The chief reference librarian for a radio-TV network (Katharine Hepburn) tangles amiably with a “methods engineer” (Spencer Tracy) who installs an electronic brain to improve efficiency in her department. The Broadway comedy of two seasons ago has been turned into a somewhat draggy but pleasant movie.
The two leading players, a bit weatherbeaten but still deft and charming, work engagingly together.
THE GARMENT JUNGLE: Two
or three individual scenes imbued with harsh newsreel clarity fail to atone for the steamy melodrama of this story. Starring Lee J. Cobb, Kerwin Mathews and pneumatic import Gia Scala, it deals with unethical tactics (two murders) used by union busters to stop labor organizing in New York’s dress industry.
HIGH TIDE AT NOON: Nova Scotia is again the setting for a British film by the writer (Neil Paterson) and the director (Philip L.eacock) who helped make 1954’s The Kidnappers so memorable. But their new effort is not nearly so impressive. It tries awkwardly to deal with the hard facts of lobster fishing and to dramatize a soap-operatic romantic triangle. With Alexander Knox, Betta St. John, Michael Craig, Flora Robson.
THE MAN WHO TURNED TO STONE: There haven’t been many worthwhile science-fiction thrillers in recent months, The Incredible Shrinking Man being the best of the crop. The present specimen is a silly, halfhearted fantasy about some eighteenth-century scientists who keep postponing death by draining off the “biolectrical energy” of the young women prisoners they kill.
THIS COULD BE THE NIGHT: Although heavily in debt to the late Damon Runyon for its world of warmhearted hoodlums, this is a brisk and beguiling comedy. It tells of a sweet little schoolteacher (Jean Simmons) who takes a spare-time job as the boss’s secretary in a raucous night club. Paul Douglas and an interesting young newcomer, Anthony Franciosa, arc the partners who fall under her spell.
THE WAY TO THE GOLD: The old, old story about an ex-convict (Jeffrey Hunter) who knows where a stolen fortune is hidden. In this case the tediousness of the narrative is occasionally relieved by a gallery of interesting minor characters.
GILMOUR’S GUIDE TO THE CURRENT CROP
Abandon Ship!: Drama. Fair.
The Baby and the Battleship: Navy comedy. Good.
Bachelor Party: Drama. Good.
Boy on a Dolphin: Treasure-hunting comedy-drama. Good.
Brothers in Law: Comedy. Good.
The Buster Keaton Story: Biographical comedy-drama. Fair.
Checkpoint: Road-race drama. Fair.
Confidential Report: Mystery. Poor.
Designing Woman: Comedy. Good.
Doctor at Large: Comedy. Good.
Edge of the City: Drama. Good.
Fear Strikes Out: Drama. Good.
Full of Life: Comedy. Good.
Funny Face: Musical. Excellent.
The Gold of Naples: Italian multistory comedy-drama. Good.
The Great Man: Drama. Excellent.
Gunfight at the OK Corral: Western. Good.
The Happy Road: Comedy. Good.
Hot Summer Night: Crime drama. Fair.
House of Ricordi: Italy opera festival. Dull story; fine singing.
House of Secrets: Crime drama. Fair.
The Incredible Shrinking Man: Sciencefiction thriller. Excellent.
Joe Butterfly: Comedy. Fair.
The Killing: Crime drama. Excellent.
The Little Hut: Comedy. Poor.
Love in the Afternoon: Comedy. Good.
Maddalena: Drama. Fair.
Men in War: War drama. Fair.
The Monte Carlo Story: Romantic comedy-drama. Fair.
Paris Does Strange Things: Romantic comedy. Poor.
Public Pigeon No. 1: Comedy. Poor.
The Rainmaker: Comedy-drama. Good. The River’s Edge: Action. Fair.
The Silent World: Undersea true-life drama in color. Tops.
Silk Stockings: Musical. Good.
The Spanish Gardener: Drama. Good. The Spirit of St. Louis: Biographical aviation drama. Good.
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