well as important as the collective. Funes a standout in a brief bit as somewhat too heavyfooted in its So it emerges a sort of morality man's comportment in it. It i<$ sus­ Mosk. a doubletalking waiter. Director comedies to come off. The idea is- tale. tained admirably. This is a deeply Gerard Oury has been unable to good and the mounting good-na­ compassionate film and an enter­ get the right suspenseful flair into Isabel Sarli's impassive face is these tales based on true stories. tured. But it tries too hard to be well used as the pliant woman taining one. Alias Gardelito funny. Film looks like a likely Acting roles are expertly mould­ But there are enough twists, name It is an offbeat affair and perhaps (Alias Bip Shot) actors and production values for Scandanavian and Germanic gam­ too divided in theme and treat­ ed by Renoir. The ease in style bit, but limited for other spots (ARGENTINE) good returns in regular situations. ment. This is a simple tale which and technique give this a feel of Cannes, May 29. Mosk. except for some lingo situations. has appeal for the homegrounds, timelessness in commenting on all Rio Negro production and release. With Tonia Carrero, Walter Vidarte, A kindly, aging man inherits with more chancy possibilities wars and the men in it. It will Alberto Argibay, Lautaro Murua, Nora some money. Instead of allowing abroad. Mosk. inevitably be compared with his Palmer. Directed by Lautaro Murua. it to give him security, he spends earlier prisoner-of-war film, "La Screenplay, Bernardo Kordon. Augusto Konga Yo Roa; camera, Oscar Melly; editor, Saulo the coin to hire a valet. He has Grande Illusion." Benavente. At nCanes Film Fest. Run­ (Unite, Congo) always wanted one and feels only © Pagador De Promess This rarely lets down and keeps ning time, 90 MINS. (CONGO-COLOR) Toribio Walter Vidarte Cannes, May 22. this will bring him a certain love (The Given Word) up interest all the way: Right Wife Tonia Carrero he has lacked. It changes his life placement should get this plenty Ekebo- Films production and release. (BRAZILIAN) Boss Lautaro Murua Stars Roger Pigaut, Nicole Courcel; fea­ and that of his only friends, two Cannes. May 22. of art and general mileage on Friend Alberto Argibay tures Jean Lefebvre, Sophie M'Bali, Guy petty thieves. At the end the valet, Oswaldo Massaini production and re­world screens. Mosk. Girl Nora Palmer Dikolo, Paul Kantole. Directed by Yvea lease. With Leonardo Vilar, Gloria Mene- Allegret-. Screenplay, Rene Wheeler, who wants to work, but finds the zes, Dionisio Azevedo, Gerlado D'El Rey, The rise and fall of a petty hood­ Jacques and Francois Gall, Allegret; noble classes have about disap­ Roberto Ferreira, Othon Bastos. Directed lum is given an extra dimension camera (Eastmancolor), Henri Persin; peared, gives the old man back by Anselmo Duarte. Screenplay, Duarte, editor, Maurice Serein. At Cannes Film Dias Gomes from play by Gomes; cam­ lias llnvt Dor Frnelieii in this modest but effective pic. Fest. Running time, 108 MINS. the money paid him, and goes on era. Chick Fowle; editor, Carlos Coimbra. •fan re Yet there is not enough bite and Marie Nicole Courcel working for him. At Cannes Fjlni Fest. Running time, 90 Georges Roger Pigaut MINS. (The Bread of the Young Years) originality to make for arty chances Jean , Jean Lefebvre Film might have had more bite Ze-a-L'Ane Leonardo Vilar (GERMAN) abroad even though it does possess Angele Sophie M'Bali Rosa Gloria Menezes Sylvain Guy Dikolo if handled properly. But all this is Abbey Olavo Dionisio Azevedo Cannes, May 22. possibilities for language situa­ Atlas release of Modern Art Film tions. Timotee . Paul Kantole dished up in an academic, theatri­ Beau-Gosse Geraldo D'EI Rey (Hans-Juergen Pohland, Berlin) produc­ cal manner with repetitive scenes Reporter Roberto Ferreira tion. With Christian Doermer, Karen Involved in petty stealing, and Bianguernon and Vera Tschechowa. French-directed pic, with mixed bogging down the main comedy at odds with his family, the hero French and Congo thesps, pokes points. In short, the idea was good. A strong theme, expert handling Directed by Herbert Vesely. Screenplay, is prey to dreams of a singing and successful pacing make this Vesely, Leo Ti and Heinrich Boell (dia­ around *in a tale situated in the But it does not quite jell for arty logs), based on novel by Boeli- Camera, career. But he rarely gets away early Congo upheavals after in­ chances abroad. Mosk. 'an unusual Brazilian film with arty Wolf Wirth; music, Attila Zoller. At from his lawless ways, and drifts theatre chances abroad. It con­ Cannes Film Fest. Running time, 85 dependence to come up with a MINS. back to his old life by getting into film conventional in characteriza­ cerns a farmer whose vow to carry Walter Fendrich Christian Doermer a big smuggling racket. Ket Velirio A Pokolkan a cross into a church if his Ulia Wickweber Vera Tschechowa tion and forced in plotting. But Hedwig Muller Karen Bianguernon Director Lautaro Murua has this does have some okay action (Two Half Times in Hell) wounded donkey is saved leads been able to fill in lowlife aspects } (HUNGARIAN) him into becoming a cat's paw for footage for possible dualer or spe­ Have the Germans lost their without overcharging the film. cial use abroad on its locale and Cannes, May 22. various groups. This does not preach but shows Hungarofilm release of Hunnia pro­ knack for making good, interna­ theme. duction. With Imie Sinkovics, Dezso The man has lugged a heavy tional films? This question arises how poverty and listlessness can Claras. Directed by Zoltan Pabri. Screen­ cross 10 miles and arrives with after seeing "Bread of the Young lead these young boys down the Fleeing the troubles are two play, Peter Bacso, Fabri; camera, Ferenc his wife to find the church closed. white men, a white woman and Szecsenyi; editor, R. Szecsenyi. At Cannes Years." Herbert Vesely, former old criminal paths. Film Fest. Running time, 120 MINS. He has divided his land among maker of successful short features, Film has a density in character two Congolese. One man feels Dio Imre Sinkovics the poor and now awaits the was given the chance to direct that puts it a cut above such type cheated by losing all his business. Steiner Dezso Garas church opening. His wife is seduced the film without any compromise. films. Only drawback is a ten­ The white girl seems to have lost and he is not allowed in the church Artistic ambition was put above dency to do telegraph develop­ everything and wants only to leave. Tale of a work camp of political by the priest who has found he all. Vesely had one of Germany's ments. But it underlines a new They run into" all sorts of tribal and Jewish prisoners used by made his vow to a group of ma- top cameramen, Wolf Wirth, at his director in Lautaro Murua. It is conflicts and talk about politics Germans and Hungarians for cumba cultists. disposal. Heinrich Boell, Ger­ technically good. Mosk. and listen to the radio to fill the building in Russia during the last A cynical reporter uses the many's ace novelist, helped on the confused skein of events. The man war, this is an offbeat item that script." A group of young, uncon­ finally joins up with one side packs some punch. But it also is story to make hints about the man being a communist, since he gave ventional players was used for the while the girl decides to go back somewhat hampered by conven­ away his land. Crowds begin to cast. Selig Due in New Mexico to Europe after they have had a tional characters in this stark war collect. It grows into a sort of car­ try at love. film. It still has enough stuff for But the net result must be called Albuquerque, May 29. nival, with dancing, and a crucible disappointing. Vesely is a fine The 17th annual state convention Color is good and director Yves special spotting abroad but not spot for Brazilians facing such quite the depth for arty chances. technician. But he went overboard of the New Mexico Theatre Owners Allegret has given this some savvy problems as church disavowment with formalisms. His handling of Assn. will be held in Farmington, imagery. But he has been unable The Eastern Front German sol­ of Negro sects, fanaticism among the players is seldom felt. The N. M. on July 17-18. Bob Selig of to overcome the confused story diers need some diversion so a church people, minorities, etc. characters do not stir much inter­ Los Angeles, for National Theatres and stereotype characters. Actors match between the Germans and Director' Anselmo Duarte has est. As a consequence, the film and TV inc. is skedded as principal do acceptably. the Hungarian prisoners in soccer given this robust rhythm and built lacks warmth, and has a number speaker on opening day. This is a mixed-up affair and is planned when it is found a his symbols and statements on a of dull moments. Kelly Crawford, owner of the really more a French pic made in former international star is in­ solid visual basis. Acting is ac­ Plot concerns a young man who Allen Theatre in Farmington, is Africa than any example of a new terned. ceptable if overdpne at times. A ogives up his financially independ­ current president of the group and African surge of filmmaking. But Pic then shows how the team is battle with the police leads to the ent life. He breaks up with well- is making all convention arrange­ it does have a feel' for place and selected by the star player, the man's death and he is put on his to-do society of which he has be­ ments. manages to mirror some of the problem? involved and the game cross and carried into the church. come a member, to find himself Organization has about 150 mem­ early mixups of Congo independ­ itself, which ends in tragedy. An Mosk. back as his former self which he bers in the state. . .,, ence. ,, Mosk. • . .'• .:» • ,S(.:t.t h i« fftii] <)H' i-ii-hi >!ic: &