Word: camera
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Dates: during 1950-1959
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...camera, once so skillfully used in the "art" film to delineate character and expression in a drama of everyday people, uses here only squalid scenery and degenerate characters for the dramatic value of the shock they may still contain. If the dialogue is as bad as the subtitles, it is bad indeed. The acting is barely competent; also quite stock are the devices of Director Marcel Blistene...
...direction is in the old epicstyle, much like the famous fist-flinging style of Bogart himself. After Bogart shoots his buddy, he sits by the fire and wonders if he has a conscience, and the camera pans down and the flames fill the whole screen. There is a goodly quantity of classic cowboy-and-Indian manuevers and physical violence but never does it seem like plot filler. Also greatly contributing is Max Steiner's fine, taut, musical score...
...Shawn, a flabby 66, did a conversational pas de deux for NBC's Wisdom. Though the long-married, long-separated ancients displayed some vigorous dancing form-"Miss Ruth" can still kick up a ripply Oriental routine-they were liveliest when kicking TV. Shawn on TV choreography: "The cameras are so nervous they're always coming up under the girls' skirts or having wind machines or closeups. The camera ought to stay in one spot and let the dancer have his day." Said silver-haired Ruth: "I'm green with envy at the space TV gives...
...plot is still fresh and Greene enough. The two young leading players (Robert Ivers and Georgann Johnson) are less than sensational, but they show enough talent and training to make the early Ladd and Lake look comparatively sad. And Director James Cagney, in his first appearance behind the camera, manages to beauty-spot a few of the bare places with some characteristic Cagney touches...
...that promises a good deal more than the picture delivers. There lies Brigitte, stretched from end to end of the CinemaScope screen, bottoms up and bare as a censor's eyeball. In the hard sun of the Riviera her round little rear glows like a peach, and the camera lingers on the subject as if waiting for it to ripen. Pretty soon an aging lecher (Curt Jurgens) appears, and the two converse with only a sheet between them...