ABBOTT & COSTELLO IN THE FOREIGN LEGION: Only once or twice does this loud Algerian farce recall the robust flavor of the partners' first big hit ("Buck Privates," 1940). Reconmmended, though, for juveniles and other A & C addicts.
THE BLACK ROSE: Tyrone Power, as a 13th-century English adventurer, survives Mongolian tortures and wins the approval of his Norman masters. Fullblown, lavish and rather tedious heroics.
THE BLUE LAMP (British): A
warmly human, unpretentious yarn about the murder of an affable London policeman. The many amusing incidents are part and parcel of the story, not lugged in for "comic relief."
FANCY PANTS: Not as hilarious as "The Paleface," but still one of the best of the Bob Hope comedies. This time he’s an American ham actor impersonating an English nobleman in New Mexico. Lucille Ball, as a western gal, is both decorative and diverting.
THE FURIES: Highfalutin' cow-country sex and violence in the same vein as "Duel in the Sun." The rotund dialogue is uttered by the late Walter Huston and others worthy of better material.
MYSTERY STREET: You won't find any box-office champions in the lineup, but this is one of Hollywood’s finest efforts in the field of Homicide Squad drama. Elsa Lanchester, as a furtive landlady, is practically unforgettable.
THE RELUCTANT WIDOW (British): A couple of naughtily droll moments fail to atone for a couple of hundred dull
ones in this cloak-and-sword boudoir fable about Napoleonic spies in John Bull's island.
STELLA: An occasionally lively comedy about a dead drunkard's kinsmen, who want his insurance but can't remember where they secretly buried his remains. A conventional courtship (Ann Sheridan vs. Victor Mature) merely blunts the edge of the fun.
SUNSET BOULEVARD: A witty, caustic but compassionate scandal-yarn about a faded Hollywood queen and the cynical young writer whom she corrupts and kills. For grown-ups, a truly absorbing item.
THEY WERE NOT DIVIDED (British): There is a decent sense of AngloAmerican understanding in this wellintended chronicle of the Guards Armored Division but story and the characterizations are disappointingly shallow.
THE TITAN: A beautiful and profoundly stirring record of the life and works of Michelangelo. By any conceivable standard a filmic masterpiece.
THREE LITTLE WORDS: Not a bad little Tin Pan Alley musical, but not a very good one, either. Fred Astaire dances gaily, and Red Skelton’s clowning is more subdued than usual. VeraEllen is an excellent hoofer, but her "acting" is something else.
WINCHESTER 73: The activities of a seductive showgirl (Shelley Winters) are wisely subordinated to those of James Stewart and several tough adversaries, all hellbent after a valuable repeater rifle. A good western.
GILMOUR RATES —
All the King’s Men: Drama. Excellent. Annie Get Your Gun: Musical. Good. Asphalt Jungle: Crime. ExcellentBig Hangover: Legal comedy. Fair.
Chain Lighting: Air action. Fair. Cheaper by the Dozen: Comedy. Fair. Chiltern Hundreds: Comedy. Good. Cinderella: Fantasy. Excellent.
City Lights (re-issue) : Comedy. Tops. Comanche Territory: Western. Good. Curtain Call at Cactus Creek: Western show-business comedy. Good. Duchess of Idaho: Musical. Fair. Father of the Bride: Comedy. Good. Francis: Military farce. Fair.
Glass Mountain: Opera drama. Fair. Golden Twenties: Historical. Good.
Good Humor Man: Slapstick. Fair. Great Jewel Robber: Crime. Fair. Guilty of Treason: Drama. Fair. Gunfighters: Ironic western. Fair.
Hasty Heart: Tragi-comedy. Good.
In a Lonely Place: Suspense. Fair. Intruder in the Dust: Drama. Good. Johnny Holiday: Boy drama. Fair.
Key to the City: Love comedy. Fair. Kind Hearts and Coronets: Comedy and murders. Excellent for adults.
Lady Without Passport: Drama. Poor.
Lost Boundaries: Racial drama. Good. Louisa: "Gay grandma" comedy. Fair. Love Happy: Marx Bros, farce. Fair. Man on Eiffel Tower: Suspense. Fair.
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