Hatari! (1962) ***

What this movie needed was Cinerama. That format blended exotic locale and thrills. The Tanganyika setting and jeeps belting across uneven terrain to capture myriad wildlife provide the two required elements. But the rest of the film struggles to keep up.

Here Howard Hawks combines his two most common themes, a group of men stuck together facing an unusual task and a battle of the sexes. But without the tension of an upcoming gunfight (Rio Bravo, 1959) or bizarre romantic comedy contrivance (Bringing up Baby, 1938), it falls short of the director’s highest standards. But as he set such high standards, virtually anything would.

Paramount went the extra mile on this one, producing, in addition to the normal pressbook, a special “Care and Handling Manual” such as had previously accompanied Psycho. This was a week-by-week breakdown of marketing activities – from arranging a John Wayne hat tie-up, to getting record stores and bookshops to prepare window displays, stencilling paws on the ground leading to the cinema and organising permits for a safari-parade on opening day. There was a tie-in with Jeep and the movie was a natural for involvement with schools and kids

The original concept intended to pair Clark Gable and John Wayne so that might have produced better results. Setting aside the gripe of the unlikely romance between a young Elsa Martinelli (rather than a mature Maureen O’Hara) and the ageing Wayne, this remains highly entertaining and a thrilling ride. Watching the actors do their own dangerous stunts, bouncing over potholes and battered in trucks moving at high speed, holding on for dear life (Wayne as the catcher unprotected on the outside)  as the vehicles swerved and twisted, the thunder of hooves, confronting extremely dangerous and extremely wild animals such as rhinos, makes up for other deficiencies.

Martinelli does not quite have the zap of a Hepburn or Monroe but does well as the photographer infiltrating a male enclave and her bonding with the baby elephant (triggering Henry Mancini’s “Baby Elephant Walk” theme) steals the picture. A pet leopard also provides a decent riff on the girl-in-the-bath number. Quite a number of plot lines are worked in to give actors of the calibre of Hardy Kruger something to do and to stretch the likes of Red Buttons who is rarely given any decent dramatic material.

In quite a different role, Wayne, for once not called upon to save the day, gives a good performance. Not only do they not make them like that anymore, they wouldn’t be allowed to make them like that these days, notions about working with animals (though none were harmed) much changed.  

      

The Big Gamble (1961) ***

If only there had been some serious money put behind this picture it would have been an absolute cracker, custom-made for the likes of Cinerama which didn’t go down the dramatic route until a few years later. It’s a bit “Hell Drivers Goes to Africa” but with some really quite stunning sequences.

Whatever French chanteuse Juliette Greco had to offer on stage and in a personal capacity – lovers included Miles Davis and this film’s producer Darryl F. Zanuck – never seemed to translate to the screen and the most we get is a kind of tomboyish perkiness.

It’s a medium-grade cast, the lead taken by Northern Irishman Stephen Boyd (here playing a Dubliner) hot at that time from coming straight off a supporting role in Ben-Hur and who would be hot at various times during his short-lived career (he died at 45) while equally never making the transition to major star. David Wayne (The Three Faces of Eve, 1957) is the sad sack brother who joins the other two in a bold plan to set up a haulage business on the Ivory Coast in Africa.

The opening sequence demonstrates the dreary Irish life Boyd is trying to escape with a sparkling cameo from Sybil Thorndike as the family matriarch before the African sequences kick in. Apart from scenes shot at Ardmore Studios in Bray, Ireland, the rest is clearly filmed on pretty dangerous locations if the unloading of a lorry onto what looks like little more than a large canoe is anything to go by.

After an unpromising start, the intrepid trio (well, two are bold, Wayne is not) set off into the wilderness. There are two edge-of-the-cliff sequences that would have The Italian Job fans frothing at the mouth, a runaway lorry in the best Cinerama tradition and an astonishing section crossing a swollen river where clearly the actors did their own stunts. In between we have snippets of genuine Africa, especially canoeists braving the surf and an African funeral party.

Emotionally, beyond Boyd sticking out his chin as much as possible, the main drama focuses on fraternal rivalry with Wayne trying to pull himself together in the face of a mission he believes doomed to failure. Directed by the underrated Richard Fleischer, best known for 20,000 Leagues under the Sea (1954), Compulsion (1959) and later The Boston Strangler (1968) and here with some help from Elmo Williams, it has a decent enough script from novelist Irwin Shaw (The Young Lions).

All-in-all this tight little film more than does justice to its miserable budget with some genuinely exciting sequences.   As a wee bonus, if you listen hard to Maurice Jarre’s score you will hear strains of some themes that turned up in Lawrence of Arabia.