22 P ICTURES iKIETY Wednesday, May 30, 1962

Reviews at Cannes Festival Continued from page ( ;

l / A m o u r A Vlngt Ana paterni ty responsibility. Getting to know her he finds he loves the girl and accepts his readymade family. Acting is fresh, and Ophuls looms a new bright filmic talent.

Polski filmmaker Andrzej Wajda now looks at an ex-war hero who does a brave thing which brings him the brief love of a girl. But a t a party he is kidded by boys who are t ired of war tales and in­terested in themselves. There is a bite in this sequence, heightened by the bright beauty of Barbara Lass, the awareness of his unfit­ness among modern youth by Zbiginiew Zybulski. There is know­ing handling by director Wajra.

While the others manage to get a feeling for place and character, Renzo Rossellini's episode has the faults of sketchiness. A kept young man falls for a working girl but his hardbit ten mistress makes it clear that the boy can never leave the luxury she gives him. This can be sharpened a bit by cutting.

The Japanese is the most dra­matic one. An inhibited young worker suddenly turns to murder­ing women. There is a feeling and solid progression in the first part, bu t it loses balance in the sudden turn to murder.

This worldwide sketch produc­tion looms a worthwhile arty and playoff entry abroad. . Joe Levine's Embassy Pictures already has take"n it for the U.S. Georges Delerue has eoncocted a catchy tune sung in each lingo at the end of each sketch. Mask.

Harry Of K a m m e r l j en« r (Harry and His Valet)

\. (DANISH) Cannes, May 22.

nialto Film release of Christensen pro­duction. With Osvald Helmuth, Ebbe Rode, Gunnar Lauring, Henning Morit-aen, Lisa Ringheim. Directed by Bent Christensen. Screenplay, Christensen, Leif Panduro; camera. Kjed Arnholtz; editor, L. Mollera. At Cannes Film Fest. Running time, 104 MINS.

Harry Osvald Helmuth Fabrieius Ebbe Rode Eveque Gunnar Lauring Igor Henning Moritzen Magdalena Lisa Ringheim

Quaint look at human foibles, with a picaresque twist, this is somewhat too heavyfooted in its comedies to come off. The idea is-good and the mounting good-na­tured. But it tries too hard to be funny. Film looks like a likely Scandanavian and Germanic gam­bit, but limited for other spots except for some lingo situations.

A kindly, aging man inherits some money. Instead of allowing i t to give him security, he spends the coin to hire a valet. He has always wanted one and feels only this will bring him a certain love he has lacked. It changes his life and that of his only friends, two petty thieves. At the end the valet, who wants to work, but finds the noble classes have about disap­peared, gives the old man back the money paid him, and goes on working for him.

Film might have had more bite if handled properly. But all this is dished up in an academic, theatri­cal manner with repetitive scenes bogging down the main comedy points. In short, the idea was good. But it does not quite jell for arty chances abroad. Mosk.

Ket Velirio A P o k o l k a n (Two Half Times in Hell)

} (HUNGARIAN) Cannes, May 22.

Hungarofilm release of Hunnia pro­duction. With Imie Sinkovics, Dezso Claras. Directed by Zoltan Pabri. Screen­play, Peter Bacso, Fabri; camera, Ferenc Szecsenyi; editor, R. Szecsenyi. At Cannes Film Fest. Running time, 120 MINS. Dio Imre Sinkovics Steiner Dezso Garas

Tale of a work camp of political and Jewish prisoners used by G e r m a n s and Hungarians for building in Russia during the last war, this is an offbeat item that packs some punch. But it also is somewhat hampered by conven­tional characters in this stark war film. It still has enough stuff for special spotting abroad but not quite the depth for arty chances.

The Eastern Front German sol­diers need some diversion so a match between the Germans and the Hungarian prisoners in soccer is planned when it is found a former international star is in­terned.

Pic then shows how the team is selected by the star player, the problem? involved and the game itself, which ends in tragedy. An

attempted escape has them con­demned but German insistence has the game go on anyway. The cljeering fellow prisoners egg them on t o ' a victory which they know will still not al ter their executions. A deliriously happy group of pris­oners breaks onto the grounds and prompts a touchy German to shoot one, and starts a mass slaughter.

Director Zoltan Fabri has han­dled this with visual strength and framed a sort of parable on war as a sport. Film, however, has too many conventional types, even to a comedy relief bit. Plot allows too many side issues to sometimes obscure its dramatics. But this is solidly acted and technically im­pressive. It 's a contender for off­beat slotting. Mosk,

S*>ienta V«c#?s Siete (Seventy Times Seven)

(ARGENTINE) Cannes, May 22.

Araucania Films production and re­lease. Stars Isabel Sarli, Francisco Rabal, Jardel Filho; features Blanca Lagrolta, Jacobo Finder, Nelly Prono. Directed by Leopoldo Torre Nilsson. Screenplay, Dal-miro Saenz, Beatrice Guido Nilseon; camera, Ricardo Younis; editor, Oscar Lagomarsino. At Cannes Film Fest. Run­ning time, ft MINS. Cora Isabel Sarli Pascual Francisco Rabal Pedro Jardel Filho Madre Blanca Lagrotta Padre Jacobo Finder Duena Nelly Prono

Elemental tale is treated with a knowing imagery to make for a deceptively adventurous and re-vealingly dramatic tale. This looms as a definite Latin language bet for the U.S. on its surface quali­ties.

In an almost primitive Argen­tine outpost a comely girl with a scarred face works in a sporting house. A growing remorse leads to her fighting off a patron. Her past is seen in flashback.

It shows her as a resigned but shapely girl, working in a run­down roadhouse, who goes off with a sheepherder. There is a fugitive she saves, and an episode by a well.

Director Leopoldo Torre.Nilsson has given this a controlled visual unity and*'shows a solid outlook. So it emerges a sort of morality tale.

Isabel Sarli 's impassive face is well used as the pliant woman It is an offbeat affair and perhaps too divided in theme and treat­ment. This is a simple tale which has appeal for the homegrounds, with more chancy possibilities abroad. Mosk.

© P a g a d o r De P r o m e s s (The Given Word)

(BRAZILIAN) Cannes. May 22.

Oswaldo Massaini production and re­lease. With Leonardo Vilar, Gloria Mene-zes, Dionisio Azevedo, Gerlado D'El Rey, Roberto Ferreira, Othon Bastos. Directed by Anselmo Duarte. Screenplay, Duarte, Dias Gomes from play by Gomes; cam­era. Chick Fowle; editor, Carlos Coimbra. At Cannes Fjlni Fest. Running time, 90 MINS. Ze-a-L'Ane Leonardo Vilar Rosa Gloria Menezes Abbey Olavo Dionisio Azevedo Beau-Gosse Geraldo D'EI Rey Reporter Roberto Ferreira

A strong theme, expert handling and successful pacing make this

'an unusual Brazilian film with arty theatre chances abroad. It con­cerns a farmer whose vow to carry a cross into a church if his wounded donkey is saved leads him into becoming a cat's paw for various groups.

The man has lugged a heavy cross 10 miles and arrives with his wife to find the church closed. He has divided his land among the poor and now awaits the church opening. His wife is seduced and he is not allowed in the church by the priest who has found he made his vow to a group of ma-cumba cultists.

A cynical reporter uses the story to make hints about the man being a communist, since he gave away his land. Crowds begin to collect. It grows into a sort of car­nival, with dancing, and a crucible spot for Brazilians facing such problems as church disavowment of Negro sects, fanaticism among church people, minorities, etc.

Director' Anselmo Duarte has given this robust rhythm and built his symbols and statements on a solid visual basis. Acting is ac­ceptable if overdpne at times. A battle with the police leads to the man's death and he is put on his cross and carried into the church.

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Le Capora l Epiugle (The Hard Luck Corporal)

(FRENCH) Cannes, May 22.

Pathe release of Films Du Cyclope production. Stars Jean-Pierre Cassel; features Claude Brasseur, Claude Rich, Jean Carmet, Jacques Jouanneau, Mario David, Conny Froboess, O. E. Hasse. Directed by Jean Renoir. Screenplay, Renoir, Guy Lefranc from novel by Jacques Perret; camera, Georges Leclerc; editor, Rene Lichtig. At Cannes Film Fest. Running time, 103 MINS. Corporal' Jean-Pierre Cassel Pater CTaude Brasseur Ballochet Claude Rich Emile Jean Carmet Penche Jacques Jouanneau Erika Conny Froboess Voyager O. E. Hasse

Oldtime filmmaker Jean Renoir is right in his element in this tale of an escape-prone French soldier in a prisoner of war camp during the last debacle. It has a height­ened feel for human crisis and the need for action, leavened by ex­pert observation, to make this a film with art and general playoff chances abroad.

Film is handled lightly without any undue dramatics. There are well-blocked characters, the feel for t ime and place, and a verve and zest in dialog, imagry and playing. After the French defeat and armistice, thousands are still kept as prisoners while the war with England goes on.

The assorted French Internees gripe, protest, find easy niches or try to escape, as does the hero, Jean-Pierre Cassel. His many at­tempts usually end in failure ex­cept for a last try that gets him back to Paris. But then he is ready to go on and t ry to join the Free French Army in England.

Renoir easily breathes life into his people and situations. The corporal, appealingly played by Cassel, is disciplined severely after every escape and finally takes a sift berth with a shrewd friend who has worked out a system of com­fort. But a sudden rebelling against this setup when he realizes this is a form of evasion and cowardice, keeps him trying to escape again. It also leads to a bravado attempt by his chastened, slightly cowardly friend.

The Germans are mainly de­picted as simple soldiers and hu­man. But there is no whitewash intended. Renoir's generosity and tenderness, without any false sen­timentality or mawkisness, point up the idiocy of war as well as man's comportment in it. It i<$ sus­tained admirably. This is a deeply compassionate film and an enter­taining one.

Acting roles are expertly mould­ed by Renoir. The ease in style and technique give this a feel of timelessness in commenting on all wars and the men in it. It will inevitably be compared with his earlier prisoner-of-war film, "La Grande Illusion."

This rarely lets down and keeps up interest all the way: Right placement should get this plenty of ar t and general mileage on world screens. Mosk.

l i a s llnvt Dor Frneliei i •fan r e

(The Bread of the Young Years) (GERMAN)

Cannes, May 22. Atlas release of Modern Art Film

(Hans-Juergen Pohland, Berlin) produc­tion. With Christian Doermer, Karen Bianguernon and Vera Tschechowa. Directed by Herbert Vesely. Screenplay, Vesely, Leo Ti and Heinrich Boell (dia­logs), based on novel by Boeli- Camera, Wolf Wirth; music, Attila Zoller. At Cannes Film Fest. Running time, 85 MINS. Walter Fendrich Christian Doermer Ulia Wickweber Vera Tschechowa Hedwig Muller Karen Bianguernon

Have the Germans lost their knack for making good, interna­tional films? This question arises after seeing "Bread of the Young Years." Herbert Vesely, former maker of successful short features, was given the chance to direct the film without any compromise. Artistic ambition was put above all. Vesely had one of Germany's top cameramen, Wolf Wirth, at his disposal. Heinrich Boell, Ger­many's ace novelist, helped on the script." A group of young, uncon­ventional players was used for the cast.

But the net result must be called disappointing. Vesely is a fine technician. But he went overboard with formalisms. His handling of the players is seldom felt. The characters do not stir much inter­est. As a consequence, the film lacks warmth, and has a number of dull moments.

Plot concerns a young man who ogives up his financially independ­ent life. He breaks up with well-to-do society of which he has be­come a member, to find himself back as his former self which he

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finds gave him more freedom. He leaves everything behind, includ­ing his fiancee to start a new life with another girl. Film story thus depicts a rebellion against mater­ialism.

Despite the fact that pic is neither fish nof fowl, there is no doubt that it will lead to discus­sion. Ordinary cinema patrons are asked to show too much patience. Reportedly, the film has been sold to nearly a dozen countries. So a financial loss doesn't seem in­volved, which is some consolation for the courageous filmmakers.

Hans.

K o d a Derevia Hvli ltol«*liini

(When the Trees Were Big) (RUSSIAN)

Cannes, May 22. Mosfilm release of Gorki Studios pro­

duction. With Inna Goulaya, Youri Nikou-line. L. Kouraviev. Directed by Lev Koulidjanov. Screenplay, Nicolay Figou-rovsky; camera, V. Guinsbourg; editor, A. Afanassiev. At Cannes Film Fest. Run­ning time, »5 MINS. . Kouzma Youri Nikouline Nataeha Inna Goulaya Boy L. Konraviev Director''...'.; - - V. Choukchine

A gentle, tender tale of a Rus­sian drone who finally has his conscience awakened and decides to take his place in society, this is somewhat too sentimental to have much chance in most of the foreign market. However, it man­ages to sustain its mood, and it unveils a director with tempera­ment in Lev Koulidjanov and a disarming actress in Inna Goulaya.

A workshirker decides to pass himself off as a young pretty girl's father on collective farm. And he succeeds and lives off her only to bring her trouble.

But he finally tells her the truth , and she will not believe him. So he decides to stay on. All this is tastefully handled and it even gently pokes fun at bureaucracy. The listless worker is made to assume his responsibilities through love ra ther than flag-waving.

The imagery is clear and the playing fresh. It is a plus mark for the production that it manages to keep interest alive and build up the characters despite its tele­graphed aspects. Another mark in the thawing Russo cinema where individuals are becoming almost as important as the collective.

Mosk.

Alias Garde l i to (Alias Bip Shot)

(ARGENTINE) Cannes, May 29.

Rio Negro production and release. With Tonia Carrero, Walter Vidarte, Alberto Argibay, Lautaro Murua, Nora Palmer. Directed by Lautaro Murua. Screenplay, Bernardo Kordon. Augusto Roa; camera, Oscar Melly; editor, Saulo Benavente. At nCanes Film Fest. Run­ning time, 90 MINS. Toribio Walter Vidarte Wife Tonia Carrero Boss Lautaro Murua Friend Alberto Argibay Girl Nora Palmer

The rise and fall of a petty hood­lum is given an extra dimension in this modest but effective pic. Yet there is not enough bite and originality to make for arty chances abroad even though it does possess possibilities for language situa­tions.

Involved in petty stealing, and at odds with his family, the hero is prey to dreams of a singing career. But he rarely gets away from his lawless ways, and drifts back to his old life by getting into a big smuggling racket.

Director Lautaro Murua has been able to fill in lowlife aspects without overcharging the film. This does not preach but shows how poverty and listlessness can lead these young boys down the old criminal paths.

Film has a density in character that puts it a cut above such type films. Only drawback is a ten­dency to do telegraph develop­ments. But it underlines a new director in Lautaro Murua. It is technically good. Mosk.

Selig Due in New Mexico Albuquerque, May 29.

The 17th annual state convention of the New Mexico Theatre Owners Assn. will be held in Farmington, N. M. on July 17-18. Bob Selig of Los Angeles, for National Theatres and TV inc. is skedded as principal speaker on opening day.

Kelly Crawford, owner of the Allen Theatre in Farmington, is current president of the group and is making all convention arrange­ments.

Organization has about 150 mem­bers in the s tate . . . , ,

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I.© Cr ime Ne P a l e Paa (Crime Does Not Pay) (FRENCH—'SCOPE)

Cannes, May 29. Under release of Transworld-Cosmaa

Film production. Stars Edwige Feuillere, Gabriele Ferzetti, Michel Morgan, Annie Girardot, Christian Marquand, Pierre Brasseur, Danielle -Darrieux, Peretta Pradier. Richard Todd. Directed by Gerard Oury. Screenplay, Oury, Paul Gordeaux, Jean-Charles Tacchela, Jean Aurenche, Pittfe Bost, Henri Jeanson, Rene Wheeler, Boileau-Narceja,c, Jacques Sigurd, Frederic Dard: camera, Christian Matras; editor, R. Dvjyre. At Canne*. Film Fest. Running time. 150 MINS. Lucrezia Edwige Feuillere Chevalier Gabriele Ferzetti Jeanne • Michele Morgan Gabrielle Annie Girardot Martin Pierre Brasseur Louis Christian Marquand Lucienne Danielle Farrieux Helene Perette Pradier Soldier Richard Todd -

Still another sketch pic with a clever connecting link of a man about to commit a crime seeing a film on the same subject. It has a bevy of stars and some okay stories based on famous crimes. Sketches -are uneven but this production emerges a solid playoff item if seemingly not quite of arty house calibre.

A man goes to see a film called "Crime Does Not Pay." From this, three sketches are worked out. Then his machinations make u p the fourth episode.

First, located in 15th Century Venice concerns the revenge of an aging mistress on her lover who deserts her. She is in turn avenged by the murdered lover's flame. Operatic and static, the main plus values are the Venice color and smart costuming.

Another is a tale of political in­tr igue in 19th Century Fnance when an ^attempt to blackmail a progressive public figure (by trumping up a vile story about his wife) ends in her killing the black­mailer and being vindicated by courts. It is properly melodramatic.

The third shows the best inven­tiveness. I t as a conniving wife persuading her husband to knoek off her lover, then doublecrossing him by having him arrested so she can have a new romance, he r doc­tor. But the husband had prepared poison in the wine for the lover, and the wife and doctor acciden­tally drink it.

Last is a plodding one about a husband's complicated at tempt to murder his wife.

Players all do adequately in the i r short stints with comic Louis De Funes a standout in a brief bit a s a doubletalking waiter. Director Gerard Oury has been unable t o get the r ight suspenseful flair in to these tales based on t rue stories. But there are enough twists, name actors and production values for good re turns in regular situations.

Mosk.

K o n g a Y o (Unite, Congo)

(CONGO-COLOR) Cannes, May 22.

Ekebo- Films production and release. Stars Roger Pigaut, Nicole Courcel; fea­tures Jean Lefebvre, Sophie M'Bali, Guy Dikolo, Paul Kantole. Directed by Yvea Allegret-. Screenplay, Rene Wheeler, Jacques and Francois Gall, Allegret; camera (Eastmancolor), Henri Persin; editor, Maurice Serein. At Cannes Film Fest. Running time, 108 MINS. Marie Nicole Courcel Georges Roger Pigaut Jean , Jean Lefebvre Angele Sophie M'Bali Sylvain Guy Dikolo Timotee . Paul Kantole

French-directed pic, with mixed French and Congo thesps, pokes around *in a tale situated in t he early Congo upheavals after in­dependence to come up with a film conventional in characteriza­tion and forced in plotting. But this does have some okay action footage for possible dualer or spe­cial use abroad on its locale and theme.

Fleeing the t roub les are two white men, a white woman and two Congolese. One man feels cheated by losing all his business. The white girl seems to have lost everything and wants only to leave. They run into" all sorts of tr ibal conflicts and talk about politics and listen to the radio to fill t h e confused skein of events. The man finally joins up with one side while the girl decides to go back to Europe after they have had a try at love.

Color is good and director Yves Allegret has given this some savvy imagery. But he has been unable to overcome the confused story and stereotype characters. Actors do acceptably.

This is a mixed-up affair and really more a French pic made in Africa than any example of a new African surge of filmmaking. But it does have a feel' for place and manages to mirror some of t he early mixups of Congo independ­ence. ,, Mosk.