Word: technicolor
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Dates: during 1950-1959
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...There must be twenty thousand people trapped in there. They'll burn unless we get them out." There are at least 40,000, and the like of the fire that rolls over them has not been seen since David O. Selznick put the Technicolor torch to Atlanta in Gone With the Wind. As the victims race through the streets, they "topple and writhe in agony in the bubbling, flaming tar." But after four days and nights, the city of Harrington has the A-bomb licked...
...steals it and becomes what the title so stickily suggests. He hides the horse successively in a smithy, a barbershop, a ruined hacienda, a boxcar, a church. In transit, the camera takes the usual tourist shots of cactus, fiestas, religious processions, fireworks, cactus. They are all colorful, but the Technicolor looks as if it were printed on the back of an old tortilla...
...more at home in the acrobatics of his part than in its subtleties, and occasionally seems tempted to reach for a Tommy gun instead of a sword. Yet, like the others, he often responds to Director Mario Camerini's neat combination of archaic flavor and modern pace. Technicolor, deft costuming and set decoration help immeasurably in creating the dreamlike quality of mankind's heroic...
...Bogart plays his role pretty straight; Aldo Ray is disconcertingly elfin for an alleged sex fiend; and Ustinov's mugging seems overdone. Basil Rathbone and John Baer wander onscreen long enough to look properly villainous. Joan Bennett and Gloria Talbott add their pretty confusions to the artificial turmoil. Technicolor gives the picture a fairly handsome mounting, but nothing can rescue the story from too much talk and too little...
...tragicomedy of Katharine the Shrewd and Kate the Romantic is played out against the overpowering Technicolor backdrop of Venice. At first. Katharine is all businesslike competence: she industriously snaps photos, craftily measures out tips, keeps her basilisk eye fixed warily on the untrustworthy Italians. But then the Venetian magic begins; she throws open her pensione window to a vista of blue sky, green water and honey-colored walls. She walks along the canals, dazed by the murmurous dusk, by the majesty of campanile and palace, by the whisper of a distant guitar. Few actresses in films could equal Hepburn...