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LIBRARY

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https://archive.org/details/filmbulletin196331film

BULLETIN

OiDinion or tlie Indmstry

JANUARY 7, 1963

PAY-TV AND
THE PUBLIC

Exhibitor Mike Blank Takes
The Feevee Issue to the People

TEN BEST' LISTS

Are Thetj Sign if ican t
#V> the Industry ?

eviews

DIAMOND HEAD
TO KILL A MOCKINGBIRD
DAVID AND LISA
IN SEARCH OF THE CASTAWAYS
THE PASSWORD IS COURAGE
THE GREAT CHASE
ELECTRA
NO EXIT
NIGHT IS MY FUTURF

OFF TO A TREMENDOUS START AT THE VOC

1

IT IS DIFFERENT.

IT IS DARING. MOST

OF ALL. IN ITS OWN

TERRIFYING WAY, IT IS
A LOVE STORY...

• ,4

(liATRE, LOS ANGELES...

THEY WILL
LEI HIM UP
SOON AND
HE WILL LOOK
FOR HIS WIFE
AND HE MAY
PRAY-THAT HE
DOESN'T FIND
HER...

'STOP SCREAMING,
MR. CLAY,
NOBODY'S
CHASING
YOU.
STOP

SCREAMING."

jacK Lemmon and tee RemiCK

jacic Lemmon
Lee RemiCK

"DAYS OF

wine ano

Roses"

m km bw>

m>hiu: wm* uwmtMie au«(DwfflL. «m>ki

"oavs of wine ano Roses"

IT IS DIFFERENT. IT IS DARING.
MOST OF ALL. IN ITS OWN TERRI-
FYING WAY. IT IS A LOVE STORY.

mS,W ITS OWN TERRIFYING WfflT, IS A LOVE STORY.

A MARTIN MANUllS Production • HENRY MANCINI • JP MILLER ■ MARTIN MANULIS ■ BLAKE EDWARDS ■ WARNER BROS I

Hfying way, is a love story... r» ■ —

Two of the most startling performances you have ever teen in the mo$t shattering en
tainmcnt experience you have ever known! Academy Award talk has already begun

nmon ano tee RemiCK
avs of wme ano noses

ft

IT IS DIFFERENT. IT IS DARING.
MOST OF ALL, IN ITS OWN TERRI-
FYING WAY.IT IS A LOVE STORY.

"I

if

IIWIWIUNULSPixtuclKxi «..Bl»f fWHRDS — » JP Ml'fR R
••..UtfllNUMUlG a.»«MVIWCN M.WtfKflKEI

ACADEMY AWARD TALK HAS ALREADY BEGUN...
AND LEE REMICK IN "DAYS OF WINE AND ROSES"

NEXT ATTRACTION, RADIO CITY MUSIC HALL

METRO - GOLDWYN - MAYER

A STRANGE
AND

COMPELLING
STORY

In these days of
man's inhumanity |
to man, its
haunting theme
will not soon
be forgotten,
for it proves
that all men,
no matter
how different,
have one thing
in common
...their
humanity!

;miah PERSOFF ENRIQUE MAGALONA _

JtGE S EATON Produced by WILLIAM PERLBERG • Panavisioii ■

What They'te Mini About

□ □ □ In the Movie Business □ □ □

BIDDING FOR 'CLEO'. Operators of first-run,
and, particularly, choice hard-ticket situations
are being invited into N. Y. to meet with
20th-Fox officials to bid on "Cleopatra".
They are being advised that the picture will
be ready by June 1. Terms that will be
considered involve, as might be imagined,
the highest "front-money" guarantees in the
industry's history. The bidding is bound to be
stiff, and you can count on 20th having in
its till something in the neighborhood of some
$20 million before "Cleo" plays its first date.

ACE & ECA. All members of exhibition-
financed A.C.E. Films, Inc. appear eager
to provide funds to Max Youngstein's new
Entertainment Corp. of America operation, but
cannot decide on modus operandi for
collaboration. Feeling among theatremen
who put money into A.C.E. is that Youngstein
outfit is best equipped to get production
rolling, but some are unwilling to give him
carte blanche he asks. Others insist that
ACE money will stay idle and useless to
product-starved theatres unless bold decision
is made to go along with ECA. Immediate
outcome is likely to be agreement to finance
picture-by-picture deals Youngstein lines up.
Meanwhile, he already has three films
in work and expects to have them ready
for release by June.

■

CURRENT B. O. The important boxoffice
news is being made these days by the following
attractions: "The Longest Day", displaying
the strongest "legs" of any of the hard-ticket
shows now extant; "Lawrence of Arabia",
powerful in its few engagements thus far;
"Gypsy", a surprisingly sock money-maker;

"Taras Bulba", drawing the mass audience
en masse; "Mutiny on the Bounty", while not
sensational, shows firm staying power in
roadshow houses; Disney's "Castaways",
strong outside of the metropolitan cities;
"Barabbas", disappointing in its early
hard-ticket try-outs, hitting big figures at
popular admission scale.

FILMS ON TV. The ire of exhibitors is
rapidly rising about the flow of relatively
recent and important features to the TV
networks for showing at prime hours on
Saturday and Sunday evenings. They claim
that the practice is costing theatres hundreds
of thousands of dollars — and the film
companies their share of that amount — every
weekend. Pressure is increasing for the
two national exhibitor organizations to do
something concrete about the situation,
but no one has yet come up with a
practical solution.

■

M-G-M FINANCES. We hear persistent reports
that M-G-M's financial picture thus far in
the current fiscal year has not improved
as much as was anticipated by management.
Theatres report grosses on several Metro
releases are running below expectations, and
the company may rush its second Cinerama
feature, "How the West Was Won", into release
a bit earlier than planned to fatten the income.

PUBLIC AND PAY-TV. A private survey
made for Film BULLETIN in Etobicoke and
in Hartford reveals deep apathy on the part
of the general public about the pay-TV
experiments being conducted in both the
Canadian and the U. S. testing grounds. Even
many of those who have subscribed to feevee
in both towns show little interest and make
only minimal use of the service offered.
Cancellations in Etobicoke run high.

Page 6 Film BULLETIN January 7, 1963

Aewpotnts

JANUARY 7, 1963 / VOLUME 31, NO. 1

Exhibitor

The opinion has been expressed
many times on this page that the-
atremen and others who are in the
forefront of the fight against pay-
TV should carry the issue to the
people of the United States, for it
is they who will sit as the judges
in the ultimate forum to decide
feevee's fate. Myron N. Blank, the
prominent mid-western exhibitor,
wisely took that step by address-
ing his views in a letter to the Des
Moines Register (circulation 600,-
000), which carried it under a
headline, "Pay-TV Cited as Threat
To U. S. Set Owners". The letter
has been circulated to its mem-
bers by the TO A.

We compliment Mr. Blank for
striking this vital blow at the plans
of the feevee promoters to sell
their bill of goods to the American
public, and urge other theatremen
to pursue the course he adopted
by writing his letter, which ap-
pears below. -The Editor.

* * *
To the Open Forum Editor:

I read with interest the article on
pay-TV that appeared in This Week
Magazine on Dec. 2, and I fear that
this glamourized article does not truly
point out what can happen to the
American public.

Pay-TV promises to bring to the
listening audience culture and enter-
tainment that otherwise could not be
seen. This is a hoax that can cost the
public billions of dollars! Today many
millions are being spent to prepare the
people for this by those who will profit
by it. It is obvious that this article was
sponsored by a public relations office
representing one of these companies.

I'm sure pay-TV can bring only a
few programs other than those received
today; and, in time, the public would
be forced to pay for what they are
today receiving free.

For example, this article points out

Bach at Phony Feevee

that, of the 50 million sets, if only 15
million paid a dollar to see a program
the sponsors would collect $15 million.
Last October, some 20 million sets
were tuned to the World Series and
the teams were paid less than a half
million for the right to broadcast.
Could anyone "conceive that the base-
ball clubs would not immediately go
the route of pay-TV and you would no
longer have your present programs
without having to pay for them? If
you dont care for baseball, relate the
same story to the Bears' football game,
or just any sports. The same is true
in a lesser degree of your Bernstein
program or any great two-hour spec-
tacle.

You ask, if this money grab is on,
why doesn't the Federal Communica-
tions Commission do something about
it? And, isn't it strange that they are
behind it? It isn't strange at all, if you
look at the air wave spectrum allocated
for television. The commission in 1949
made a serious error in intermingling
U. H. F. stations and V. H. F. stations
in the same market, which resulted in
only 5 per cent of the stations being
U. H. F. These ultra high frequency
bands have room for two to three
thousand stations, which just are not
being used.

This has created so much concern for

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations. Inc. Mo Wax, Editor and Publisher.
PUB LI CATION -EDITORIAL OFFICES: 123? Vine
Street, Philadelphia 7, Pa., LOcust 8-0950. 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manager; Max Garelick,
Business Manager; Robert Heath, Circulation
Manager. BUSINESS OFFICE: 550 Fifth Ave-
nue, New York 36, N. Y., Circle 5-0124;
Ernest Shapiro, N.Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
S3. 00 in the U. S.J Canada, $4.00;
Europe, $5.00. TWO YEARS, $5.00 in
the U. S.; Canada, Europe. $9.00.

the Communications Commission that
it prevailed upon Congress to require
all television sets being manufactured
in 1963 and thereafter to have built-in
equipment to receive U. H. F. stations.
From now on, you will have to pay
more for sets because of this law, which
came about because of the basic error
made in 1949 by the commission.

The commission is going to do what-
ever it can to see that all channels are
used whether they be for pay or free.
Again, you might ask, why? Whether
we know it or realize it, the government
is controlling and wants to control as
much power as possible and each com-
mission is anxious to make its area of
control more important.

Can you imagine the power in a
commission when it controls some
2,500 television stations and they in
turn can sell to 50 million set owners
for a dollar per program, which would
mean as much as $8 per day per set?
Simple arithmetic shows that the public
would pay some 400 million a day, or
billions annually to receive nothing
much better than they now get for free.

The public will realize this great
financial hoax, which is being subtly
sold to the American people, some
time and Congress will pass a law
preventing television air waves from
being used for a personal profit.

This area of the broadcasting spec-
trum belongs to the people and they
should not be charged for anything re-
ceived through it. Many thinking or-
ganizations realize this; and pay-TV is
being opposed by the C. I. O.-A. F. L.,
American Legion, the Catholic and Jew-
ish War Veterans, the Theatre Owners
of America as well as many other
opinion-making national organizations.
— Myron N. Blank, president. Central
States Theatre Corp., Paramount Build-
ing, Des Moines.

Film BULLETIN January 7, 1943 Page 7

2Qth's FIRST

•••••<

m

A

I PREMIERE
I SHOWCASE

TRACTION

Opening In The Finest Theatres In The Land-
Backed By A New Concept In Merchandising!

■

ail

Y OF THE CITIES THAT COMMITTED THE SIN OF SINS...
AND INVOKED THE RAGE OF HEAVEN AND THE WRATH OF GOD!

SODOM AND GOMORRAH starring STEWART GRANGER • PIER ANGELI ■ STANLEY BAKER ■ ROSSANA PODESTA • RIK BATTAGLIA • GIACOMO ROSSI
STUART • ANOUK AIMEE • Produced by GOEKREDO LOMBARDO • Directed by ROBERT ALDRICH ■ Music by MIKLOS ROZSA • Executive Producer MAURIZIO
LODI-FE • Color by DELUXE • A TITANUS PRODUCTION • A GOFFREDO LOMBARDO and JOSEPH E. LEVIN E PRESENTATION ■ Released by 20th CENTURY-FOX

WHAT A PITY THE FICTION HAS GONE OUT OF SCIENCE

Science-fiction has been one of the
profitable staples in the industry. The
question that now pops up is whether
the scientists have accomplished most
of the things that the movies use to
present as science-fiction. Hollywood
for many years has taken us to the
moon, Venus, Mars, and to the bowels
of the earth.

In the field of biology, our imagin-
ative craftsmen have turned animals
into men and vice-versa. In fact, there
is hardly any field of the sciences that
has not been conquered by the late
Charles Laughton (in his early days),
Boris Karloff and the late Bela Lugosi.

The scientists now probing the origin
of life through intensive studies of the
protein nuclei known as DNA should
really take a look at some of the old —
not the new — Universal pictures and
learn a thing or two about synthesis
and aminic acids.

It was our custom, both the profes-
sionals and the laity (meaning the cus-
tomers), to laugh at this sort of thing.
But now that the PHD's have finally
caught up with us we may look proudly
at all the research that went into our
laboratory designs and our smoky test
tubes.

In the realm of the psychic, did not
our boys, long before the word schizo-
phrenic became idiomatic, change Dr.
Jekyll into Mr. Hyde right before your
eyes — provided we had the courage to
gaze upon this diabolic transformation.

Mr. Eric Johnston, who sets forth the
case of the movies by trying to prove
that they are our country's number one
agent in presenting the American way
of life to the world, has unfortunately
overlooked the fact that we have been
the harbingers of adventures into space.
We have even presaged the doomsday
in a frightening spectacle by H. G.
Wells which showed the way to atomic
warfare.

The paying customers who came to
be entertained by these pastiches of
miraculous feats little realized in the
past forty years that they were going to
live through all these technological rev-
elations that the movies, thanks to those
ingenious special effects lads, demon-
strated those many years ago.

It seems to me that the Academy of
Motion Picture Arts and Sciences may
take a bow for more sciences than arts.
As a recommendation to the Academy
for this year's "Oscar" telecast, I urge
them to highlight the award for special
effects by re-introducing some of those
marvels that go way back into the be-
ginning of sound. It would provide a

lie tfcoxeui

ADAM WEILER

highly diverting visual episode in the
show.

But all of the above really comes
down to the sad point that so much
accomplishment of late in the field of
real science (as opposed to our pseudo-
prophetic brand) means that we are
"done in" as far as making much more
mazuma on science-fiction themes. There
just ain't any fiction in science anymore.
We will have to move ahead with those
poetic syndromes of boy and girl.
0 0

Now that we are getting nearer to
the annual Academy Awards, it is good
to know that the Academy has again
officially pronounced its hope that
the aspirants will restrain their passion
for their own accomplishments and ad-
vertise with dignity and appropriate
modesty their messages to the member-
ship of the Academy. It seems that for
some years the orgy of ballyhoo pre-
ceding the nominations and the award
voting have outdone anything that
might have been considered blatant by
Mr. Barnum.

The Academy, in my opinion, has the
wrong slant on these matters. In truth,
the Academy has had a tough time
maintaining its solemn facade for the
very simple reason that this is not a
solemn business. Why the Academy,
being aware that an Oscar adds a mil-
lion bucks or so to a picture's gross,
looks askance upon its members trying
to grab one is an anomaly I hardly ap-
preciate or understand.

And why the Academy does not in-
sist that the sponsors of the show add
more than one skimpy plug that might
help our own business is also a bit on
the strange side. Sponsors for the Os-
car Telecast are very happy to get the
show, and I am sure a few conditions
that would inure to our benefit would
not scare them away. But the Academy
has the peculiar idea that it must not
vitiate its lofty position by appearing
as if it were thoroughly integrated into
the business.

I recall that when the MPAA put up
$600,000 so that it would be a telecast
without commercial sponsors, the Acad-

emy was quite stubborn about mention-
ing that good movies were on the way
to American theatres. This kind of
phoniness does no one any good, includ-
ing the Academy. And now that we are
carping about this institution, does it
not seem a pity that the Academy whose
many members include some fine show-
men cannot devise a new format for the
show. The Oscar telecast has become
quite pat, and I frankly believe that a
show that has an audience of 80,000,000
should not be afraid to do something
different. The odds are with them.
0 0

I do not know how many representa-
tive leaders of our industry are paying
members of the American Civil Liber-
ties Union. Those who do contribute to
this militant organization have by now
received a copy of its annual report.

It is required reading for some of our
timid folks who shy away from the bat-
tle lines when the issue of censorship,
classification and other infringements
on freedom of the screen keep coming
from all directions. In particular, I was
impressed by the position taken by the
Union in the censorship of books like
"Tropic Of Cancer", which is sched-
uled to be one of Embassy Pictures pro-
ductions. The American Civil Liberties
Union appeared as amicus curiae in
most of the cases involving attempted
bans arising from the marketing of the
book after an hiatus of thirty-five years
when it was first condemned as obscene.

"The Carpetbaggers", another book
purchased by Embassy, had the same
experience in a number of communities.

If I were going to make a prediction
about the furore in store for these two
pictures, I would say they both are in
for some wonderful free advertising.
0 0

It should not be premature to suggest
a few names to the Motion Picture
Pioneers, because in a few months they
will start talking among themselves
about logical candidates to be named
Pioneer of the Year.

But my feeling is that it's a nice thing
once in a while to give plaques to some
worthy guy who is not in high position
or has wealth.

What a glorious thing it would be
to bring in a theatre manager who has
a fine name in his community and v. ho
has been plugging away for thirty or
forty years.

At least this w ould be a novelty.

And a real genuine testimonial to the
backbone of the business — "the flowers
w ho w ere born to blush unseen".

Film BULLETIN January 7, 1943 Page 11

Of People and Events

Columbia Advances
Manpower To Meet
New Global Needs

Columbia is one of the film com-
panies that is moving aggressively and
perceptively to meet the new and ex-
panding problems of the business. In
line with managements cognizance of
the need for orientation of operations
in the changing patterns of production
and promotion on the global front, the
firm announced two key promotions
last week.

Jonas Rosenfield, Jr., vice-president in
charge of advertising, was named gen-

FERGUSON & ROSENFIELD

eral executive officer of the company,
and Robert S. Ferguson was advanced
to the post of executive in charge of
world-wide activities in advertising,
publicity and exploitation.

In announcing these changes to
strengthen Columbia's manpower, ex-
ecutive vice-president Leo Jaffe de-
clared: "The needs of our business to-
day require the individual packaging
and marketing of each picture on a
world-wide basis, from the moment of
acquisition, deep into its global re-
lease. This will be one of Rosenfield's
new managerial responsibilities which
he will carry out in constant consulta-
tion with our producer partners."

The Columbia promotion department
under the guidance of Rosenfield and
Ferguson has an established reputation
for vigorous showmanship that is cred-
ited with getting maximum boxoffice
results from all types of releases, be
they "gimmick" programmers or block-
busters of the "Lawrence of Arabia"
calibre.

Rosenfield, 47, entered the industry
in 1936, and has had a broad experience
in all phases of movie promotion. He
joined Columbia in 1955 and was
named a vice president of the company
about a year ago. Ferguson, also 47,
came to the film business from the
newspaper field and has been with Co-
lumbia since 1940.

KALMENSON

Warner to Kalmenson:
You're a helluva Man!

An appreciative word from the boss
is always good to get, and, as yet, no-
body has found a way to make it
taxable. It thus remains one of the few
forms of recognition that can be re-
ceived in as full a measure as it is
given.

Benjamin Kalmenson, Warner Bros,
executive vice-president, was singled
out for glowing praise by the president
of the firm, Jack L. Warner. Referring
to the increase in income of the com-
pany in the past year, Warner cited
Kalmenson's enterprise as being "an
extremely important factor in the pro-
fitable operation of our company. His
accurate pulse-taking of the box-office
and his courageous showmanship have
helped to give the company the prog-
ressive outlook and solid economic
position it holds today."

Particularly to the distribution v.p.'s
credit, and proof of his astute show-
manship, boss J. L. declared, was his
decision to make the deal for "What-
ever Happened to Baby Jane", a pic-
ture that other companies had rejected.
It was also due to his foresight that
"Baby Jane" was chosen by the Thea-
tre Owners of America for its first
Hollywood Preview Engagement.

Of Kalmenson, who in 36 years with
Warner Bros, rose from booker of live
talent for Warner Theatres to executive
vp, Jack Warner said, "What he has
done, and what he will continue to do
for the future, cannot help but lift the
economic and showmanship level of the
industry."

DFZ To Reactivate
20th-Fox Production

Indications are that Darryl F. Zanuck
has no intention of allowing the 20th
Century-Fox studio to lie fallow much
longer. He appears to be developing
concrete plans for reactivation of the

plant, which has been virtually shut
down since he took command of the
financially embarrassed firm last sum-
mer. In the meantime, 20th's chief ex-
ecutive has been engaged primarily in
reorganizing the company's manpower,
getting "The Longest Day" into re-
lease and putting the costliest film of
all time, "Cleopatra", into final form
for release late in the spring. Now he
seems ready to move ahead.

With an eye to the long-range needs
of the company, Zanuck last week an-
nounced some down-to-brass-tacks plan-
ning for the resumption of production,
the first step being a program for the
development of story properties. He
proposes to sponsor both established
and undiscovered writers by underwrit-
ing "work in progress" to assure 20th
of "a continuing flow of outstanding
story material".

Recalling to his
success in the past
in underwriting the
completion of
promising works,
Zanuck said, "I be-
lieve we can render
an important serv-
ice by co-operating
with writers at the
inception of their
work.

"If we like a proposed idea, we would
give the writer an advance payment to
develop it, with further payments con-
tingent on our approval of the work in
progress."

Administering the plan of advance
payments towards the completion of
work in progress is Richard D. Zan-
uck, head of production at the West-
wood Studio, and Henry Klinger, head
of the story department in New York.
The company, in addition, will con-
tinue to scout material from legitimate
theatre producers and publishers.

Meanwhile, the personnel changes
at 20th continue. William H. Schneider,
former Donahue and Coe executive,
takes on the newly-created post of crea-
tive advertising consultant, it was an-
nounced by Seymour Poe, vice presi-
ident in charge of world distribution.
He will work primarily with advertis-
ing director Abe Goodman and art di-
rector Harold Van Riel in the creation
of ad campaigns. Morton Segal suc-
ceeds Nat Weiss as publicity manager,
moving over from Paramount where he
(Cotiinued on Page 17)

ZANUCK

Page 12 Film BULLETIN, January 7, 1943

IHE

IGGEST

SAMUEL BRONSTON

presents

SOPHIA

LOREN

STEPHEN ALEC

BOYD GUINNESS

JAMES CHRISTOPHER

MASON PLUMMER

co-starring

ANTHONY

/^\T T A ATT TT? JOHN MEL OMAR

L^UAl LCj IRELAND FERRER SHARIF

WRITTEN FOR THE SCREEN BY

BEN BARZMAN • BASILIO FRANCHINA • PHILIP YORDAN

Directed by ANTHONY MANN
Produced by SAMUEL BRONSTON

Photographed in ULTRA-PANAVISION
Color by TECHNICOLOR

NOW IN PRODUCTO

IN SPAIN AND ITALY

Two years in preparation by Director Anthony Mann

158-day shooting schedule
Locations in Rome, Madrid, Ischia and
Guadarrama Mountains
• Entire Roman Forum recreated in full scale
189 sets utilizing 462 acres • Fleet of 100 fighting ships
Re-enacting the glory of Rome at its height

Reuniting many of the creative talents that made UEL CID"
• Producer Bronston Director Mann
Associate Producers Michael Waszynski and Jaime Prades
• Designers Veniero Colasanti and John Moore
• Cinematographer Robert Krasker
• Film Editor Robert Lawrence
• and Academy Award-Winner Sophia Loren

OF PEOPLE AND EVENTS

(Continued from Page 12)
was assistant publicity manager. Harold
Rand, director of 20th's world public-
ity, has announced the appointment of
three new publicists, Jack Pitman, Jo-
anna Ney and Frank Rodriguez. Sid
Ganis, staff publicist takes up new
duties as New York newspaper and
national syndicate contact. Poe also
named George D. Pilzer to be executive
assistant to David Raphel, continental
division manager. He will serve from
20th's Paris headquarters.

Recent resignations: Edward E. Sul-
livan, publicity and public relations di-
rector, who joins Frank Berend Asso-
ciates as vice president and public rela-
tions director; Glenn Norris, sales
executive, who is reported set to join
another distribution firm.

Landau Sets Busy
Year after 'Journey'

The product situation was brightened
in the first week of the new year by the
announcement that the Landau Com-
pany is scheduling a program of five
features in 1963. Encouraged by the
boxoffice and critical reception accorded
his first film venture, "Long Day's
Journey Into Night", Ely Landau re-
vealed that four of his new projects
already have been selected. The sche-
dule indicates that Landau plans to

LANDAU

pursue the line of quality production
established by "Long Day's Journey".

Leading off the program of the New
York based production company will
be a film version of the Helen Eustis
novel, "The Fool Killer", which will
go into production in Hollywood in
March. The screenplay, by David Fried-
kin and Morton Fine, will be pro-
duced and directed by Jose Quintero
and Mexico's Servando Gonzales.

This will be followed by "The Pawn-
broker", first production by the new
team of Roger H. Lewis, former UA
executive, and Philip Langner. It is
slated to started shooting in New York
in the spring.

Landau's most ambitious project is
an original screenplay by Howard Fast

based on the life of Leonardo da Vinci,
which will get under way in Italy in
the fall. Scheduled for a summer start
in France is an adaptation of Girau-
doux's "The Madwoman of Chaillot",
while the fifth, not yet announced, will
be another of Eugene O'Neill's works.

RACKMIL

Rackmil High on
Universal^ Future

After a golden anniversary year which
was the best financial period in the
history of the company, Universal is
swinging into its 51st year of operation
with "highest optimism in the future
of our company and our industry".
These were the words of cheer in a
year-end statement issued by president
Milton R. Rackmil.

Outlining the company's extensive
production program for the coming
year he expressed the view that it held
"even greater promise of growth and
success."

With sixteen pictures near release or
in various stages of production and
another thirteen in preparation, U's
position was described as strong, bol-
stered by an impressive list of boxoffice
names and a wide range of fare.

"This is by far the most impressive
star-studded program of major attrac-
tions ever presented by Universal,"
Rackmil said, "and one which not alone
will earn great boxoffice returns, but
will also add new prestige for Uni-
versal."

McCarthy Urges Eye
To State Wage Floors

Warning that exhibition may face
new minimum wage laws in those 26
states were such laws don't as yet affect
theatre employees, COMPO executive
vice president Charles E. McCarthy
urged exhbitors to be on the alert.
Making public a report on the subject,
he called attention to the fact that all
but four of the 50 state legislatures

meet this year in regular session and
indications are that minimum wage
legislation will be introduced in several.

Three of these states, Delaware,
Montana and Utah, have made known
that they contemplate the introduction
of minimum wage laws affecting thea-
tres, the first two states already having
such legislation in preparation. Nine of
the 26 states have authorized estab-
lishment of wage boards and four of
these boards have already issued wage
orders affecting certain workers.

Disparity in the classes of workers
covered exists in those states which
provide wage minimums: in North Da-
kota, Ohio and Pennsylvania, only con-
cession attendants are covered, in others
only women and minors, while some
states cover all workers in minimum
rates ranging from 46<f an hour in
Puerto Rico to $1.75 in Alaska.

"In the circumstances," McCarthy
says, "it behoves all theatre exhibitors
to keep a close watch on all proposed
minimum wage legislation, to make
their views known to their local state
senators and representative, and to keep
their state minimum wage committees
and COMPO advised of developments."

Weston, Peppercorn
Named Embassy V.P.'s

Joseph E. Levine's burgeoning Em-
bassy Pictures' organization elevated
two key executives to the office of vice
president over the weekend.

Robert R. Wes-
ton moved up from
the post of director
of advertising to
vice president in
charge of world ad-
vertising, publicity
and exploitation.
Sales chief Carl Pep-
percorn was named
vice president and general sales man-
ager. The appointments, said president
Levine, were "further steps in the Em-
bassy Pictures program of expansion
in all phases of its world-wide activi-
ties" and in line with company policy
of selecting executives from within.

Citing Westons youth and Pepper-
corn's youthful attitude, Levine de-
clared: "It is youth, daring and inven-
tive, that will shape our progress."
Shortly after his appointment, Weston
announced the retention of Bill Doll,
prominent showmanship expert, to
handle special publicity and promotion
assignments for Embassy.

WESTON

Film BULLETIN January 7, 1943 Page 17

"In Search of the Castaways"

Disney and Jules Verne merge talents in another ad-
venturesome, amusing attraction for youngsters and
their parents.

Walt Disney teams up again with Jules Verne (as he did in
"20,000 Leagues Under the Sea"), and the result is fantasy
entertainment of solid boxoffice calibre. This Buena Vista re-
lease about a globe-girdling search for a lost sea captain will
get its fair share of Xmas and week-end business in the family
houses. The cast glitters with professional polish — Hayley
Mills, an international star at 16, and such outstanding scenery-
chewers as Maurice Chevalier, George Sanders and Wilfrid
Hyde White. But the cast is only half of the fun. There's sus-
pense, action and thrills galore as a band of intrepid adventurers
encounter earthquakes, avalanches, volcanoes, flash-floods, man-
eating jungle beasts, Maori cannibals and murderous mutineers.
Mount all of this in Technicolor, add highly imaginative sets,
plus the tongue-in-cheek mingling of comedy and action that
made "Swiss Family Robinson" such a financial success, and
exhibitors can count on good response from youngsters and
elders alike. Robert Stevenson has directed in a snappy, adven-
ture-oriented manner, and all of the participants contribute
colorful performances. Miss Mills, who sets out for South
America in search of her missing ship captain father (Jack Gwil-
lim) on the strength of a partially legible note found in a
bottle; Keith Hamshere, her older brother; Chevalier, a whim-
sical French scientist professor; White, a wealthy shipping
baron; Michael Anderson, Jr., the latter's son who has his eye
on Miss Mills; Sanders, a smooth-talking mutineer running
guns into New Zealand. Lowell S. Hawley's screenplay has the
group running into a dead end in South America. An earth-
quake sends them toboganning down the Andes and through a
glacier cavern. Hamshere sails off the mountain, but is saved
by a giant Condor. All land on the desolate Pampas, take refuge
in a giant tree, and are finally rescued by an Indian when the
tree is fired by lightning and cast into a raging alligator-
infested flash -flood. Their next stop is Australia, where they
are duped by Sanders, and captured by cannibals. After a dar-
ing escape, Miss Mills and group locate Gwillim, capture
Sanders and his band.

Buena Vista. I 1 0 minutes. A Walt Disney Production. Hayley Mills, Maurice Che-
valier, George Sanders, Wilfrid Hyde White. Directed by Robert Stevenson.

"The Password Is Courage"

Another suspenseful melodrama from the Stone team.
Good dual bill entry for all situations, especially action
houses. Has plenty of thrills.

Andrew and Virginia Stone, creators of thrillers, have put
together another one in this suspenseful truth-is-stranger-than-
fiction World War II drama. In bringing to the screen the
one-man war waged against the Nazis by British POW Charles
Coward (from 1940 to 1945), the Stones and M-G-M have
come up with an engrossing melodrama certain to satisfy gen-
eral market patrons in search of exciting entertainment. It's
a good dualler for all situations. Filmed on location in Eng-
land, peppered with men-at-war humor, a dash of romance, plus
plenty of thrills, the Stones have also injected a couple of
breath-taking action sequences: a German munitions train ex-
ploding, with cars shooting skyward in a sheet of flaming wood
and twisted steel; a spectacular fire in which a lumber mill is
destroyed while a runaway bulldozer ploughs amok through the
buildings; a climactic mass escape through a tunnel dug by the
prisoners under their Stalag. Dirk Bogarde is quite good as

the interpid sergeant major who finds himself doing epic deeds
against the Nazis because he just cannot take orders from peo-
ple he doesn't respect. Pretty Maria Perschy is a Polish under-
ground worker who obtains maps and supplies needed for the
escape and Alfred Lynch is Bogarde's wily ally in their exploits
against the enemy. Bogarde is captured at Calais, slips away
from the Germans, but is recaptured before he can go very far
During the train ride to Germany, he endears himself to the
other prisoners by setting fire to a passing munitions train. In
the POW camp he is constantly needling the Nazis. After de
stroying the lumber mill and contacting Miss Perschy, Bogarde
helps organize the mass escape. Last-minute complications al
most upset things but the escape is successful. Bogarde and the
others are caught, but the ending finds Bogarde and Lynch free
again, slipping through retreating Germans to join the Allies

M-G-M. I 16 minutes. Dirk Bogarde. Maria Perschy, Alfred Lynch. An Andrew an
Virginia Stone Production. Directed by Andrew L. Stone.

"Electra"

^U4iH€44 1£<itc«v O O PIUS

Dramatically, visually exciting version of classic Gree
tragedy. Strong contender in art market.

Greek producer-director Michael Cacoyannis' motion picture
adaptation of Euripides' classic tale of murder, adultry and
vengeance is a stimulating, poetic and electrifying film. Honored
at this year's major international film festivals and strongly
received by New York's film critics, it shapes up as an excellent
art market offering. Because Cacoyannis has enriched his film
with striking visual artistry, taking the drama out of the con-
fines of the stage and playing it off against rocky Grecian moun-
tainsides, and unfolded it in an engrossing, suspense-charged
manner, its appeal will reach out to discriminating viewers other
than just patrons of Greek tragedy. The title role is splendidly
enacted by Irene Papas who makes Electra a fascinating indivi-
dual possessed with an inner fire of revenge. Impressive sup-
port is provided by Aleka Catselli (Miss Papas' mother) and
Phoebus Rhazis (the latter's lover), who, together murder King
Agamemnon (Miss Papas' father) and Yannis Fertis (Miss
Papas' vengeful brother) Orestes, forced to flee the country
after the brutal murder. The film has been brilliantly photo-
graphed by Walter Lassally and excitingly scored by Mikis
Theodorakis. The plot finds the brooding Miss Papas growing
up with a consuming hatred for her mother and step-father.
Miss Catselli eventually marries off Miss Papas to a poor
farmer. Fertis and Miss Papas are re-united and the former
discloses that he's been commanded by the sacred Oracle to
avenge the murder of his father. Fertis accomplishes his mission
and orders his step-father's body brought to Miss Papas who
rejoices in the tyrant's death. Miss Papas then forces the un-
willing Fertis into helping her slay Miss Catselli. The people,
who have applauded Fertis' act of vengeance against his
father's murder, are horrified by the matricide. They turn against
Miss Papas and Fertis and drive them from the land.

Lopert. 110 minutes. Irene Papas, Aleka Catselli, Yannis Fertis. Produced and
directed by Michael Cacoyannis.

WANTED: Experienced Theatre Managers

We have under construction a number of
new theatres, and need two experienced
theatre managers — one for an art house
situation in New York City, the other a
first-run key situation in New Jersey.

Apply Walter Reade Theatres
Oakhurst, N. J.

Page 18 Film BULLETIN January 7, 1963

"Diamond Head"

Su4ine44 IRatctf OOO

Melodramatic and romantic elements make this soap-
opera solid boxoffice entry. Heston heads good cast.
Colorful production.

The trials and tribulations of a powerful Hawaiian family, as
depicted in Peter Gilman's popular novel, reach the screen in
this slick, soap opera-type Jerry Bresler production filmed on
location in eye-filling Eastman Color and Panavision. It should
prove a popular attraction with the masses. The colorful cast
will certainly help lure audiences into the theatre: Charlton
Heston, the tough, widower "King" of Kauai Island, in love
with his vast plantation and many enterprises, about to run for
the U.S. Senate; Yvette Mimieux, his defiant, unpredictable sister
just home from a California college; James Darren, the full-
blooded Hawaiian she's in love with; George Chakiris ("West
Side Story" Oscar winner), Darren's brooding doctor brother;
France Nuyen, Heston's native mistress, pregnant with his
child; Aline MacMahon, Darren and Chakiris' proud mother.
Patrons addicted to this type of entertainment will surely get
their moneys worth with the many complications arising from
politics, racial discrimination, the lush life of the rich, an
accidental knifing at a colorful luau, talk of abortion and
frustrated love. Guy Green has directed all of this as dramati-
cally as possible considering the limitations of Marguerite
Roberts' screenplay. Sam Leavitt's travel poster photography,
plus Johnny Williams' ear-pleasing score provide strong techni-
cal support. Heston, who claims racial liberalism, explodes when
Miss Mimieux announces that she intends marrying Darren and
swears he will prevent the marriage. Miss MacMahon is equally
as unhappy over the prospect of Darren joining his regal blood
with Miss Mimieux. At a luau, Miss Nuyen's brother, infuriated
because Heston refuses to marry his sister, attacks Heston with a
knife. Darren steps between them and is stabbed to death. Miss
Mimieux, convinced that Heston had Darren murdered, turns
to alcohol. Heston now loses the Senate nomination and Miss
Nuyen dies after giving birth to Heston's mixed-blood son. The
ending finds Miss Mimieux realizing that she has always loved
Chakiris, and Heston finally agreeing to raise his bastard son.

Columbia. 107 minutes. Charlton Heston, Yvette Mimieux, George Chakiris,
France Nuyen, James Darren. Produced by Jerry Bresler. Directed by Guy Green.

"To Kill a Mockingbird"
SuAutew 'Rati*? OOO

Sensitive, deeply engrossing story of childhood and
fatherhood in small southern town. Will delight all
ages, but needs strong selling until word -of -mouth
takes over.

Harper Lee's Pulitzer Prize first novel about growing up in
the South during the depression, and a long-time best-seller,
reaches the screen with much of its original charm intact. Pain-
stakingly constructed to encompass a variety of moods (humor,
racial drama, nostalgia, a dash or two of fright), "Mockingbird"
(is a vivid, if leisurely told, screen experience. How it will fare
commercially is a moot point. Surely, it will delight young and
old alike of all types, but aggressive promotion will be required
Ito attract first-run audiences in large number. Word-of-mouth
will push it along once the film opens. Honors must be divided
equally among Gregory Peck, three superb youngsters, nine-
year-old Mary Badham, 13-year-old Phillip Alford (making
itheir screen debuts) and tiny John Megna (from Broadway),
(Robert Mulligan, whose sensitive and astute direction allows
everything to unfold as it would through the eyes of children,
and Harton Foote, whose screenplay remains faithful to Miss
Lee's novel. Producer Alan J. Pakula merits praise for his

faithful reproduction of the quaint town, and for his choice of
unknowns for many of the key roles. "Mockingbird" must be
considered a contender for Academy Award honors in some
categories. Basically, this is a director's picture, and credit Mulli-
gan with not allowing any one mood to overshadow another.
The first section deals with the fantasy world of the youngsters,
at home, at play, at school, and especially the relationship
among the two children and Peck, their widowed lawyer father
who tries to instill in them kindness, decency and an under-
standing of the sometimes shocking and cruel social climate they
live in. There is also a sense of mystery concerning the sup-
posedly crazy next door neighbor who is never allowed out of
the house. The middle section sees Peck called upon to defend
a Negro accused of raping a white-trash young girl. Bigotry and
hatred rule these sequences, especially since the audience knows
the defendent is innocent. Peck's futile, climactic plea for
justice is social commentary at its non-preachy best. The con-
cluding section is a splendid blending of laughter, chills and
honest sentiment. Here, the youngsters, returning from a
Hallow'een play, attacked by the "rape victim's" drunken
father. The ironic turn of events which follow bridge the final
gap between childhood and maturity. Peck lends warmth and
strength, wisdom and softness to this one of his finest por-
trayals to date. The youngsters, Miss Badham and Alford,
have promising careers before them. The former possesses a
certain haunting beauty, a non-precocious awareness and the
last rebellion of a tomboy about to turn young lady; the latter
portrays the first stirrings on young manhood amusingly, yet
masculinly. Young Megna, the runty summer visitor, is a most
unusual moppet, reminiscent of Brandon de Wilde "Member
of the Wedding." The support is top notch: Frank Overton, the
sheriff; Brock Peters, the Negro; Collin Wilcox, the "rape vic-
tim"; James Anderson, her ignorant and hate-filled father; and
Estelle Evans, the Negro maid who helps Peck raise the chil-
dren. Henry Bumstead's 1932 sets are outstanding, Russell
Harlan's black-and-white photography captures the mood of
of time and place, and Elmer Bernstein's music is appropriate.

Universal-International. 129 minutes. Gregory Peck, Mary Badham, Phillip Alford.
Produced by Alan J. Pakula. Directed by Robert Mulligan.

"Night Is My Future"

ScttiKCdt ^cttutq. O Plus

Early Ingmar Bergman import lacks his usual quality.

Another early Ingmar Bergman film, this Embassy release
tells about an honest young man who loses his sight during the
war and then wanders in desperation in the low morality of a
damning society. Lacking the poetry and symbolic enchantment
of later Bergman works, it will attract only the most devoted
fans of the Swedish director. Only few sequences indicate the
kind of movie Bergman was eventually to make, especially a
bizarre nightmare in which Birger Malmsten finally regains con-
sciousness after his accident and realizes he is blind. Mai Zet-
terling is a destitute young maid who falls in love with Malm-
sten, encourages him to study music, sees him through his failure
to gain admittance to the Music Academy, and then leaves him
to get a college degree. Douglas Hage portrays a crooked
restaurant owner who hires Malmsten to play the piano. The
plot has Malmsten quiting the restaurant after discovering that
a young hoodlum, hired as his companion, has been robbing
him. He comes across Miss Zetterling and is hurt to learn that
she has a boyfriend. Plagued by inferiority, Malmsten runs
along a railroad track and is almost crushed by an oncoming
train. Miss Zetterling finds him and her jealous boyfriend
knocks him down. This gives Malmsten his self-respect back
(he's treated as an equal). Although the local parson tries to
dissuade them, Malmsten and Miss Zetterling marry.

Embassy. 87 minutes. Mai Zetterling, Birger Malmsten. Produced by Lorens Marm
stedt. Directed by Ingmar Bergman.

Film BULLETIN January 7, 1943 Page 1*

"David and Lisa"

'Scuutete TZatiKQ O Q Plus

Engrossing, provocatively filmed drama about two emo-
tionally disturbed youngsters. Could be b.o. "sleeper" .

With "David and Lisa" their initial motion picture venture,
producer Paul Heller and director Frank Perry give promise of
being one of the most interesting new teams of American film-
makers to come along in some time. An engrossing encounter
with two emotionally disturbed adolescents, this modest-budget
Continental release has the elements to become a boxoffice
"sleeper". Strong promotional backing will be required, and
initially, the film will serve best as an art house attraction. But
critical praise, plus word-of-mouth, could make it a profitable
entry in class situations and an eventual general market sup-
porting dualler. Acted with insight and sensitivity by Keir
Dullea ("The Hoodlum Priest"), Janet Margolin and Howard
Da Silva, beautifully and suspensefully directed, superbly lensed
on location in a Philadelphia institution and held together by
Eleanor Perry's tightly-knit screenplay, the film emerges quality
entertainment of considerable dramatic merit. Dullea is first-rate
as David, highly intelligent, contemptuous of others, terrified
of being touched physically and obsessed by a fear of death.
Miss Margolin is hauntingly chilling as Lisa, possessed by two
distinct personalities — the mute Muriel and Lisa, who speaks
only in childlike rhymes. Da Silva's down-to-earth psychiatrist,
who admits not knowing all the answers, is a refreshing and
quite believable delineation. Centering on Dullea's metamor-
phosis in this special school, we watch him become interested
in Miss Margolin and her behavior, slowly let down his defenses
with Da Silva and start to respond to some of the other stu-
dents. Then he is withdrawn from the school by his domineer-
ing mother (Neva Patterson) and his weakling father (Richard
MacMurray), who cannot bear the boy's change. He runs away,
returns to the school and openly shows his admiration for
Da Silva. Miss Margolin, for the first time, allows Dullea to
speak to her without rhyming. The two youngsters quarrel and
Miss Margolin runs away. After a frantic night of searching,
Dullea finds her and nervously allows her to hold his hand.

Continental. 94 minutes. Keir Dullea, Janet Margolin, Howard Da Silva. Produced
by Paul M. Heller. Directed by Frank Perry.

"No Exit"

SuduteM IRatui? O O Plus

Unusual, engrossing art film based on Sartre's play.

Jean-Paul Sartre's disturbing play about hell has been turned
into an off-beat, outspoken, though not altogether successful
film. Intellectual moviegoers and art film buffs will find this
Zenith International release a stimulating and cinematic ex-
perience. Via the mobility of Tad Danielewski's camera and
three fascinating performances by Viveca Lindfors, Rita Gam
and Morgan Sterne, the film strives to clarify and dramatize
the motivations of a trio, condemned for eternity in one bleakly
furnished hotel room (hell). While some of the suspense and
claustrophobic intensity of Sartre's one-acter has been lost, the
result of distracting flashbacks, the total effect is most engross-
ing. Involved in this tension building drama about three ego-
centered individuals vainly searching for salvation are: Miss
Lindfors, a lesbian who seduces a married woman and then
drives the latter to suicide; Miss Gam, a narcissistic society ma-
tron who marries for money, has a child, then kills the baby
and destroys her husband; Sterne, a journalist proclaiming his
own heroism and high standards of morality; and Ben Piazza,
a cynical bellboy, the maitre d' of Hades. The script finds each
seeking to preserve his dignity by joining in a conspiracy

against one of the others. Each fails through weakness and
guilt. Sterne is actually a coward; Miss Lindfors possesses all
the feminine weaknesses that she despises in other women;
Miss Gam's social veneer is actually a cover for nymphomania.
The constantly shifting pattern of relations builds in intensity
until, in a moment of fury, Miss Gam stabs Miss Lindfors with
a paper knife. She stabs in vain. All suddenly realize there is
no way to end their existence together and the climax finds
the trio shaking with hysterical laughter.

Zenith International. Viveca Lindfors, Rita Gam, Morgan Sterne, Ben Piazza. Pro-
duced by Fernando Ayala and Hector Olivera. Directed by Tad Danielewski.

"The Great Chase"

Amusing, sometimes thrilling miscellany of silent chase
sequences with host of old-time favorites. Good dual
bill item for most situations.

As a follow-up to their successful "Harold Lloyd's World of
Comedy," Continental is releasing a compilation of chase
sequences from some of the classics of the silent screen era.
Starring such greats as Buster Keaton, Douglas Fairbanks, Sr.,
William S. Hart, Lillian Gish and Pearl White, "The Great
Chase" provides nostalgic entertainment for the older generation
and 77 minutes of thrills and spills for younger moviegoers. It
should serve as a profitable dualler for class, art and family houses.
Frank Gallop's narration and Larry Adler's music flavorfully
re-capture the essence of the period. The film opens with the
1903 vintage great granddady of the chase, "The Great Train
Robbery." "Desperate Encounter," 1905, shot in the streets of
New York, is the prototype of the cops and robber theme. New-
comer D. W. Griffith (1910) adds new techniques to motion
pictures as Dorothy Bernard plays the intrepid heroine in "A
Girl and Her Trust," and his "Way Down East" (1920) depicts
the spectacular chase by Richard Barthelmess to rescue Miss Gish
from ice floes on the river. Fairbands is the dare-devil supreme
in a sequence from "The Mark of Zorro", while Miss White and
Ruth Roland represent the serials. Hart is shown in his last
picture, a rousing re-enactment of the famous Oklahoma land
rush. "Jungle Treasure," made on location in the Amazon,
shows a scientist pursuing a rare butterfly along a river infested
with hostile natives, piranha fish and voracious crocodiles. His
climatic struggle with a giant boa snake is a real hair-raiser even
by today's standards. Keaton makes full use of his acrobatic
and comic skills as the engineer of a Southern locomotive in
"The General," unquestionably the screen's classic railroad chase.

Continental. 77 minutes. Buster Keaton, Douglas Fairbanks, Sr. William S. Hart.
Produced by Harvey Cort.

BULLETIN

reviews have one aim:
to give honest judgment
of entertainment merit
— and boxoffice value

Page 20 Film BULLETIN January 7, 1 963

MERCHANDISING & EXPLOITATION DEPA

RTMENT V

MPA Ad Committee Sets Plan
To Offset N. Y. Press Strike

However cold the wind in Times Square,
colder for the lack of newspaper to sail on
the gusts, and however icily it seeps under
the doors of film promotion offices, New
York City movie boxoffices appear to be
swinging strongly into the new year de-
spite the weather and blackout of the daily
theatre page.

The month-long New York newspaper
strike has resulted in a concerted effort on
the part of the film industry to get the
news of whats playing to New Yorkers by
other means. An approach uniting the ef-
forts of various distributors and their ad
agencies was authorized January 3 at a
meeting of the Advertising and Publicity
Directors Committee of the MPAA. In-
cluded among the novel devices adopted
to overcome the strike's effects are a mo-
tion picture directory, a radio spot cam-
paign and provide a central telephone
number, MU 7-3500, to be widely adver-
tised by all the film companies, which
could be called for information as to what
films were playing and where. This effort
is designed to complement, rather than
replace, the promotional activities of the
various distributors. The directory is to
be made available through theatres, chain
stores, hotels, restaurants and other out-
lets and on an exchange basis by legitimate
theatres. The joint campaign, scheduled to
start January 9, will put up to a million
directories into circulation.

In spite of the handicaps caused by the
newspaper blackout, business is brisk along
Broadway. "Taras Bulba ', United Artists'
Premier Showcase attraction, chalked up a
gross of $296,326 for the first week, in-
cluding a $50,145 week — the biggest in
three years — at the Astor. Hard-ticket
films, led by "Lawrence of Arabia" and
"The Longest Day", are drawing capacity
audiences, it is also reported.

Harold Rand (above), global publicity director
of 20th Century-Fox, and Rodney Bush, exploi-
tation director, will serve as co-chairman of the
MPA advertising-publicity committee this year.

SPOOKMANSHIP IDEAS
FOR FEARTURE SHOWS

Spookmanship, on a package basis,
is now ready to go to the aid of the-
atres in the promotion of Spook
shows. National Screen Service has
cooked up a new array of material
for the exploitation of "feartures ".
The material available is outlined in
a four-color brochure currently ooz-
ing through the mails to all motion
picture exhibitors, according to
Joseph Bellfort, NSS sales manager.

Basic to the kit are two alternate
40 by 60 displays, silk screened in
six colors, reproductions of which
are available in 14 by 22 counter
cards equipped with easels and slots
for "take one" cards.

One, two and three-column news-
paper ad mats are available in the
same theme, as is an all purpose mat.

Bellfort cites the favorable profit
record of thrill shows as spurring
the demand for such campaign mate-
rial. The current product shortage is
also resulting in greater use of this
type of film.

Circus-Style Hoopla for
'Jumbo' by Y&W Showmen

All-stops-out hoopla, circus-style, is the
best way to trumpet "Jumbo", the Show-
manship Workshop was told at the recent
Allied Theatre Owners of Indiana conven-
tion by Paul Thomas and Dave Battas of
Y&W Management Corporation. They
outlined the rousing campaign planned in
the promotion of MGM's musical main-
tenter at the Rivoli Theatre, in Muncie.

Creation of a circus atmosphere was the
main theme exploited, and since the big
top subject is a natural to bring out the
spieler and huckster more or less dormant
in every showman, the Y&W showmen
went all the way.

Newspaper and radio promotion were
recommended as the equivalent of plaster-
ing up the advance posters, with comic
page ads geared to the children and ads
featuring cast and music directed at the
adults. Calliope music and pitchman spiels
were suggested to be spotted around kid-
dies' radio programs, with spots featuring
the film's music and cast again provided
for use at adult prime time spots.

Clowns were another central feature of
the outdoor campaign, riding on sound
trucks and passing out handbills. Rental
of a calliope and presentation of some
sort of acrobatic performance in front of
the theatre, a trampoline exhibition, for
example, were included in the plan.

In-theatre displays included mysterj
gifts, to be won by whoever guessed the
object in the box; and creation of a cir-
cus atmosphere outside the theatre and in
the lobby, complete with tent-topped mar-
quees, cotton candy, sawdust and naked
light bulbs.

The plan also involved tie-ins with local
merchants, food stores, dime stores, music
stores and others, together with the idea
that a clown, paid for by the theatres, be
used in local stores.

Film BULLETIN January 7. 1963 Page 21

TEN BEST LISTS

Morv Emphasis an *Prcstig«* A air in Hallywaatl

( Continued from Page 9 )
tures are ignored outright by the critics.
The only value of such product is a
commercial one, to be estimated by the
accountants, not the critics. The better
mass films come in for critical atten-
tion, and so they should, and in this
category critical opinion becomes of
concrete concern to the exhibitor.

Are the critics, in their leaning
toward more artistic films on the Best
Ten lists, really "out in left field", or
are they actually more closely attuned
to the changing taste of the American
public than most movie magnates rea-
lize or are willing to admit? Does this
trend in the "best" choices have an
important implication for exhibitors in
general, or does it merely prove the old
adage that what is art is not boxoffice?

A number of factors seem to be con-
spiring to make the distinction less cut
and dried than it once was. The in-
creasingly "discriminating moviegoer"
is a phrase being heard more frequently
in the industry. What does it mean? It
means, among other things, of course,
that people want better technical qual-
ity, more color, more exotic scenery.
But it also means that the public, in
growing numbers, is seeking quality
productions; more unusual stories and
greater artistic quality.

SOMETHING BETTER FOR PUBLIC

The availability of free television
entertainment at home, now that the
novelty is wearing off, is prompting
people to seek something better than
that when they go out. The success of
the higher priced hard-ticket pictures
shows that many are willing to pay a
bit more for something they can't get
in their living rooms.

The product shortage is breaking
down the resistance to foreign films as
theatres use them increasingly to keep
something on the screen. This is creat-
ing a greater public acceptance of all
imports, including those that are win-
ning the plaudits of the critics and
were once to be seen only in the art
theatres in a few metropolitan cities.
A few years ago "A Taste of Honey"
would not have had a chance to break
through from the art to the class
market, in which it has made a re-
spectable showing.

In short, there are increasingly per-
suasive commercial factors, in addition
to those things that have always
prompted some producers to make class
"losers", that are contributing to a
growth in the number of high quality
films being made.

To judge from the new year's pre-
dictions and resolutions being made out
loud by the leaders of the American
film industry, U.S. producers are com-
ing to a fuller appreciation of this
trend. Never before has so much
thought been given to the production
of prestige films as is now becoming
evident in Hollywood. 1962 was a bad
year as the industry seemed to run a
little behind the trend, but production
of many class items in work, or on the
drawing boards indicates heavy con-
centration in the years ahead on high
quality class offerings that don't con-
tain the old-fashioned "safe" boxoffice
ingredients.

That there is a solid commercial basis
for this approach seems evident. The
market for good films is growing and
the prestige of the entire industry, on
which, to some extent, the sale of all its
pictures depends, is dependent, in large
part, on the public and critical ratings
of its best productions. If the American
film industry loses by default in these
ratings, even the mass films may suffer
eventually as word gets around that the
best movies are no longer coming out
of Hollywood. Even now, "strictly
Hollywood" is not the most compli-
mentary comment a picture can receive.

MORE CLASS FILMS PLANNED

That the American film industry has
no intention of being shoved off the
Ten Best lists is becoming increasingly
evident as the new class pictures come
out and as plans for the future are
revealed. If Hollywood, as it seems
determined to do, keeps up its prestige
with the critics and the growing num-
bers of knowledgeable and demanding
film goers, the whole industry can only
benefit.

Where does all this long-range plan-
ning leave the theatre owner who is
trying to cope right now with reduced
selections, television, limited appeal
films and the countless other ills the ex-
hibitor's flesh is heir to? A fresh look

at the old tried-and-true principles of
booking might be in order, less, per-
haps, from the point of view of what
has generally been booked as from the
viewpoint of what has generally been
avoided. Some of the films exhibitors
have tended either to ignore or shy
away from are gaining in appeal faster
than a conservative estimate would sug-
gest, and exhibitors may not be sticking
their necks out as far as they fear by
bringing in an occasional import or
class picture. The distance "over the
heads" of the public these films fly is
often not as great as has been generally
supposed.

DISTRIBUTORS' ROLE

Distributors, for their part, have a
heavy responsibility to see that films
are properly exhibited and could well
offer more realistic guidance to theatre
owners than they often give. Kirk
Douglas recently complained to the
Holywood correspondent of the New
York Times that his "Lonely Are The
Brave" was rushed into big theatres
and advertised as just another western,
whereas it belonged in smaller, more
intimate houses presented as a class
film. The picture's boxoffice perform-
ance, he claimed, was hurt by this fast
play-off treatment, instead of enjoying
the word-of-mouth publicity longer
runs in smaller theatres would have
given it. Let it be noted that "Lonely
Are The Brave" made Time's Best Ten.

The Ten Best lists, while they don't
seem to have much bearing on current
boxoffice receipts, cannot be dismissed
as having no bearing at all on the
market. In the lists are some films that
will always appeal only to the few,
some that didn't do well financially
because they were poorly handled, some
that are both good films and good box-
office, and some for which there is a
still-unrecognized public acceptance.

It may take the wisdom of Solomon
to sort them out as they become avail-
able instead of at the end of the year,
but not to risk it is to miss some
opportunities for some reasonably suc-
cessful runs. Is there an exhibitor in
the country who hasn't been surprised
at one time or another by the success
of some picture he was sure wouldn't
draw ?

Page 22 Film BULLETI N— January 7, l?A3

FINANCIAL REPORT

Film and Theatre Stocks
Hit by Bearish Market in '62

The year 1962 was strewn with disappointments for those
who dabble in the stock-market — on the side of the bulls.
It cast no special favors on holders of movie industry shares.
They were sheared like all the other sheep who wander into
the canyons of Wall Street.

A comparison of the closing prices at the end of 1961 and the
end of 1962 reveals this bearish fact: of all the film company
stock prices listed in the Film BULLETIN chart, only one,
Decca (via its control of Universal), showed a plus figure.
Among the theatre companies, only National General (nee
National Theatres) closed higher at the end of '62. There were
some whopping losses written: MCA suffered a sharp decline
of 301/4 points, most of it prior to clearance of its merger with
Decca-Universal; Paramount, among the established film com-
panies, showed the deepest drop, 19%, while M-G-M was
down 18% and 20th Century-Fox Even United Artists,

despite its solid earnings performance, dipped almost $5 per
share in '62.

On the brighter side: every film and theatre stock on our
list closed out 1962 higher than its low during the past year.
MCA recouped over 15 points from its '62 low after the
Department of Justice gave the nod to the Decca deal. The latter
company ended up almost 11 points above the low. Columbia
recovered over $9 per share, Disney over 7, and M-G-M over 5
points from its low ebb in 1962.

Among the theatre firms, Stanley Warner closed out '62 more
than $19 per share below its '61 close and only 2% above its
low for the past year. American Broadcasting-Paramount
Theatres ended down 1 li/g from its 1961 close, but recovered
over $11 per share from its low for 1962. Loew's Theatres
dipped 2iy8 from the '61 close and recouped 3% from its
'62 low.

Theatres Have Vital Role in S-W Growth

A period of "renewed growth" for the movie theatre division
of the Stanley Warner Corporation is noted in a recent report
by the Chicago brokerage firm, Freehling, Meyerhoff & Co.
While advances by the Corporation has centered mainly in the
Playtex division, manufacturing undergarments, the theatre
chain is reported as strengthening itself by moving out of its
"least desirable properties."

From 80 cents per share earned on $66 million total revenue
in 1954, the Corporation climbed to $1.15 per share on $113
million total revenue in 1958, $2.38 on $124 million in 1959,
$1.73 on $132 million in I960 and $2.12 per share earned on
$133 million total revenue in 1961. Dividends paid have been
below this figure as expansion has been accomplished and con-
tinues to be accomplished out of cash earnings. The theatre
business accounts for about 30 per cent of the sales volume,
with merchandise (garments, pharmaceuticals and chemicals)
providing the balance.

The theatre division controlled 214 theatres totalling 299,500
seats, as of August 31, 1961. Another 24 theatres were added in
October of this year when the Company bought the Lone Star
Theatres chain in Texas, for a 10 per cent expansion in capacity.

Non-recurring expenses incidental to exchanging dealer
stocks for the new fabric-lined Playtex girdle were absorbed in
1962 and, as a result, 1962 earnings will fall below the $2.12
per share shown in 1961. This absorption, however, leaves 1963
unburdened by such unusual costs.

In its conclusion, Freehling, Meyerhoff states:

"We believe that future growth prospects are dynamic and
excellent due to product diversification, and to growing business
both in the U.S. and overseas, and to national expansion for the
movie chain.

"The stock is selling very colse to its lows for the past four
years, and represents in our opinion, an excellent vehicle not
only for major capital gains, but for generous current income
as well."

Movie Shares Enter New Year Mixed

The beginning of the new year found movie stocks, like most
other industries, following no fixed pattern. Some were up,
some down, in the main fractionally.

Disney led the film companies on the up side, the factor here
being reports of a bright financial statement about to appear.
For the bi-weekly period to the close of the FB listing on Jan. 3,
Disney rose 1% points.

In the theatre division, all stocks, except AB-PT, were up,
led by Stanley Warner's rise of 2l/g.

FILM & THEATRE STOCKS

Close Close

Film Companies 12/20/62 1/3/63 Change

ALLIED ARTISTS 3 1/4 3% -

ALLIED ARTISTS (Pfd.) ....10% - -

CINERAMA I31/2 14% + %

COLUMBIA 24% 23% -1%

COLUMBIA (Pfd.) 78 77% - %

DECCA 45 45% + %

DISNEY 28% 30% • 1%

MCA 49 49 —

MCA (Pfd.) 34% 34% - %

M-G-M 32% 32% + %

PARAMOUNT 353/4 36% + %

SCREEN GEMS 18% 18 - %

20TH-FOX 20% 21% + %

UNITED ARTISTS 27% 27% - %

WARNER BROS 13% 14% + %

* * *

Theatre Companies

AB-PT 36 33% -2%

LOEW'S 21% 23% +1%

NATIONAL GENERAL 7% 8% + %

STANLEY WARNER 20% 223/4 +2%

TRANS-LUX 11% 13 +1%

(Allied Artists, Cinerama, Screen Gems. Trans-Lux, American
Exchange; all others on New York Stock Exchange.)

* * *

12/20/62 1/3/63

Over-the-counter Bid Asked Bid Asked

GENERAL DRIVE IN 8 8% 7% 8%

MAGNA PICTURES 1% 1% 1% 1%

MEDALLION PICTURES 4% 4% 4% 5

SEVEN ARTS 8% 9% 8 8%

UA THEATRES 5% 6% 5% 6

UNIVERSAL 57 60% 57 60%

WALTER READE STERLING 2 2% 1% 2%

WOMETCO 18% 20% 19 20%

(Quotations courtesy National Assn. Securities Dealers. Inc.)

I

Film BULLETIN January 7, 1963 Page 23

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

July

BRIDGE, THE Fritz Wepper, Volker Bohnet. Producer Dr.
Herman Schwerin. Director Bernhard Wicki. German
school boys pressed into defending a bridge in waning
days of WWII. 104 min.

EL CID Color. Charlton Heston. Sophia Loren, Raf
Valine, Genevieve Page. Producer Samuel Bronston,
Director Anthony Mann. Story of the warrior-hero who
saved Spain from the Moors. 179 min. 12/11/61.

FRIGHTENED CITY, THE Herbert Lorn, John Gregson,
Sean Connery. Producers John Lemont, Leighton Vance.

Director Lemont. Extortion racketeers invade big busi-
ness. 97 min.

October

CONVICTS 4 Ben Gazzara. Ray Walston, Sugar Whit-
man, Sammy Davis, Jr.. Vincent Price, Rod Steiger.
Producers Miller Kaufman. A. Ronald Lubin. Director
Kaufman. Prison drama. 110 min.

November

BILLY BUDD Peter Ustinov, Robert Ryan. Melvyn Doug-
las, Terence Stamp. Producer-Director Ustinov. Pic-
turization of Herman Melville's sea classic. 123 min.
I 1/12/62.

December

DAY OF THE TRIFFIDS, THE CinemaScope. Color.
Howard Keel, Nicole Maurey. Producer Philip Yordan.
Director Steve Sekely. Science-fiction thriller. 119 min.

Coming

BLACK ZOO Michael Gough, Jeanne Cooper, Rod
Loren, Virginia Grey. Producer Herman Cohen. Direc-
tor Robert Gordon. Horror story.

CAPTAIN MUST DIE, THE Producer Monroe Sachson.
Director Allen Reisner. Suspense thriller.

55 DAYS AT PEKING Technirama, Technicolor. Charl-
ton Heston, David Niven, Ava Gardner, Flora Robson,
Harry Andrews, John Ireland. Producer Samuel Bron-
ston. Director Nicholas Ray. Story of the Boxer uprising.

GREAT GUNFIGHTERS, THE Color, Cinemascope. David
Janssen. Producer Ben Schwalb. Private detective
breaks up outlaw gang that has terrified the Southwest.

LONG CORRIDOR, THE Producer-director Samuel Ful-
ler. A suspense thriller.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

RECKLESS PRIDE OF THE MARINES Producer Lester
Sansom. Andrew Geer's book about a horse which
served as an ammunition carrier in Korea.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen. Producer Martin Jurow. Army comedy.

STREETS OF MONTMARTRE Lana Turner, Louis Jour-
dan. Producer-director Douglas Sirk. Based on two
books, "Man of Montmartre" and "The Valadon
Drama."

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

July

POE'S TALES OF TERROR Color, Panavision. Vincent
Price, Peter Lorre. Basil Rathbone, Debra Paget. Pro-
ducer-Director Roger Corman. Based on Edgar Allan
Poe trilogy. 90 min. 6/11/62.

August

MARCO POLO CinemaScope, Color. Rory Calhoun,
Yoko Tani. Producers Ermano Donati, Luigi Carpentieri.
Director Hugo Fregonese. Recounting of the famous
Venetian adventures. 100 min. 9/17/62.

September

WHITE SLAVE SHIP (Formerly Wild Cargol Cinema-
Scope, Color. Pier Angeli, Edmund Purdom. Director
Silvio Amadio. Mutiny of prisoners shipped from Eng-
land in the 18th century to America as slaves. 92 min.
11/12/62.

October

WARRIORS 5 Jack Palance, Jo Anna Ralli. Producer
Fulvio Lusciano. Director Mario Silvestra. Story of an
American G.I. who orqanized the underground resist-
ance in Italy. 82 min. 11/12/62.

November

REPTILICUS Color. Carl Ottosen, Ann Smyrner. Pro-
ducer-Director Sidney Pink. Giant sea monster's de-
struction of an entire city. 81 min.

December

SAMSON AND THE 7 MIRACLES OF THE WORLD

(Formerly Goliath and the Warriors of Genghis Kahnl
Color. CinemaScope. Gordon Scott, Yoko Tani. Samson
helps fight off the Mongol invaders.

January

BATTLE BEYOND THE SUN (Filmgroupl Color, Vista-
scope. Ed Perry, Aria Powell. Science fiction.

RAVEN, THE Color. Panavision. Vincent Price, Peter
Lorre, Boris Karloff. Producer-director Roger Corman.
Edgar Allan Poe tale.

February

THE PIT Dirk Bogarde, Mary Ure. Science Fiction.

March

DEMENTIA (Filmgroupl William Campbell, Luana An-
ders, Mary Mitchell. Suspense drama.

NIGHT TIDE (Filmgroupl Dennis Hopper, Linda Law-
son.

OPERATION BIKINI [Formerly Seafighters) Tab Hunter,
Frankie Avalon. Producer-director Anthony Carras.

April

TERROR, THE (Filmgroupl Color, Vistascope. Boris Kar-
loff. Horror.

May

NIGHTMARE (Formerly Schizo) Leticia Roman, John
Saxon. Producer-director Mario Bava. Suspense horror.

YOUNG RACERS. THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

June

HAUNTED VILLAGE Color, Panavision. Vincent Price,
Boris Karloff, Debra Paget. Producer-director Roger
Corman.

July

BEACH PARTY Color, Panavision. Frankie Avalon.
Producer Lou Rusoff. Teenage comedy.

August

MASQUE OF THE RED DEATH Color, Panavision. Ray
Milland. Producer Roger Corman. Based on Edgar
Allan Poe story.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

COMEDY OF TERROR Color, Panavision. Vincent Price,
Peter Lorre, Boris Karloff. Horror.

DUNWICH HORROR Color. Panavision. Science Fiction.
GENGHIS KHAN 70mm roadshow.

UNDER 21 Color, Panavision. Teen musical comedy.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Producers Julian
Wintle, Leslie Parkyn. H. G. Wells classic.

"X"— MAN WITH THE X-RAY EYES, THE Vincent Price.
Producer Roger Corman. Science fiction.

August

SHOOT THE PIANO PLAYER Charles Aznavour,
Marie Dubois. Producer Pierre Braunberger. Director
Francois Truffaut. 85 min. 7/23/62.

October

IL GRIDO (The Outcry) Steve Cochran, Betsy Blair,
Alida Valli, Robert Alexander. Producer S.P.A. Cine-
matografica. Director Michaelangelo Antonioni. 115
min. 11/12/62.

December

BLACK FOX Marlene Dietrich. Producer-director Louis
Clyde Stoumen. Narration of true story of Adolph
Hitler. 89 min.

OUT OF THE TIGER'S MOUTH Loretta Hwong, David
Fang. Producer Wesley Ruggles, Jr. Director Tim
Whelan, Jr. 81 min.

OUARE FELLOW, THE Patrick McGoohan, Sylvia Sims.
Walter Macken. Producer Anthony Havelock-Allan.
Director Arthur Dreifuss. 85 min. 11/26/62.

January

SWINDLE, THE Broderick Crawford, Giulietta Masina,
Richard Basehart. Director Federico Fellini. Melodrama.
92 min. 1 1/12/62.

TRIAL, THE Anthony Perkins, Jeanne Moreau. Director

Orson Welles.

WORLD BEGINS AT 6 P.M. Jimmy Durante, Ernest Borg-
nine. Director Vittorio DeSica.

Coming

TOTO, PEPPINO and LA DOLCE VITA Toto, Peppino.

June

BIG RED Technicolor. Walter Pidgeon, Emile Genest,
Gilles Payant. Producer Winston Hibler. Director Nor-
man Tokar. Story of a lonely man, a boy and a cham-
pion Irish setter photographed in the Canadian Wildi.
93 min. 4/30/62.

July

BON VOYAGE Technicolor. Fred MacMurray, Jane
Wyman, Deborah Walley, Michael Callan. Producer
Walt Disney. Director James Neilson. American family'i
misadventures during a European holiday. 130 min.
5/14/62.

October

ALMOST ANGELS Color. Peter Week, Sean Scully,
Vincent Winter, Director Steven Previn. 93 min. 9/3/62.

November

LEGEND OF LOBO, THE Producer Walt Disney. Live-
action adventure. 67 min. 11/12/62.

December

IN SEARCH OF THE CASTAWAYS Technicolor. Maurice
Chevalier, Hayley Mills, George Sanders. Producer
Walt Disney. Director Robert Stevenson. Based on the
Jules Verne story, "Captain Grant's Children." 100
min.

February

SON OF FLUBBER Fred MacMurray, Nancy Olson,
Keenan Wynn. Comedy. 104 min.

August

INTERNS, THE Cliff Robertson, Michael Callan, Suzy
Parker, Nick Adams, James McArthur, Haya Harareet.
Producer Robert Cohn. Director David Swift. Drama of
medical profession. 120 min. 6/11/62.

THREE STOOGES IN ORBIT. THE The Three Stooges.
Producer Norman Mauer. Director Edward Bernds. Zany
comedy antics in space. 87 min. 8/6/62.

September

BEST OF ENEMIES. THE Technicolor, Technirama. David
Niven, Sordi, Michael Wilding. Producer Dino de
Laurentiis. Director Guy Hamilton. Satirical comedy
on war. 104 min. 8/6/62.

DAMN THE DEFIANT (formerly H.M.S. DEFIANT) Color.
Alec Guinness, Dirk Bogarde, Anthony Quayle. Pro-
ducer John Brabourne. Director Lewis Gilbert. Sea
adventure. 101 min. 8/20/62.

RING-A-DING RHYTHM Chubby Checker, Dukes of
Dixieland, Gary (U.S.I Bonds, Dell Shannon. Producer
Milton Subotsky. Director Dick Lester. Teenage com-
edy. 78 min. 9/17/62.

Film BULLETIN — THIS IS HOUR PRODUCT

October

September

REQUIEM FOR A HEAVYWEIGHT Anthony Quinn,
Jackie Gleason, Mickey Rooney, Julie Harris. Producer
David Susskind. Director Ralph Nelson. Award winning
drama. 87 min. 9/17/62.

TWO TICKETS TO PARIS Joey Dee, Gary Crosby, Kay
Medford. Producer Harry Romm. Director Greg Gar-
rison. Romantic comedy. 75 min. 11/26/62.

November

PIRATES Of BLOOD RIVER Color. Glenn Corbett, Ker-
win Mathews, Maria Landi. Producer Anthony Nelson
Keys. Director John Gilling. Swashbuckling adventure.
87 min. 8/6/62.

WAR LOVER. THE Robert Wagner, Steve McQueen.
Producer Arthur Hornblow. Director Philip Leacock.
Drama of World War II in the sky. 105 min. 10/29/62.

WE'LL BURY YOUI Narrated by William Woodson.
Producers Jack Lee wood, Jack W. Thomas. Documen-
tary highlighting rise of Communism. 72 min. 10/15/62.

December

BARABBAS Technicolor. Anthony Quinn, Silvana Man-
gano, Jack Palance, Ernest Borgnine, Katy Jurado,
Douglas Fowley, Arthur Kennedy, Harry Andrews,
Vittorio Gassman. Producer Dino de Laurentiis. Direc-
tor Richard Fleischer. Based on novel by Par Lager-
kvist. 134 min. 9/3/62.

January

OLD DARK HOUSE, THE Color. Tom Poston, Robert
Morley, Joyce Grenfell. Producer-director William
Castle.

February

1

till

lukii

DIAMOND HEAD Panavision, Eastman Color. Charlton
Heston, Yvette Mimieux, George Chakiris, France
Nuyen, James Darren. Producer Jerry Bressler. Director
Guy Green. Based on Peter Gilman's novel.

March

MAN FROM THE DINER'S CLUB, THE Danny Kaye, Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin.

Coming

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Jesse
Pearson. Producer Fred Kohlmar. Director George
Sidney.

JASON AND THE GOLDEN FLEECE Color. Todd Arm-
strong, Nancy Kovak. Producer Charles H. Schneer.
Director Don Chaffey.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins. Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

WEEKEND WITH LULU, A Bob Monkhouse, Leslie
Philips, Shirley Eaton, Irene Handl. Producer Ted
Lloyd. Director John Paddy Garstairs. 91 min. 6/11/62.

JULE

August

WALTZ OF THE TOREADORS Peter Sellers, Margaret
Leighton, Dany Robin. Producer Peter de Sarigny. Di-
rector John Guillerimin. Based on Jean Anouilh's
Broadway and London stage success. 105 min. 8/20/62.

September

IMPERSONATOR. THE John Crawford. Jane Griffiths.
Director Alfred Shaughnessy. Producer Anthony Perry.
Murderer puts town on edge as he prowls for women.
64 min.

OPERATION SNATCH Terry-Thomas, George Sanders,
Lionel Jeffries, Jackie Lane. Producer Jules Buck.
Director Robert Day. Story of attempt to perpetuate
a famous legend. 83 min. 10/15/62.

October

END OF DESIRE Color. Maria Schell, Christian Mar-
quand, Ivan Desny, Pascale Petit. Producer Agnes De-
Lahaie. Director Alexander Astruc. 91 min.

HANDS OF ORLAC. THE Mel Ferrer, Dany Carrol.
Producers Stevan Patios, Donald Taylor. Director Ed-
■nond T. Grenville. Drama about a man twisted by a
>trange obsession. 86 min. 8/20/62.

art**

rami

November

LONELINESS OF THE LONG DISTANCE RUNNER, THE

Michael Redgrave, Tom Courtenay, Avis Bunnage. Pro-
ducer-director Tony Richardson. Explores the attitudes
if a defiant young man sent to a reformatory for
obbery. 103 min. 10/1/62.

)i.o

• Color,

July

TRANGERS IN THE CITY Robert Gentile, Kenny Del-
nar. Producer-Director Rick Carrier. Drama of an '

nigrant family struggling to survive in an unfriendly

ity. 83 min.

DEVIL'S WANTON, THE Doris Svedlund, Birgir Malm-
sten. Producer Lorens Marmstedt. Director Ingmar
Bergman. Bergman comments on life, death, immortal-
ity and the devil. 77 min. 6/1 1/62.

DIVORCE— ITALIAN STYLE Marcello Mastroianni, Dan-
iela Rocca, Stefania Sandrelli. Producer Franco Cris-
taldi. Director Pietro Germi. Satirical jabs at the
mores of our times. 104 min. 10/29/62.

LA VIACCIA Claudia Cardinale, Jean-Paul Belmondo,
Pietro Germi. Producer Alfredo Bini. Director Mauro
Bolognini. A drama of the tragic influences of the city
upon a young farmer. 103 min. 11/12/62.

NO PLACE LIKE HOMICIDE! (Formerly What a Carve
Up!) Kenneth Connor, Shirley Eaton. Producers Robert
S. Baker, Monty Berman. Director Pat Jackson. British
spoof on the traditional haunted house. 87 min. 7/9/62.

October

CRIME DOES NOT PAY Danielle Darrieux, Richard
Todd. Pierre Brasseur, Gino Cervi, Gabriele Fenetti,
Christian Marquand, Michelle Morgan, Jean Servais.
Producer Gilbert Bokanowski. Director Gerard Oury.
French object lesson based on classic crimes. 159 min.
10/29/62.

LONG DAY'S JOURNEY INTO NIGHT Katharine Hep-
burn, Jason Robards, Jr., Sir Ralph Richardson, Dean
Stockwell Producer Ely A. Landau. Director Sidney
Lumet. Film version of Eugene O'Neill's Pulitzer Prize-
winning stage drama. 174 min. 10/29/62.

November

NIGHT IS MY FUTURE Mai Zetterling, Birger Malmsten.
Director Ingmar Bergman. Bergman reflects on the
theme of man's search for human contact and love in
a "hostile universe." 87 min.

December

CONSTANTINE AND THE CROSS Color. Cornel Wilde,
Christine Kaufman, Belinda Lee. Producer Ferdinado
Feliciori. Director Lionello De Felice. Story of early
Christians struggling against Roman persecution. 120
min. 11/26/62.

January

SEVEN CAPITAL SINS Jean-Pierre Aumont, Dany Saval.
Directors Claude Chabrol, Edouard Molinaro, Jean-Luc
Godard. Roger Vadim, Jaques Demy, Philippe De
Broca, Sylvain Dhomme. A new treatment of the classic
sins with a Gallic flavor. 113 min. 11/26/62.

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,
Christian Doermer. Director Francois Truffaut, Andrez
Wajda, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French
Revolution. 104 min.

IE

Current Releases

ANTIGONE ( Ellis Films) Irene Papas, Manos Katra-
kis. Producer Sperie Perakos. Director George Tza-
vellas. 88 min. 10/29/62.

ARMS AND THE MAN (Casino Films) Lil'o Pulver,
O. W. Fischer, Ellen Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
96 min.

BERNADETTE OF LOURDES IJanus Films) Daniele Ajoret
Nadine Atari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY. THE ILopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 68 min.

BLOODY BROOD. THE ISutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR, A Pierre Fresnay, Michel
Auclair. 72 min.

CANDIDE (Union Films) Jean-Pierre Cassel, Pierre
Brausseur, Dahlia Lavi. Director Norbert Carbonnaux.
90 min. I 1/26/62.

CLEOPATRA'S DAUGHTER Color, Totalscope. Debra
Paget, Robert Alda. 93 min.

COMING OUT PARTY A. James Robertson Justice.
Producers Julian Wintle, Leslie Parkyn. Director Kenn
Annakin. 90 min. 9/17/62.

CONCRETE JUNGLE, THE (Fanfare Films) Stanley
Baker, Marqit Saad. Sam Wanamaker, Greqoire Asian.
Producer Jack Greenwood. Director Joseph Losey. 86
min. 7/9/62.

CONNECTION, THE Warren Finnerty, Garry Good-
row, Jerome Raphel. Producer Lewis Allen. Director
Shirley Clarke. Off-beat film about dope addicts. 93
min. 10/29/62.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

DAY THE SKY EXPLODED. THE (Excelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

JANUARY SUMMARY

The list of releases for this month
remains, as reported in the prior issue,
a meager 12 features. Astor, offering 3,
again heads the list. Two films will be
forthcoming from both Columbia and
American-International, while five firms
— M-G-M, 20th-Fox, Warner Bros., Em-
bassy and Paramount — have one ready.
United Artists, Universal, Allied Artists,
Buena Vista and Continental have an-
nounced no new releases for the month.

DESERT WARRIOR, THE Color, Totalscope. Ricardo
Montalban, Carmen Sevilla. 87 min.

DEVIL MADE A WOMAN, THE Color, Totalscope. Sarita
Montiel. 87 min.

DEVIL'S HAND. THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FEAR NO MORE ISutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS Technicolor, Totalvision.
Yoko Tani, Oldrick Lukes. 81 min.

FIVE DAY LOVER, THE IKinqsley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE ISutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FLAME IN THE STREETS (Atlantic) John Mills, Sylvia
Syms Brenda DeBanzie. Producer-director Roy Baker.
93 min. 10/29/62.

FORCE OF IMPULSE ISutton Pictures) Tony Anthony
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

GIRL WITH THE GOLDEN EYES, THE I Kingsley-lnter-
national) Marie LaForet, Paul Guers, Francoise Pre-
vost. Producer Gilbert De Goldschmidt. Director Jean-
Gabriel Albicocco. 90 min. 8/20/62.

IMPORTANT MAN, THE ILopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

JOSEPH AND HIS BRETHREN (Coloramal Geoffrey
Home, Belinda Lee. Producers Ermanno Donati, Luigi
Carpentierei. Director Irving Rapper. 103 min. 12/24/62.
KiND OF LOVING, A [Governor Films) Alan Bates,
June Ritchie, Thora Hird. Producer Joseph Janni.
Director John Schlesinger. 11/12/62.

LA NOTE BRAVA IMi'l°r Producing Co.) Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LONG ABSENCE. THE (Commercial Films) Alida Valli,
Georges Wilson. Director Henri Colp. French drama.
85 min. I 1/26/62

MATTER OF WHO, A (Herts-Lion International I Alex
Nicol, Sonja Ziemann. Producers Walter Shenson.
Milton Holmes. Director Don Chaffey. 90 min. 8/20/62.

NIGHT OF EVIL ISutton) Lisa Gaye, Bill Campbell.
88 min.

NIGHT, THE (Lopert) Jeanne Moreau, Marcello
Mastroianni, Monica Vitti. Producer Emanuele Cassulo,
Director Michelangelo Antonioni. 120 min. 3/5/62.

PARADISE ALLEY ISutton) Hugo Haas, Corinne Griffith.

PASSION OF SLOW FIRE, THE (Trans-Lux) Jean
DeSailley, Monique Melinand. Producer Francois
Chavene. Director Edouard Molinaro. 91 min. 11/12/62.

PHAEDRA ILopert) Melina Mercouri, Anthony Perkins,
Rat Vallone. Producer-director Jules Dassin. 115 min.
10/29/62.

SATAN IN HIGH HEELS (Cosmic). Meg Myles Gray-
son Hall. Mike Keene. Producer Leonard M. Burton.
Director Jerald Intrator. 97 min. 5/14/62.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

SECRETS OF THE NAZI CRIMINALS (Trans-Lux). Pro-
ducer Tore Sjoberg. Documentary recounting Nazi
crimes. 84 min. 10/15/62.

SLIME PEOPLE. THE ( Hutton-Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT, THE Robert Clarke. Francine
York. 85 min.

STAKEOUT Ping Russell. Bill Hale, Eve Brent. 81 min.

SUNDAYS ANO CYBELE I Davis-Royal ) Hardy Kruger.
Nicole Courcel, Patricia Gozzi. Producer Romain Pines.
Director Serge Bourgulgnon. 110 min. 11/26/62.

Film BULLETIN— THIS IS YOUR PRODUCT

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THRONE OF BLOOD (Brandon Filmsl Toshino Mifone,
Isuzu Yamada. Director Akira Kurosawa 108 min.
1/8/42.

THROUGH A GLASS DARKLY (Janus) Harriet Ander-
son, Gunnar Bjornstrano, Max von Sydow, Lars Pass-
gard. Director Ingmar Bergman. 91 min. 3/19/42.

TROJAN HORSE, THE Colorama. Steve Reeves, John
Drew Barrymore, Edy Vessel. Director Giorgio Ferroni.
105 min. 7/23/42.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIRIDIANA Silvia Pinal Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WILD FOR KICKS (Times Films] David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

WOZZECK (Brandon! Kurt Meisel, Helqa Zulch, Rich-
ard Haussler. Producer Kurt Halme. Director George
Klaren. 81 min. 3/19/42.

VOJIMBO (Seneca-International) Toshiro M. Fune, Kyu
Sazanka, Nakadai. Director Akiro Kurosana. 101 min.
9/17/42.

METRO-GOLD WYN -MAYER

August

SAVAGE GUNS. THE Richard Basehart. Alex Nicol,
Don Taylor. Producers J. G. Maesso, Jimmy Sangster.
Director Michael Carreras. An Action western.

TWO WEEKS IN ANOTHER TOWN Kirk Douglas,
Edward G. Robinson, Cyd Charisse. George Hamilton,
Dahlia Lavi, Claire Trevor. Producer John Houseman.
Director Vincente Minn el li . Screen version of Irwin
Shaw's best-seller. 107 min. 8/20/42.

WONDERFUL WORLD OF THE BROTHERS GRIMM. THE

Cinerama. Laurence Harvey, Walter Slezak, Karl
Boehni, Claire Bloom, Yvette Mimieux, Russ Tamblyn.
Producer George Pal. Director Henry Levin. Story of
brothers who wrote the famous fairy tales. 135 min.
8/4/42..

September

I THANK A FOOL Susan Hayward. Producer Anatole
de Grunwald. Director Robert Stevens. Screen version
of the dramatic best-seller novel by Audrey Erskine
Lindop. 100 min. 9/17/42.

October

VERY PRIVATE AFFAIR. A Brigitte Bardot Marcello
Mastr^ianni. Producer Christine Gouze-Renai. Director
Louis Malle. Story of the meteoric career of a young
screen star who becomes a sex symbol for the world.
94 min. 10/1/42.

November

ESCAPE FROM EAST BERLIN Don Murray, Christine
K^u'm^nn. Producer Walter Wood. Director Robert
Siodmak. Drama of the escape of 28 East Germans to
West Berlin under the wall via a tunnel. 93 min.
10/29/62.

KILL OR CURE Terry-Thomas, Eric Sykes, Dennis Price,
Moira Redmond. Producer George Brown. Director
George Pollack. Detective tale. 88 min. 11/26/62.

PERIOD OF ADJUSTMENT Tony Franciosa, Jane Fonda,
Jim Hutton. Producer Lawrence Weingarten. Director
George Roy Hill. Screen version of Tennessee Williams'
Broadway play. 112 min. 10/29/62.

TRIAL AND ERROR Peter Sellers, Richard Attenbor-
ough. Producer Dimitri de Grunwald. Director James
Hill. Comedy about a henpecked murderer and his
ineffectual lawyer. 99 min. 11/26/62.

December

ARTURO'S ISLAND Reginald Kernan, Key Mersman,
Vanni De Maigret, Ornella Vanomi. Producer Carlo
Ponti. Director D. Damiani. Based on noted Italian
novel. 90 min.

BILLY ROSE'S JUMBO Doris Day, Stephen Boyd, Jimmy
Durante, Martha Raye. Producer Joe Pasternak. Direc-
tor Charles Walters. Martin Melcher. Based on the
Broadway musical Tolialgo. 125 min. 10/12/62.

SWORDSMAN OF SIENA Eastman Color. Stewart

Granger, Christine Kaufmann. Producer Jacques Bar.
Director Etienne Pertier. Adventure drama. 92 min.
I 1/26/62.

January

CAIRO George Sanders, Richard Johnson. Producer
Ronald Kinnoch. Director Wolf Rilla. Drama of attempt
to rob the Cairo Museum.

PASSWORD IS COURAGE. THE Dirk Bogarde. Pro-
ducer-Director Andrew L. Stone. One man's war against
the Nazis during World War II. 116 min.

February

DIME WITH A HALO Barbara Luna, Paul Lanqton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris
Saqal Race tiack comedy.

HOOK. THE Kirk Douglas, Nick Adams. Producer Wil-
liam Perlberg. Director George Seaton. Drama set
against background of the Korean War.

March

COURTSHIP OF EDDIE'S FATHER, THE Glen Ford,

Shirley Jones. Producer Joe Pasternak. Director Vin-
cente Minnelli. Romantic comedy revolving about a
young widower and his small son.

FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
Randell, Russ Tamblyn, Janis Paiqe. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate. Based on the life of Sir Francis Drake. 102 min.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatola de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.

IT HAPPENED AT THE WORLD'S FAIR Panavision,
Color. Elvis Presley. Producer Ted Richmond.

May

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,
Heidi Bruehl. Producer King Brothers. Director Byron
Haskin. Adventure Fantasy.

IN THE COOL OF THE DAY CinemaScope, Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz.

June

GOLDEN ARROW. THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min.

Coming

DRUMS OF AFRICA Frankie Avalon. Porducers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

HOW THE WEST WAS WON Cinerama. James Stewart,
Debbie Reynolds, John Wayne, Gregory Peck, Henry
Fonda. Carroll Baker. Producer Bernard Smith. Direc-
tors Henry Hathaway, John Ford, George Marshall.
Panoramic drama of America's expansion Westward.
155 min. I 1/26/42.

MOON WALK Shirley Jones. Producer Joe Pasternak.
Director George Sidney. Romantic comedy based on
a story in the Ladies Home Journal.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh Griffith. Pro-
ducer Aaron Posenberq. Director Lewis Milestone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hal. I 179 min. 11/12/42.

RIFtFI IN TOKYO Karl Boehm, Barbara Lass, Charles
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo.

TAMAHINE Nancy Kwan, Dennis Price. Producer John
Bryan. Director Philip Leacock. Romantic comedy of
a Tahitian girl and her impact on an English public
school.

TODAY WE LIVE Simone Signoret, Stuart Whitman.
Producer Jacques Bar. Director Reng Clement. Drama
of temptation and infidelity in wartime.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

V.I.P.'s. THE Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Arnay Asquith. Comedy drama.

(Ml J 1 ; fi 7, : fa Jfc

August

HATARI ! Technicolor. John Wayne, Hardy Kruger,
Elsa Martinelli, Gerard Blaine, Red Burtons. Producer-
Director Howard Hawks. Story of the daredevil adven-
turers who capture wild animals for zoos and circuses.
159 min. 6/25/62.

October

PIGEON THAT TOOK ROME, THE Panavision. Charlton
Heston, Elsa Martinelli, Harry Guardino. Producer-
Director Melville Shavelson. Comedy-drama. 100 min.

9/3/62.

November

GIRLSI GIRLSI GIRLS! Panavision, Technicolor. Elvis
Presley, Stella Stevens. Producer Hal Wallis. Director
Norman Taurog. 106 min.

December

IT'S ONLY MONEY Jerry Lewis, Joan O'Brien. Zachary
Scott, Jack Weston. Producer Paul Jones. Director
Frank Tashlin. Comedy. 84 min. 9/17/62.

January

WHO'S GOT THE ACTION Panavision. Technicolor.
Dean Martin, Lana Turner, Eddie Albert, Walter Mat-
hau, Nita Talbot. Producer Jack Rose. Director Daniel
Mann. A society matron becomes a "bookie" to cure
her horse-playing husband. 93 min. 10/1/62.

February

GIRL NAMED TAMIKO. A Technicolor. Laurence Har-
vey, France Nuyen. Producer Hal Wallis. Director John
Sturges. A Eurasian "man without a country" courts an
American girl in a bid to become a U.S. citizen.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmons.
Pat Hingle. Producer David Susskind. Director Alex
Segol. Film version of play and novel.

COME BLOW YOUR HORN Technicolor. Frank Sinatra,
Barbara Ruth, Lee J. Cobb. Producer Howard Koch. Di-
rector Bud Yorkin. A confirmed bachelor introduces his
young brother to the playboy's world.

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific.

HUD Paul Newman, Patricia Neal. Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director Ritt.
Drama set in modern Texas.

MY SIX LOVES Technicolor. Debbie Reynolds, Cliff
Robertson, David Jannsen. Producer Garet Gaither.
Director Grover Champion. Broadway star adopts six
abandoned children.

PAPA'S DELICATE CONDITION Color. Jackie Gleason,
Glynis Johns. Comedy-drama based on childhood of
silent screen star Corinne Griffith.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

WONDERFUL TO BE YOUNG Cliff Richard, Robert
Morley. 92 min.

20TH CENTURY-FOX

August

FIRE BRAND CinemaScope. Kent Taylor, Lisa Montell.
Producer-Director Maury Dexter. Story of the famout
Latin fighter, Joaquin Murieta.

FIVE WrEKS IN A BALLOON CinemaScooe, Deluxe
Color. Cedric Hardwicke, Peter Lorre. Producer-Direc-
tor Irwin Allen. Jules Verne's first novel about a mad-
cap flight across Africa in a balloon. 101 min. 8/20/62.

September

I LIKE MONEY CinemaScope, De Luxe Color. Peter Sel-
lers, Nadia Gray, Herbert Lorn, Leo McKern. Producer
Pierre Rouve. Director Peter Sellers. Based on Marcel
Pagnol's famous story of "Topaze". 81 min. 5/28/62.

300 SPARVANS, THE CinemaScope, DeLuxe Color.
Richard Egan, Ralph Richardson, Diane Baker, Barry
Coe, David Farrar. Producers Rudolph Mate, George
St. George. Director Mate. Story of the battle c
Thermopylae. 114 min. 8/20/62.

October

GIGOT DeLuxe Color. Jackie Gleason, Katherine Kath
Gabrielle Dorziat, Diane Gardner. Producer Ken Hy
man. Director Gene Kelly. Story of a mute and a little
girl he befriends. 104 min. 6/25/62.

LONGEST DAY. THE John Wayne, Richard Todd

Peter Lawford, Robert Wagner, Tommy Sands, Fabian
Paul Anka, Curt Jurgens, Red Buttons, Irina Demich
Robert Mitchum, Jeffrey Hunter, Eddie Albert, Ra
Danton, Henry Fonda, Edmond O'Brien, Robert Ryan
Producer Darryl Zanuck. Directors Gerd Oswalo
Andrew Marton, Elmo Williams, Bernard Wicki, Ke
Annakin. 180 min.

November

LION, THE CinemaScope, De Luxe Color. William Ho
den, Trevor Howard, Capucine, Pamela Franklin. Pre
ducer Samuel Engel. Director Jack Cardiff. Based o
best-seller about a girl's love for a wild lion. 93 mil,
9/3/63.

LOVES OF SALAMMBO Deluxe. Jeanne Valerie, Jacqiw
Sernas. Edmund Purdom. Director Sergio Griec
Adventure drama. 72 min. 11/12/62.

December

NINE HOURS TO RAMA CinemaScope, DeLuxe Colo
Horst Buchholz, Valerie Gearon, Jose Ferrer. Produce
Director Mark Robson. Story of the man who assas:
nated Mahatma Gandhi.

Film

BULLETIN — THIS IS YOUR PRODUCT

January

SODOM AND GOMORRAH Stewart Granger, Pier An-
geli, Stanley Baker, Rossana Podesta. Producer Gof-
firedo Lombardo. Director Robert Aldrich, Biblical tale.
154 min.

Coming

CLEOPATRA Todd-AO Color. Elizabeth Taylor, Richard
Burton, Rex Harrison, Caesar Danova, Roddy McDowell,
Hume Cronyn, John Hoyt. Producer Walter Wanger.
Director Joseph Mankiewicz. Story of famous queen.

LEOPARD, THE Burt Lancaster, Claudia Cardinale.

QUEEN'S GUARDS, THE CinemaScope, DeLuxe Color.
Daniel Massey, Raymond Massey, Robert Stephens.
Producer-Director Michael Powell. A tale of the
tradition and importance of being a Guard.

YOUNG GUNS OF TEXAS James Mitchum, Alana Ladd,
Jody McCrea. Producer-director Maury Dexter. West-
ern. 78 min. 11/12/42.

UNITED ARTISTS

August

MARY HAD A LITTLE Agnes Laurent. Hazel Court, Jack
Watling. Producer George Fowler. Director Edward
Buzzell. 79 min. 8/21/61.

September

SWORD OF THE CONQUEROR Jack Palance. Eleonora
Rossi Drago, Guy Madison. Producer Gilberto Carbone.
Director Carlo Campogallian. 95 min. 9/17/62.

VALIANT, THE John Mills, Ettore Manni.

October

HERO'S ISLAND James Mason, Neville Brand, Kate
Manx, Rip Torn. Producer-Director Leslie Stevens. Ad-
venture drama. 94 min. 9/17/62.

- PRESSURE POINT Sidney Poitier, Bobby Darin, Peter
Falk. Producer Stanley Kramer. Director Hubert Corn-
field. Drama dealing with racial prejudice in U.S 91
y, min. 9/17/62.

THREE ON A SPREE Jack Watling, Carole Lesley,
Colin Gordon. Producer George Fowler. Director Sid-
ney J. Furie. 83 min. 10/2/61.

I November

MANCHURIAN CANDIDATE. THE Frank Sinatra, Laur-
ence Harvey. Janet Leigh, Angela Lansbury, Henry
Silva. Producers George Axelrod, John Frankenheimer.
Director Frankenheimer. Suspense melodrama 126 min
(jrtj 110/29/62.

December

3' TARAS BULBA Tony Curtis, Yul Brynner, Brad Dexter
: Sam Wanamaker, Vladimir Sokoloff, Akim Tamiroff'
. -i Christine Kaufmann. Producer Harold Hecht. Director
!!4!J. Lee Thompson. Action spectacle. 122 min. 12/10/62.

TWO FOR THE SEESAW Robert Mitchum, Shirley Mac-
laine. Producer Walter Mirisch. Director Robert Wise.
Based on the Brodaway hit. 119 min. 10/29/62.

Coming

BEAUTY AND THE BEAST Joyce Taylor. Mark Damon
C: 'Edward Franz, Merry Anders. 77 min.

SM'I CARETAKERS, THE Robert Stack, Joan Crawford.

CHILD IS WAITING. A Burt Lancaster, Judy Garland
Stephen Hill, Gena Rowland. Producer Stanley Kramer'
Director John Cassavetes.

DEAD TO THE WORLD Reedy Talton, Jana Pearce Ford
■. \- Rainey, Casey Peyson. Producer F. William Hart. Direc-
<„ j >tor Nicholas Webster. 87 min.

=IVE MILES TO MIDNIGHT I Formerly The Third Dimen-
;ion| Sophia Loren, Anthony Perkins, Gig Young
: :: rcland Turner. Producer-Director Anatole Litvak.

De<r GLADIATORS. THE Yul Brynner. Director Martin Ritt.

in 3LORIOUS BROTHERS, MY Producer-director Stanley
q1WiJ Kramer. From Howard Fast's best-seller.

SRAND DUKE AND MR. PIMM. THE Glenn Ford
Hope Lange, Charles Boyer.

SREAT WAR, THE Vittorio Gassman, Silvana Mangano
■mJi£.."° Sordi. Producer Dino De Laurentis. Director
:™j Mario Monicelli. 118 min. 9/18/61.

iJi" 'HAWAII Producer-director Fred Zinneman. Film ver-
» uon of James Michener's epic novel.

[INVITATION TO A GUNFIGHTER Producer Stanley
i • Kramer. Director Paul Stanley.

LAND WE LOVE. THE Color. James Mason, Kate Manx
Neville Brand, Rip Torn, Brendan Dillon. Producer-
l Director Leslie Stevens.

'HAEDRA Melina Mercouri, Anthony Perkins. Producer-
.( W Director Jules Dassin.

j iii'1 WAY WEST, THE James Stewart, Kirk Douglas Burt
-ancaster. Producer Harold Hecht.

mnnsnmm

August

SPIRAL ROAD, THE Color. Rock Hudson, Burl Ives, Gena
Rowlands. Producer Robert Arthur. Director Robert
Mulligan. Based on Jan de Hartog's best-seller novel.
U0 m,n. 6/1 1/62.

September

PHANTOM OF THE OPERA. THE Color. Herbert Lorn,
Heather Sears, Edward de Souza, Ian Wilson, Michael
Gough, Thorley Walters, Patrick Troughton. Producer
Anlhony Hinds. Director Terence Fisher. Tale of a
"monster" who terrorizes a theatre. 84 min. 6/25/62.

October

NO MAN IS AN ISLAND Color. Jeffrey Hunter. Pro-
ducer-Directors Richard Goldstone. John Monk, Jr.
War melodrama. 114 min. 8/6/62.

November

IF A MAN ANSWERS Color. Sandra Dee, Bobby Darin.
Producer Ross Hunter. Director Henry Levin. Romantic
comedy. 102 min. 9/3/62.

STAGE COACH TO DANCERS' ROCK Warren Stevens,
Martin Landau, Jody Lawrence, Don Wilbanks, Del
Morre, Bob Anderson, Judy Dan. Producer-Director
Earl Bellamy Western. 72 min. 10/15/62.

Comms

BIRDS, THE Technicolor. Rod Taylor. Jessica Tandy.

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives.
Producer Robert Arthur.

CHAR'DF Color Panavision. Cary Grant, Audrey Hep-
burn. Producer-Director Stanley Donen.

40 POUNDS OF TROUBLE Color. Panavision. Tony Cur-
tis, Phil Silvers, Suzanne Pleshette. Producer Stan Mar-
ginles. Director Norman Jewison. Comedy. 106 min.
12/24/62.

FREUD Montgomery Cliff. Susannah York, Larry Parks.
Producer Wolfgang Reinhardt. Director John Huston.
Story of Freud's initial conception of psychoanalysis.
139 min. 12/24/62

FOR LOVE OR MONEY (Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Ncwmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon.

GATHERING OF EAGLES, A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Proaucer Sy Bartlett. Director Delbert Mann.

KISS OF THE VAMPIRE Clifford Evans, Jennifer Daniel,
Edward De Souza, Noel Willman.

LAMCEIOT AND GUINEVERE Color. Panavision. Cornel
Wilde. Jean Wallace. Producers Cornel Wilde, Bernard
Luber. Director Wilde.

LIST OF ADRIAN MESSENGER, THE George C. Scott,
Dana Wynter. Producer Edward Lewis. Director John
Huston .

MAN'S FAVORITE SPORT Color. Rock Hudson, Maria
Perschey .

MYSTERY SUBMARINE Edward Judd, Laurence Payne,
James Robertson Justice. 90 min.

PARANOIC Janette Scott, Oliver Reed. Producer An-
thony Hinds. Director Freddie Francis.

SHOWDOWN (Formerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen.

TAMMY AND THE DOCTOR Color. Sandra Dee P»ter
Fonda. Producer Ross Hunter. Director Harry Keller.

THIiH. OF |T ALL. THE Color. Doris Dav. James Gar-
ner, Arlene Francis. Producers Ross Hunter, Martin
Melcher. Director Norman Jewison.

TO KILL A MOCKINGBIRD Gregory Peck. Producer
Alan Pakula. Director Robert Mulligan.

UGLY AMERICAN, THE Color. Marlon Brando. Sandra
Church, Yee Tak Yip. Producer-Director George Eng-
lund.

WARNER BROTHERS

September

STORY OF THE COUNT OF MONTE CRISTO, THE

Technicolor. Louis Jourdan, Yyvonne Furneaux. Pro-
ducers Jean-Jacques Vital, Rene Modiano. Director
Claude Autant-Lara. Drama from the novel. 132 min.
6/1 1/62.

October

CHAPMAN REPORT, THE Technicolor. Shelley Winters,
Efrem Zimbalist, Jr., Jane Fonda, Claire Bloom, Glynis
Johns. Producer Richard Zanuck. Director George Cu-
kor. Based on Irving Wallace's best-seller of a sex
survey in an American suburb. 125 min. 9/3/62.

November

GAY PURR-EE Technicolor. Voices of Judy Garland,
Robert Goulet, Red Buttons, Hermione Gingold. _ Pro-
ducer Henry G. Saperstein. Director, Abe Levitow.
Animated comedy feature of Parisian cats. 86 min.
10/29/62.

WHAT EVER HAPPENED TO BABY JANE? Bette Davis,
Joan Crawford. Producer-Director Robert Aldrich.
Shock thriller. 132 min. 10/29/62.

■January

GYPSY Technicolor, Techpirama. Rosalind Russell, Nat-
alie Wood, Karl Maiden. Producer-Director, Mervyn
LeRoy. From Broadway musical hit based on Gypsy
Rose Lee's career. 149 min. 10/1/62.

February

DAYS OF WINE AND ROSES Jack Lemmon, Lee
Remick. Producer Martin Manulis. Director Blake
Edwards. A drama of the effects of alcoholism in a
modern marriage. 117 min. 12/10/62.

TERM OF TRIAL Laurence Olivier, Simone Siqnoret. Pro-
ducer James Woolf. Director Peter Glenville. A cou-
ple's term of trial in face of charges against the husband.
113 m:n.

April

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min.

Coming

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett Director Leslie H. Martinson. Drama of
Oklahoma oil-boom.

ISLAND OF LOVE I Formerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece.

PALM SPRINGS WEEK-END Troy Donahue. Producer,
Michael Hoey. Director, Norman Taurog. Drama of
teen-agers' riotous week-end.

PANIC BUTTON Maurice Chevalier, Eleanor Parker,
Jayne Mansfield. Producer Ron Gorton. Director
George Sherman. Comedy set in Rome.

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II.

RAMPAGE. Technicolor. Robert Mitchum. Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama.

SPENCER'S MOUNTAIN Technicolor. Henrv Fonda.
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family.

THE CASTILIAN Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors.

THE INCREDIBLE MR. LIMPET Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Directors Arthur
Lubin. Combination live action-animation comedy with
music.

WALL OF NOISE Suianne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama.

WORLD BY NIGHT NO. 2 Producer Francesco Mazzei.
Director Gianni Proia. 118 min. 8/6/62.

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BULLETIN

Opinion of* the Industry

JANUARY 21, 1963

Did They
Lose the
Scissors?

u

lewpoint

ON THE LONG, LONG MOVIES

Wfot Mey'te hiking About

□ □ □ In the Movie Business □ □ □

AFTER THE STRIKE . . . UNIONS TO MOVE
'LAWRENCE' CUT . . . NSS HIKE APPROVED

\euieuu5

SODOM AND GOMORRAH
SON OF FLUBBER
A CHILD IS WAITING
THE HOOK
TERM OF TRIAL
MYSTERY SUBMARINE
ARTURO'S ISLAND
THE LOVERS OF TERUEL
GREAT CARUSO AND SHOWBOAT

It

JOSEPH £ L£vijvF

An Embassy PictufesReJ

ease

Presents

JOSEPH E. LEVINE presents

CRIME DOES
NOT PAV"

An Embassy Pictures Release

JOSEPH E LEVINE presents

"CONSTANTINE

AND

THE CROSS'

EASTMANCOLOR

4/

re

se

\

Wktf They'te hiking About

□ □ □ In the Movie Business □ □ □

LAWRENCE' CUT. The original 222 minutes
'unning time of "Lawrence of Arabia" is
Deing trimmed approximately 20 minutes, a
source from abroad informs us. Since the
3am Spiegel-David Lean production received'
pighly favorable reviews and is a leading
Contender for Academy Award honors,
I there was a reluctance to make any cuts at all.
■• Consideration of the trimming idea was
prompted by practical factors. The almost four
fhours (including overture and intermission)
necessitates an 8 p.m. starting time and a close
to midnight exit, posing a problem for suburban
audiences coming into town. This reportedly
fled the "Lawrence" co-producers to the
decision to make minor cuts in the print being
exhibited in London. Theatres in the U. S.
iare expected to receive trimmed prints
jwithin the next few weeks.

■

iBACK TO HOLLYWOOD. A well-founded
report was heard at the weekend to the effect
that Hollywood labor leaders will shortly issue
an upbeat statement hailing a strong "back
to Hollywood" trend. This new attitude was
sparked, we hear, by their talks a few days ago
with 20th-Fox president Darryl F. Zanuck,
who presumably gave the unions
encouragement on his future production plans
based on some assurances that labor will be
cooperative. Other film makers also are
jreported to have promised to channel their
projects back to the U. S. if the unions make
some concessions on wage scales and
"featherbedding".

■

(MORE ECA STARS. The roster of talent being
acquired by the new ECA continues to swell.
With Robert Mitchum and Bobby Darin
signed to multiple picture deals, and Henry
Fonda committed to star in the filmization of
"Fail-Safe", today's No. 1 best-seller, look
for president Max Youngstein shortly to reveal
more acquisitions. Two hot prospects for the

ECA banner: Gregory Peck and Robert
Preston, each to star in properties that already
have been selected.

■

AFTER THE STRIKE. The prolonged New
York newspaper strike, now of over six weeks
duration, is giving motion picture advertising
executives cause to ponder their future
promotion plans. While some attractions,
especially the class and art films, have been
hit hard by the lack of newspaper advertising,
others have benefitted by the diverse
substitute media employed to reach the public.
Some of the film and theatre promotion
people are inclined to the view that more
extensive use will be made of TV, radio mobile
units, billboards, etc. even after the
newspapers resume publication.

■

NSS HIKE APPROVED. National Screen
Service has notified exhibitors that it must
ask a flat ten percent increase on trailer and
accessory services from all theatres whose
rates have not been increased for the past 3
years or longer. Affirmative responses are
coming in from practically all theatremen. In
his message to NSS customers throughout
the country, president Burton E. Robbins
stated that the ad service company "has been
faced with economic burdens during the past
decade that have become increasingly
difficult to endure." He detailed the costly
efforts of the company to maintain its services
to theatres despite spiralling costs, a 25
percent reduction in its market and an even
greater decline in income. "We've been
explaining this situation for years", Robbins
wrote, "in an effort to obtain your
understanding and support. In some instances
the fairness of our request was greeted by
increases from exhibitors who have
appreciated our need for sufficient income to
maintain a service that is so valuable to them.
By and large, however, we alone have
absorbed the higher cost of supplying these
services." Although drastic economies have
been effected, he continued, "it is no longer
possible for us to effect further economies
without seriously endangering our ability to
efficiently service the exhibitors."

Film BULLETIN January 21, I9A3 Page 3

FINANCIAL REPORT

Quality of Product Is Key To
Trading in Film Shares— Bache

On what basis shall investors appraise the stocks of motion
picture companies? On their substantial West Coast land
holdings? Their fast-depleting libraries of old films? On their
diversifications into electronics, records, TV production? The
view of this department has long been that these are all minor
factors, that film companies rise or fall on one major element
— the quality and boxofhce performance of their feature film
output.

The research department of the prominent brokerage firm,
Bache & Co., takes the same view in its current "Selected List"
pamphlet for 1963. "Earnings of film companies", states Bache,
"will continue to vary widely, reflecting the unpredictable
audience response to individually very costly motion pictures.
Although many of these companies have large film libraries
and land holdings, which would tend to add stability, market
prices are primarily determined by expected nearer term earn-
ings." The firm declares its intention to limit purchases only
to those movie companies it believes "will generate earnings
over the intermediate term from a successful line-up of films."
The report singles out Walt Disney as the industry's "best
value" on the basis of "a steady record of growth because of
the timeless nature of their films."

In its quality rating of individual companies, Bache lists only
Disney and United Artists as being above the speculative
category.

MCA, Disney, 20th Show Sharp Rises

Although substantial gains were registered by several of the
film companies in the two week period (to Jan. 17) covered by
the Film BULLETIN chart, the overall summary shows prices
of industry shares mixed. President Kennedy's request for a
tax cut in his State of the Union Message apparently had rela-
tively little effect on film and theatre stocks, for the advances
were attributable to elements within the individual companies,
rather than to any outside factor.

MCA, Disney and 20th Century-Fox were strongly on the
upside. The first-named outfit picked up 5 points, continuing
steadily to regain the ground it lost during the complications
that arose during its merger with Decca-Universal. Disney rose
3% largely on the basis of its report of a net of $5,263,491
($3.14 per share), after taxes, for the fiscal year ended last
Sept. 29. 2()th-Fox advanced $3 per share, sparked by the
announcement of heavy bidding by theatres for "Cleopatra"
and the prospect that the company will take in a huge sum in
cash guarantees even before the costly film is released in June.
The largest decline, 2%, was in M-G-M. Earnings have been
down and a new president was named.

In the theatre devision, AB-PT and National General showed
good plus moves on their improving earnings status. NG hit a
new two-year high of 10%.

Wometco Steps Up Dividends

Wometco Enterprises Inc. (over-the-counter), Miami-based
theatre, TV, vending and bottling concern, announced an in-
crease of approximately 11% in dividend payments. A regular
quarterly dividend of 15c per share on class "A" common stock
and 5l/2c on class "B" will be paid March 15. This follows the
30% stock dividend paid last December, and is in line with
Wometco's announced intention to pay quarterly cash divi-
dends at the annual rate of 60c and 22c per share on class "A"
and class "B" stocks respectively.

'Profit Squeeze' Hits Loew's

That increasingly familiar phrase, "squeezed profit margins",
appears to have played a role in the Loew's Theatres Inc. report
for the quarter ended November 30, 1962.

Board chairman Laurence A. Tisch revealed that gross rev-
enues were up 4 million dollars to $14,371,000 over $10,350,-
000 for the same period in the previous year, while net income
dropped to $399,900 from $561,000 expenses obviously cut into
the additional gross revenue to send per-share earnings down
from 20c to 15c in the 1961 quarter.

FILM &

THEATRE

STOCKS

Close

Close

Film Companies

1/3/63

1/17/63

Change

ALLIED ARTISTS

. . 31/4

3%

ALLIED ARTISTS (Pfd.)

CINERAMA

'.14%

15

+ %

COLUMBIA

..233/4

231/2

" %

COLUMBIA (Pfd.)

771/4

DECCA

45i/2

451/4

- %

DISNEY

301/4

333/8

+ 33/8

FILMWAYS

5

6%

+ 1%

MCA

49

54

+ 5

MCA (Pfd.)

34i/2

351/g

+ %

M-G-M

■ 323/8

293/4

-2%

PARAMOUNT

36%

35%

" 3/4

SCREEN GEMS

18

17%

- 3/8

20TH-FOX

..21%

24i/8

+ 3

UNITED ARTISTS

.273/4

29

+iy4

WARNER BROS

..14%

14

- %

Theatre Companies

* * *

36V2

+3%

AB-PT

.333/g

LOEW'S

..23%

21

-2%

NATIONAL GENERAL

. ■ 81/4

103/8

+21/8

STANLEY WARNER

.223/4

22

- 3/4

TRANS-LUX

13

123/4

- %

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, American

Exchange; all others

on New York Stock Exchange.)
j. j. *

1/3/63

1/17/63

Over-the-counter

Bid

Asked

Bid

Asked

GENERAL DRIVE IN

.... 1%

8I/2

10

11

MAGNA PICTURES

.... II/4

l5/8

1%

l3/4

MEDALLION PICTURES

. . . . 41/4

5

4%

5%

SEVEN ARTS

8

8%

81/4

9%

UA THEATRES

. . . . 51/4

6

5%

6%

UNIVERSAL

57

60%

571/2

61%

WALTER READE-STERLING

... 1%

23/8

1%

23/8

WOMETCO

19

20%

191/2

2iy4

( Quotations courtesy National Assn.

Securities Dealers, Inc.)

Page 4 Film BULLETIN January 21, 1943

Hewpoints

JANUARY 21, 1963 / VOLUME 31, NO. 2

Niti They Lose Their Scissors*?

The Associated Press recently quoted
Joseph E. Levine as saying that he
plans to cut an hour out of "Long
Day's Journey Into Night" for its gen-
eral release. Acknowledging that
"O'Neill devotees are screaming their
heads off", Mr. Lavine countered the
outcry with a sample of the kind of
astuteness that has brought him so
quickly to the front rank of film execu-
tives. "Wouldn't it be a greater crime",
he asked, "if this classic were not com-
mercially successful?"

We don't propose to get involved in
the debate between the lovers of pure
O'Neill and Joe Levine. The purpose of
this viewpoint is to express some
thoughts on an issue that has immediacy
and a growing import — the long, long,
long movie.

Frankly, it looks like too many movie
makers have lost their scissors.

The three hours-plus running time
has become regarded in some quarters
as an essential of every film that aims
for that exclusive market, the hard-
ticket engagement, and two hours-plus
has become commonplace in the case
of lesser attractions.

It is not easy to argue with boxoffice
success, and it is a fact that most of
the greatest money makers have been in
the three hours-plus category. We con-
tend that most of today's blockbuster
films would have been improved by
some inspired editing to tighten them
up, to give them better pace and more
punch.

What has happened to the art of
editing in motion pictures? In searching
for the answer, we come to the conclu-
sion that no small measure of the
reason for overlength can be traced to
the development of independent pro-
duction.

Ostensibly, the function of editing be-

longs primarily to the director, for, as
playwright Robert Bolt recently said,
"The film is the director's, because he
commands both the camera and the
scissors." The producer has his role, too,
in the editing, since his gaze is fixed
below the marquee, somewhere down
around the boxoffice. But the actor
should perform only in front of the
cameras, and the task of the writer is
finished when he delivers the final draft
of his screenplay.

In the present scheme of the movie
industry, it seems more often than not,
the producer and the director each are
wearing two hats — the other being that
of a financier. The producer, the picture
and the director, who is oftimes pro-
ducer-director, are entangled in the
financial aspects of the production. Thus
involved in matters of money, they find
it difficult to leave scenes costing thou-
sands of dollars on the cutting room
floor.

Then the scheme is further com-
plicated by the fact that, in many in-
stances, the star and the writer have a
piece of the project. The producer-star,
perhaps, wants certain scenes left in,
pace and continuity to the contrary not-
withstanding. The producer-writer cries
that cutting that secene is tantamount to
amputating his right arm.

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax. Editor and Publisher.
PUBLICATION. EDITORIAL OFFICES: 1239 Vine
Street, Philadelphia 7, Pa., LOcust 8-0950. 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manaqer; Max Garelick,
Business Manager; Robert Heath Circulation
Manaqer. BUSINESS OFFICE: 550 Fifth Ave-
nue, New York 34, N. Y., Circle 5-0124;
Ernest Shapiro, N.Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
$3 .00 in the U. S.; Canada. $4.00;
Europe, $5.00. TWO YEARS $5.00 in
the U. S.; Canada. Europe. $9.00.

There is the rub, we suspect. For all
its many advantages, independent pro-
duction has this Achilles' heel, the lack
of an objective final authority, an editor
whose judgment of what stays in and
what comes out can be exercised arbi-
trarily, if need be, to give the picture
its most logical continuity, its best pace.

The public does not buy running
time; it buys entertainment. And the
stronger the impact a movie has on its
audience, the more enthusiastic will be
the word-of-mouth, and, of course, the
greater will be the ticket sale.

The
Mail
Box

To The Editor
Dear Sir:

I have been intending for sometime to
let you know what a fine job your Film
BULLETIN has been doing.

I believe that every segment of our
industry, particularly production and
distribution, has been guilty of "kid-
ding" themselves. Perhaps this stems
from the fact that in our earliest days,
this business was very successful and
we all indulged in "kidding" the public.
We may have succumbed to our ow n
device.

Problems cannot be solved or elimi-
nated unless they are faced up to and
your publication does just that. Inter-
nally, we must be realistic if we are to
survive. I know you will keep up the
good work in this direction.

Kindest personal regards.

WILLIAM E. YURASKO

Comerford Theatre Circuit
Scranton, Pit.

Film BULLETIN January 2 1, 1943 Poqe 5

Of People and Events

O'BRIEN

O'Brien MGM Head;
Vogel Now Chairman

"How fleeting is fame" was once
thought to apply to actors; in the film
world of today it seems to apply more
aptly to movie executives.

The official announcement was brief:
"Robert H. O'Brien, executive vice
president and treasurer, was elected
president and chief executive officer of
Metro-Goldwyn-Mayer, Inc., today (Jan.
9), immediately succeeding Joseph R.
Vogel." It went on to state that George
L. Killion, chairman of the board, had
resigned to make that post available for
Mr. Vogel, and that Mr. Killion was
taking over Vogel's seat on the execu-
tive committee.

The new president joined M-G-M in
1957 as vice president and treasurer,
bringing a broad background in indus-
try and financial affairs. He is highly
respected as a businessman, one with the
kind of imagination and flair that are
prerequisites for running a movie com-
pany. He had previously held key execu-
tive posts with American Broadcasting-
Paramount Theatres and with Para-
mount Pictures. A graduate of the Uni-
versity of Chicago Law School, O'Brien
served as a member of the Securities
and Exchange Commission for about
three years. In December, 1961, he was
elected executive vice president of
M-G-M, a move which indicated that
he was slated to take over the presi-
dency at some future date.

That the switch was to take place
so soon, however, was not suspected
at the time. Joe Vogel, who had stepped
into the presidency of the strife-torn,
financially failing company in October,

VOGEL

1956, and lifted it from an enormous
loss to huge profit within three years,
was solidly entrenched. His big gamble,
"Ben Hur ", had paid off handsomely,
becoming the top movie money earner
of all time. The studio, under the di-
rection of Sol C. Siegel, a Vogel ap-
pointee, started to show signs of falter-
ing two years ago. "The Four Horsemen
of the Apocalypse", at a cost of over
$10 million, proved a boxoffice flop.
"Mutiny on the Bounty", beset by in-
numerable mishaps, ran far over its bud-
get and was long delayed in getting into
release. Despite the herculean efforts of
Vogel, dividing his time between the
studio and the home office, the profit
picture worsened steadily during the
past two year period, and some of the
directors became restive. They decided
to move Vogel up to the chairmanship,
put O'Brien in the "hot seat".

Thus far, the new M-G-M head has
given no indication of what policy
changes, if any, he might make. He is
due to visit the studio shortly. Vogel,
tired out by his strenuous labors in a
hectic half dozen years, is planning a
vacation.

'Geo' Guarantees
To Lift 20th From
Financial Straits

"Cleopatra" has been put afloat in a
launching that rivals her famous trip
down the Nile.

At very leas;, her screen story has
spurred what can be described as the
most remarkable pre-release booking ar-
rangement in motion picture history.
Scheduled to open June 12 in 70 U. S.
and Canadian theatres, exhibition rights
are being auctioned off to the highest
bidders for unprecedented retainers.
First to sign up for the long-awaited,
costliest film attraction of all time was
New York's Rivoli, which laid out, five
months before opening night, a guar-
antee of $1,250,000 in cold cash for a
minimum 75-weeks run. This kind of
deal is being repeated, with lesser guar-
antees, of course, in major cities
throughout the country.

Within less than one week after
Seymour Poe, 20th Century-Fox vice
president in charge of global distribu-
tion, and Salah Hassanein, executive
vice president of United Artists Theatre
Circuit, operator of the Rivoli, an-

SUGAR, POE, HASSANEIN

nounced the initial "Cleopatra" deal,
the film company claimed that over
4,400 requests for tickets were received
via mail, wire and phone. The Rivoli
prices will be scaled from a $5.50 even-
ing top to $2.50 matinee low.

Exuding confidence in the film's box-
office potential ("every man, woman
and child knows about it"), Poe said
that 20th is deliberating breaking dis-
tribution traditions by going into the
70 day-and-date openings, rather than
staggering them as hard-ticket shows
usually are; by taking its percentage
scale (reportedly from 70% to 50%)
from the first dollar of gross receipts; by
demanding that all guarantees be paid
in cash in advance, rather than from
boxoffice receipts.

The Fox distribution executive pre-
dicted that his company's $60-65 million
break-even figure on the $40 million
production might be reached within
the first year of release. Speculation
within the trade is that 20th will have
over $20 million in hand before the
film opens. This is seen lifting the com-
pany out of the mire of red ink in
which it has been wallowing for the
past two years ($7,000 daily interest be-
ing paid to banks), and freeing presi-
dent Darryl F. Zanuck to proceed with
an extensive production program.

Lavish Joe Levine
Lures Ponti, Davis

With typical flair and flamboyance —
in the posh surroundings of The Four
Seasons, one of New York's most ex-
pensive gourmet rendezvous — Joseph
E. Levine last Tuesday revealed what
he termed the most important and ex-
tensive co-production deal in the history
of Embassy Pictures: four films to be
made in collaboration with Carlo Ponti,
the Italian producer.

When the seafood cocktail, rack of
lamb, wine, fruit and cheese had finally

Page 6 Film BULLETIN January 21, 1963

OF PEOPLE AND EVENTS

LEVINE & DAVIS

given way to demi-tasse, the open-
handed host and Ponti rose to answer
questions from the press.

Combined budget on the four pic-
tures: in excess of $8,700,000. The en-
tire quartet will be produced this year
in Italy, France, Spain, Germany, Eng-
land and Switzerland. Embassy will re-
lease the films, during 1963 and 1964,
throughout the world, outside of Italy.
Titles: "The Empty Canvas" and "A
Ghost at Noon," both based on best-
selling novels by the noted Italian au-
thor, Alberto Moravia, "Yesterday, To-
day and Tomorrow" (tentative title)
and "Casanova," both original screen-
plays. Sophia Loren, Brigitte Bardot
and Marcello Mastroianni will star in
individual pictures, and the directors
will include Vittorio De Sica, Jean-Luc
Godard, Mauro Bolognini and Damiano
Damiani.

Levine concluded by paying tribute
to Ponti: "Carlo Ponti, more than any
other producer on the international
motion picture scene, undeniably has
true insight into what the public de-
mands in motion picture entertain-
ment."

Their lavish Four Season lunch hard-
ly settled, members of the press corps
were at 21 Club two days later for
announcement of another Levine co-
production deal, this one with singer-
actor Sammy Davis, Jr. The immediate
project will be "Burn, Killer, Burn",
based on the true-life story by Paul
Krump about the young Chicago Negro
who was convicted for murder and re-
cently reprieved.

Films on TV Called
Industry 'Suicide'

"Sunday Night Suicide!" In an open
letter to the press, to producers, dis-
tributors and fellow exhibitors, theatre-
men David E. Milgram thus termed
the release of relatively new features
to television for home showing at prime
hours on weekends.

Asking, "Was the TV sale really
that rewarding?", Milgram cited the
experience of his Fox Theatre in Phila-

delphia, playing "Taras Bulba" and
competing with "Solomon and Sheba"
on TV.

"The Fox Theatre boxoffice Sunday,
January 6, 1963 (Taras Bulba) in per-
fect theatre-going weather, was $3,-
792.00 against a gross on Sunday, Jan-
uary 3, I960 (Solomon and Sheba) of
$6,859.00. This drop, three years later,"
the letter states, "can be traced directly
to the adverse effect of the free showing
on TV of top pictures on prime time.

"Multiply the Philadelphia experience
by the number of theatres throughout the
country playing 'Taras Bulba' and the
losses can be reckoned in the hundreds
of thousands of dollars. Consider the
thousands of theatres playing other
quality attractions and hurt just as hard
by 'Solomon and Sheba' on Television,
and losses are in the millions."

Calling the policy "economic mad-
ness", Milgram questions whether film
company stockholders, as well as pro-
ducers really understand the facts.

Producer Bites Actor!
Mirisch vs. Ustinov

During the past year or so, events in
Rome, in Tahiti, and in Hollywood
attracted wide attention to what is
termed filmdom's "star problem". The
hi-jinks of the "Cleopatra" stars,
Brando's conduct in the making of
"Mutiny on the Bounty", and the ab-
senteeism of ill-fated Marilyn Monroe
on the set of "Something's Got To
Give" provided juicy fodder for the
gossip columnists and drew such refer-
ences as "the lunatics are running the
asylum".

Of late, however, the news is being
made by film men biting actors who
misbehave. Studio heads and indepen-
dent producers seem determined to fol-
low a businesslike, "get tough" policy
in dealing with performers charged with
recalcitrance or frivolous failure to meet
contractural obligations.

The Mirisch Company, for one, has
taken off the kid gloves and announced
last week that it is bringing suit against
Peter Ustinov for allegdly failing to
report for work on "The Pink Panther ",
now being filmed in Rome. Suing for
damages "thought to be in the area of
$175,000, the independent production
company claims that Ustinov's failure
to honor his commitment required Mi-
risch to substitute Peter Sellers on short
notice and necessitated a "complete re-
organization of the production schedule

HAROLD MIRISCH

to conform with Sellers' availability."

President Harold J. Mirisch stated his
company's position on the central issue
that "the motion picture industry exists
on the strength of agreements" and that
"the basis for production activity will
be seriously impaired if this point is
not upheld publicly for all to see.

"We had reached a point in our
dealings with Mr. Ustinov", Mirisch
declared, "where we would have felt
obligated to pay him for his services if,
for any reason, we would have been
forced to alter production plans for
'The Pink Panther'. It follows that he
should be required to recognize a cor-
responding obligation to us."

On the other side of the street, Mar-
lon Brando, who had come in for some
sharp criticism for his conduct during
the filming of "Mutiny on the Bounty",
entered a suit for $5 million against
the Saturday Evening Post for its June
6 article titled "$6 Million Down the
Drain". The actor's brief claims that the
article made eight false charges against
him, from constantly flubbing his lines
to fomenting a mutiny on the "Bounty"
set in Tahiti, all at a cost of an extra
$6 million to M-G-M.

ECA Cracks Big Time
With Top Best-Seller

Sporting a new Max "look" — sleeves
rolled down, coat on and buttoned —
Max E. Youngstein, president of Enter-
tainment Corporation of America, held
his new production company's first press
conference to announce ECA's first ven-
ture, the filmization of the nation's
current best-seller, "Fail-Safe". It was
an imposing kick-off for a fledgling pro-
duction company.

The natty appearance was not in-
tended to fool anyone, for it was the
same, direct, staccato Youngstein usual-
ly seen in shirt-sleeves. He was there,
he immediately told the reporters, only
to talk about "Fail-Safe" — thereby cut
ting off any intended questions concern-
ing ECA financing, distribution plans,
etc.

"This first project will be an image-
( Continued on I'age H)

Film BULLETIN January 21, 1943 Poqe 7

'Cleopatra' at $5.50 Per

I see by the papers that "Cleopatra" has been booked into
the Rivoli Theatre in New York for a 75-week minimum run,
for which a guarantee of $1,250,000 has been paid to Fox by
the theatre. It is my understanding that the Rivoli will be
scaled (from a new high of $5.50 per ticket) for a weekly
capacity income of $80,000 at the box office. Thus, assuming
that the entire weekly take went into the pocket of the exhib-
itor— nothing out for overhead, operating expenses, salaries,
advertising, taxes, etc. — it would take more than 15 weeks to
recoup the initial guarantee. Salah Hassanein, executive vice
president of the company which operates the Rivoli, was quoted
in one publication as saying that in the normal course of events
one "should have his head examined for making such a deal,"
but certainly a booking of "Cleopatra" is not the normal course
of events (nor is a $5.50 movie ticket price.)

Before you start getting excited about that $5.50 ducat,
I keep telling myself, you should remember that right now on
Broadway there is a 4-man show asking, and collecting, approxi-
mately eight dollars a ticket, and that many a stage musical on
a premium night costs considerably more than that for a seat.
It's inflation with a vengeance, and the movie prices are cer-
tainly not out of line. They're a little rich for my blood, but
compared to the stage shows they are bargain basement.

What troubles me about the "Cleopatra" booking is a purely
psychological factor. I find that when I pay more than I have
ever paid before for something, whether it be automobile, thea-
tre ticket, sirloin steak or television set, I expect to get my
money's worth. In other words, a lot of poeple are going to
be expecting more from "Cleopatra" than they have ever gotten
from a movie before. Not having seen the film, I don't know
whether their expectations will be met. But I do know that this
imposes an unusually heavy burden on the film.

I also have the feeling that we are coming to the end of an
era, and that "Cleopatra" will write finis to that era, either
(hopefully) in a blaze of glory or in something rather less
pleasurable. I refer, of course, to the era of the multi-multi-
million dollar epics. Conceivably, some day a picture costing
more than "Cleopatra" might be made; but I doubt it.

In industries where spiralling costs have inflated prices the
most — such as book publishing — the greatest growth has come
in the low budget areas, the paperbacks. The expensive books
continue to pour off the presses, but the average bookstore
appears to be much more interested in the paperback trade.

I suspect that the same thing is soon going to happen in the
movie industry. All of us with any affection for the film busi-
ness hope fervently that "Cleopatra' will be an outstanding
succes. I must say that I personally hope with equal fervor that
"Cleopatra" will stand alone. I hope that once it is out of the
way we will go back to movies as a mass medium, distributed
while they are reasonably fresh to thousands of theatres — not
a first-run handful — throughout the country. And I hope that
the art of making a good movie for six figures, rather than

Paqe 8 Film BULLETIN January 21, 1963

eight, will finally have its long delayed resurgence. Meanwhile,
may the gods smile down on the Queen of the Nile and may
millions of Americans be blessed with the will and the
resources to plunk down $5.50 for a ticket.

0 0

The thirtieth anniversary of the Radio City Music Hall de-
serves a somewhat belated but nonetheless enthusiastic comment
on this page. I have long enjoyed this notable theatre and the
way it is run. It is an unique institution.

The uniqueness of the Music Hall is admittedly due in part
to its impressive physical proportions. It is the biggest and by
far the most impressive of the New York showplaces. It draws
the rubberneck trade because it is one the great sights of the
greatest sightseeing city in the world. But it also drews plenty
of New York native trade — people who might only rarely gq
to any other first-run downtown theatre. And this trade is not
attracted by the imposing architecture or the rubberneck urge.
These people have seen the Music Hall often. It isn't a sight to
them; it is a good buy in entertainment.

In any case you get more for your money. The Music Hall is
the only stage presentation theatre in the Times Square area.
But you get your money's worth at the Music Hall in ways
other than the amount of stage entertainment your dollar buys.
For example, you get ushering service superior to that of any
other downtown theatre in Manhattan. To quote an elderly
lady in my family, "I like the Music Hall because there is
always an usher around to help me."

You also get your money's worth in another, possibly more
subtle and certainly more snobbish way. Either people behave
better at the Music Hall or it just attracts a better class of
people. At any rate, there never seems to be any of the juvenile
delinquent or sloppy adult aura about Radio City that you
are apt to encounter in other Broadway houses. This may indi-
cate that Gresham's Law can be reversed, and good people can
drive bad people out of circulation in any given area.

0 0

Recently I attended a showing of "The Music Man" in a
small, nicely run theatre in my neighborhood. At the end of
the picture, the various members of the cast were shown with
their names, so that there could be no case of mistaken identity.
When Robert Preston's picture flashed on the screen with his
name underneath, there was a burst of applause from the
theatre. I consider this not only a compliment to Mr. Preston's
fine performance, but also to the good judgment of the pro-
ducers who chose to identify their cast so clearly at the con-
clusion of the performance.

One of the things which keeps bothering me from time to
time when I go to the movies is my inability to connect faces
and names. I see the names of two or three performers on the
marquee and on the opening credits, but when the picture ends
I don't know which performer played which role.

Obviously, I am not talking about well-known, established
players. I don't need a label to recognize a Cary Grant or a
Tony Curtis or an Elizabeth Taylor, thank you. But I could
mention any number of younger performers whose names are
known to me without equal knowledge of what they look like.

Even though I knew Robert Preston, I did not regard the
closing credit for him as unnecessary, any more than a curtain
call on the stage is pointless. Furthermore, there were many
people in the audience, young and old, who had not been com-
pletely aware of the fact that the performance they liked so
much was by Robert Preston until they saw the identification.

Many years ago, a talent agent was trying to convince me
how important his latest client was. "Everybody knows him,"
the agent said, as we stood on a street corner and heads turned
to look at the actor. Finally we heard one woman saying to her
companion, as she passed us and turned to look at the thespian,
"I know I've seen that face someplace." Since she didn't connect
a face and a name, his drawing power was nil to that person.

LEISURE— AND WHAT COULD MOVIE BUSINESS DO ABOUT ITS DOLLAR SHARE?

Exhibitors in the state of California
are not so confident that business will
increase commensurately with popula-
tion growth. Now that the occasion of
becoming the first state has been jubi-
lantly observed and recorded, a theatre
owner faces, in this state, the compe-
tition of climate which seduces the new
immigrants for such a long period that
they not only give up movies but stop
buying wearing apparel on the theory
that to be casual is to become identi-
fied with this elysian province.

It is no wonder that the advent of
spring and summer out this way sends
shivers down the spines of Mr. Ex-
hibitor and it is quite understandable
that he would like to see a law enacted
that would declare golf, fishing, hunt-
ing, motoring and barbecuing public
nuisances. And with day-light saving
cutting drive-in movie time to half of
normal, I must say that the potential
for these fresh-air emporia has dimin-
ished.

If the matter of leisure time is studied
in any given state, city or township, it
does seem strange that the motion pic-
ture theatre is really not up to the
competition presented by the indivi-
dual's obsession to participate rather
than to sit and watch. What we must
face is the successful propaganda issued
not only by the vendors of fun ap-
paratus, but the stream of advice flow-
ing from medical societies, and even
from the government.

Dr. White, the eminent heart spe-
cialist who attended President Eisen-
hower, had much to do with the mad
rush of adults into the bicycle shops.
Dr. White said we all should ride bikes
to our offices, even at the risk of com-
mitting suicide in the city traffic. He
also advocated walking five miles a
day. Now if you think this didn't cause
thousands of persons to go on a health
kick and forswear sedentary pleasures
such as gin rummy, going to movies,
and flirting with secretaries, guess
again.

The whole business of keeping
healthy is distracting, and the hypo-
chrondia which is a concomitant of
these regimens has a lot to do with the
boxoffice decline. Why anyone should
think it isn't quite healthy to get a
vicarious kick out of watching Doris
Day and Rock Hudson make love is
something beyond my comprehension.

I learn from an article in the Man-
chester Guardian that in England "even
commercial sport is not pulling the
crowds as it use to. Nor is that other
great opiate of the masses, the cinema,
whose decline has been the most spec-

hi f ©cut

ADAM WEILER

tacular post-war phenonemon." The
article goes on to say that "in 1955
there were roughly five thousand cine-
mas in this country; by last year there
were under 3,000. Many of the defunct
cinemas have been turned into bowling
alleys or bingo parlours."

The article continues with statistitcs
showing that ballroom dancing (J.
Arthur Rank Company has dance halls
as well as bowling alleys), canoeing,
gliding, skin-diving and, of all things,
poetry readings, consume leisure time.
In other words, in once merry England
there is the same problem facing the
theatres as exists in this country.

The point of all this is that with all
the extra leisure time, there is no longer
the same leisure pattern. Like much
industry, it has become diversified. It is
my opinion that all of these activities
will proliferate rather than diminish.

Can the movie industry do anything
to gain, or, rather, regain its share of
the leisure dollar? I think it could. I
believe if one million dollars were
given to Compo for the sole purpose of
selling the idea of going to movies,
just as the beer, dairy and cigar indus-
tries, did to sell their products, some-
thing could be accomplished.

The sooner we put emphasis on get-
ting patrons to come out of the house
and go to a theatre more often the
better off movie business will be. Busi-
ness-building, as such, has just been idle
talk in this industry; it should be ac-
tivated.

0 0

And while we are telling people how
to run this business, we would suggest
very strongly that something ought to
be done about the industry's participa-
tion in the New York World's Fair.
The last we heard about such a possibi-
lity a commettee at the MPA had the
matter under active discussion. Pretty
soon it will be 1964. Let's hope that the
discussion will be over and that some-
thing definite is going to be done to
have films represented.

0 0

Time Magazine in a recent issue ex-
plores the hegira from Hollywood to
Europe. The piece suggests that with
Uncle Sam modifying tax exemptions

for citizens living abroad some of the
boys might come home and even make
pictures in California. The first para-
graph of this article is worth quoting
if for no other reason than to add to
your confusion:

"As every flunking schoolboy knows,
runaway film productions have turned
Hollywood from a suburb into a synec-
doche. Don't stop to photograph that
shabby beggar by the European road-
side; he's just a scenario writer looking
for work."

And that, dear flunking schoolboys,
is why Time labels its movie depart-
ment cinema instead of movies.

0 0

Our ballyhoo experts who are be-
coming more and more inhibited year
in and year out should study the case
of Mr. Cassius Marcellus Clay, the pug
who may not be the next great heavy-
weight champion but who certainly
has created new interest in the boxing
world. Mr. Clay reminds me very much
of the late and lamented Maria Montez,
who in the early forties not only
seemed to have a role in every other
Universal picture, but, at the same time,
unleashed a barrage of publicity about
herself that made fans believe she was
the greatest actress since Duse. As she
appeared in the same role time after
time, her main propaganda consisted
in uttering thousands of words about
how different she was going to be in
her next picture. She was so adapt at
handling her own publicity that, like
Mr. Clay, newspapers and magazines
delighted in hearing from her. She was
so good at selling Maria Montez that
the studio sent her on tour to publicize
not only her own pictures but others
as well.

Stars nowadays either talk through
their press agents, or are so briefed by
their agents that it is hard to tell
whether they are representing movie
stars or the National Economic Council.

It seems to me that we need more of
the flamboyant and less of the academic
conversation about picture making. You
may not like Liz Taylor's unconven-
tional approach to some fundamental
aspects of her life, but you have to
admit no one is better copy.

You might ask: But isn't this bad
publicity? Personally I think it is better
than reading about the arduous duties
besetting the role of the new breed of
actor-executives. Once these actors
turned-producers realize that the pub-
lic is not interested in the complicated
business of putting a package together,
the better movie publicity will be. To-
day it lacks that essential — glamour.

Film BULLETIN January 21, 1943 Poqe 9

Great Musical Revival

"The Great Caruso' & "Show Boat"

A superb package of musical entertainment will soon be
available to theatremen across the nation when M-G-M
returns to the screen two of the all-time great musical hits
— "The Great Caruso" and "Show Boat."

This is especially newsworthy today with exhibitors
constantly crying for relief from a product shortage. Both
of these films boast sterling entertainment values, and
they are certain to be seen again by audiences who remem-
ber them fondly, and enjoyed for the first time by a new
generation, too young to have viewed them originally.
Neither of these films have played theatres recently and
neither have ever been shown on TV. From a business
standpoint, this revival program appears headed for strong
boxoffice returns in the class and mass markets.

M-G-M is initiating a most extensive promotion cam-
paign extending from now until the launching of this
combination on a national basis. There will be new
prints and key engagements will commence in March.

How do these big musicals of a decade ago hold up in
today's market? Exceptionally well, in this reviewer's
opinion. They boast an aggregate of outstanding musical
and dramatic stars, and both are opulent productions
filmed in Technicolor on a lavish scale.

"The Great Caruso" is still the schmaltzy, ear-filling
story of the immortal tenor, Enrico Caruso, with much
going for it in the way of audience appeal. The superb
voice of Mario Lanza, as the great Caruso, is still some-
thing great to hear, and lovely Ann Blyth is lovely as the
society beauty who became his wife. Also on hand are
Metropolitan Opera stars Dorothy Kirsten, Jarmila
Novotna and Blanche Thebom. Music lovers will have a
field day listening to Lanza sing 23 selections, ranging

from the quartet from "Rigoletto" and the sextette from
"Lucia de Lammermoor" to such melodies as "Because,"
"Ave Maria" and "The Loveliest Night of the Year".
The late, superb tenor is in excellent voice and there are
many moments of romance, humor and the dramatic fire-
works of the backstage operatic world. All of this adds
up to splendid entertainment for the masses, especially
the family trade.

"Show Boat" is still richly desserving of the tag
"classic" and it holds up beautifully beside such con-
temporary giants as "West Side Story," "The Music Man"
and "Gypsy." Corny it is, but it's also a glittering, thrill-
ing, glamorous journey down the Mississippi abroad
Cap'n Andy's show boat, the Cotton Blossom. The pro-
duction numbers unquestionably rank among the finest
ever filmed. Stars Kathryn Grayson (the stage-struck
Magnolia), Ava Gardner (the tragic Julie) and Howard
Keel (the gambler, Gaylord Ravenal) sing and emote
beautifully, with Miss Gardner turning in what is still
probably her finest performance. The feature players are
equally as effective: Joe E. Brown, displaying polished,
comic know-how as Cap'n Andy; Agnes Moorehead, his
domineering wife; Marge and Gower Champion, dancing
up a storm to "Life Upon the Wicked Stage" and "I
Might Fall Back On You;" and William Warfield, still
bringing a lump to the throat with his rendition of "Ol'
Man River." The other songs, written by Jerome Kern
and Oscar Hammerstein, II, will live forever — "Make
Believe," "You Are Love," "Why Do I Love You,"
"Can't Help Lovin' Dat Man" and "Bill."

Exhibitors and audiences alike, can thank M-G-M for
returning these musical giants. — SHAPIRO.

"The Lovers of Teruel"

Striking ballet import should attract art film devotees.

From France comes this stunning ballet film starring the
talented ballerina Ludmila Tcherina ("The Red Shoes," "The
Tales of Hoffman"). An adroit blending of legend, music and
dance, this Continental release also boasts a splendid Eastman
Color canvas of misty pastel tones and a highly imaginative
series of sets. Strictly for ballet devotees, it should prove fairly
successful in the art market. Raymond Rouleau produced, di-
rected and scripted, and Claude Renoir is the exciting eye
behind the camera. The theme is taken from an ancient Spanish
legend: the Duchess of Teruel is married to a man she loathes.
Her lover, Don Diego, has been turned away by her father
because he is poor. Nevertheless, a period of three years and
one day has been granted him to make good. When Don Diego
appears one day too late — the Duchess is married — he kills
himself in desperation. The Duchess goes mad and kills her-
self. Now a band of gypsy dancers re-enact nightly the ballet-
drama and the star, Miss Tcherina, finds that the sufferings of
the Duchess have become her sufferings as well. She is to be-
come the wife of Milko Sparemblek, whom she doesn't love,
unless her lover, Milenko Panovitch, returns with riches. Pano-
vitch returns to claim Miss Tcherina, but Sparemblek kills him.
Miss Tcherina's mind snaps and after a frenzied dance of agony

she leaps to her death. True to the legend, she is placed beside
the body of her lover.

Continental. 90 minutes. Ludmila Tcherina, Rene-Louis Lafforgue, Milko Sparem-
blek. Directed by Raymond Rouleau.

"Mystery Submarine"

^utitete ^<zti*4 O Plus

Minor British sub chase metier. Supporting dualler.

"Mystery Submarine," a British-made World War II sea
meller being released by Universal, manages to whip up a
modicum of suspense, although it involves more talk than
action. This will serve merely as a supporting dualler in the
secondary runs. C. M. Pennington Richards' direction fails to
develop the action essential to such fare. The plot centers
around the secret English capture and take-over of a German
U-boat and the subsequent scheme to send it out to destroy a
Nazi wolf pack. Bearded James Robertson Justice portrays the
Rear-Admiral who masterminds the deceit, while Edward Judd
is the captured sub's commander. After the U-boat falls into
English hands, Justice staffs it with Judd and fellow crew
members, then sends it off on its daring mission. Enroute,
Judd faces leaks, engine breakdowns and an attack by British
planes. The wolf pack is finally sighted, but the Germans dis-
cover the fraud. Judd manages to elude the pack and radio
the British fleet. The latter destroys the enemy.

Universal. 90 minutes. Edward Judd, James Robertson Justice. Produced by Bert-
ram Ostrer. Directed by C. (vi. Pennington Richards.

Poge 10 Film BULLETIN January 21, 1963

ipjrmt

"Sodom and Gomorrah"
SccUhc^x KatiH? ©GO

Big, eye-filling spectacle in color will satisfy devotees
of such fare. Over long, but loaded with visual impact.

From the standpoint of gargantuan spectacle, this 20th
Century-Fox release should be a crowd pleaser in the mass
markets. Backed by a powerful promotion campaign (is is slated
to be released almost simultaneously in over 300 situations
around the nation, including the "premiere showcase" plan in
the New York area), the film shapes up as a sturdy money-
maker. Prudent use of the scissors should have eliminated some
of the unnecessary talk during the long 154-minutes running
time. However, there is plenty in the way of visual thrills to
attract action buffs and devotees of spectacle fare with "cast
of thousands". Producer Goffredo Lombardo has mounted
his biblical tale in strong De Luxe Color, the Moroccan loca-
tions add authenticity, and director Robert Aldrich has seen
to it that the action sequences ring loud and heavy and that
they move with eye-popping rapidity. The list of visual thrills
include stunning re-creations of Sodom and Gomorrah, ruth-
less tortures, a stupendous battle between the Helamites and
the Hebrews, including the destruction of a great dam, victory
orgies and the rip-roaring climactic destruction of the infamous
cities. Hugo Butler's script is peppered with a number of
sensual innuendoes. The international cast presents Stewart
Granger as Lot, the deeply religious leader of the Hebrews;
Pier Angeli, the Sodomite slave girl who becomes his wife;
Stanley Baker, sinister brother of the Queen of Sodom and
Gomorrah; his sister, Anouk Aimee, ruthless Queen Bera,
dedicated to revelry, cruelty and sexual pleasure; and Rossana
Podestra, Granger's daughter who is corrupted through her
love for Baker. The Hebrews set up camp, across the river
from Sodom and Gomorrah and eventually defeat a massive
band of Helamites. Since all of their land is destroyed, Granger
and the Hebrews move into Sodom and become salt mer-
chants. They prosper and Granger becomes Miss Aimee's
favorite. When Baker announces that he has "known" both
of Granger's daughters, the latter kills Baker and is imprisoned.
The Lord frees Granger and orders him to leave the city before
it is destroyed. The destruction begins, Miss Angeli looks back
and is turnd into a pillar of salt. A saddened Granger continues
the pilgrimage with his people to new lands.

eft
II sea
up

20th Century-Fox. 154 minutes. Stewart Granger, Pier Angeli, Stanley Baker,
Rossana Podesta, Anouk Aimee. Produced by Goffredo Lombardo. Directed by
Robert Aldrich.

"Son of Flubber"

SWre44 IZcUi*? Q O O

Disney aims at the big "Professor" audience and should

[hi! gofh

er n a large share of them. Good fun for family.

in the

jjjjU Aimed directly at the same audience who howled at "The
Absent-Minded Professor," Walt Disney has concocted another,
albeit less succesful, sequel. Although not destined to be as
big a boxoffice smash as its predecessor, "Son of Flubber" will
draw well enough in the family market. Fred MacMurray
recreates the role of the inventive Professor, whose newest
discoveries of "dry rain" and "flubbergas" wreak even more
havoc and fun than the anti-gravity substance "flubber" and
the flying Model-T of his earlier adventures. Surrounding him
once again are: lovely Nancy Olson, as his patient, but exas-
perated wife; Keenan Wynn, the unscrupulous loan shark;
youthful comedian Tommy Kirk, Wynn's inventive teen-age
son; Elliott Reid, the rival teacher and suitor of Miss Olson;
and Leon Ames, the college president. James Westerfield and
: if' Forest Lewis are paired again as the goofy local cops, shapely

ljui
Is into
ad
iroute,
British

Joanna Moore is the femme jatale who tries to wreck Mac-
Murray's homelife, youthful Leon Tyler ends up as Mac-
Murray's human guinea pig, and the remainder of the cast
includes such veteran comedians as Ed Wynn, Ken Murray,
Charlie Ruggles, William Demarest, Paul Lynde and Stu Erwin.
Robert Stevenson's direction is sprightly and laugh-loaded,
especially during an hilarious football game, and special effects
men Robert Mattey and Eustace Lycett whip up a barrel load
of visual wizardry — a rainmaking machine that creates thunder-
showers indoors; a football suit that flies its player through the
air with the greatest of ease; a glass-breaking device that shat-
ters everything; and new antics for the flying Model-T. Mac-
Murray and Miss Olson, riding the crest of success from
"flubber," now find themselves plagued by the government,
Madison Avenue executives and a tax collector. When Miss
Moore re-enters MacMurray's life, Miss Olson leaves him.
Further complications develop as Wynn sets about trying to
take over the bankrupt college. All ends well after MacMurray
accidently revitalizes the barren countryside with "dry rain''
and helps the home team win the football pennant with a
flubbergassed football suit.

Buena Vista. 100 minutes. Fred MacMurray, Nancy Olson, Keenan Wynn, Tommy
Kirk. A Walt Disney production. Directed by Robert Stevenson.

"Term of Trial"

Su4ute44 IRaUHf O O Plus

Fine performances by Olivier, Signoret give force to
drama about young girl's assault charge against
teacher. Strongest appeal to class audiences. Needs
exploitation is mass market.

An engrossing drama has been fashioned from James Bar-
low's novel about a dedicated schoolmaster, his discontented
wife and a precocious girl-student who charges the teacher with
indecent assault. What raises the level of these familiar ingre-
dients to the level of artistry this Warner Bros, release are the
fine performances of Oscar-winners Laurence Olivier and
Simone Signoret, coupled with the fine direction and screenplay
by director Peter Glenville. The commercial values here are not
clearly defined. The film's strongest appeal will be to the class
trade; in the mass market, it will require a strong sell of the
story's more sensational aspects. Filmed in Ireland, enhanced
by strong character conflicts, and climaxed by a dramatic trial
and an ironic ending, "Term of Trial" has Olivier creating
another memorable portrayal as the meek man of integrity who
served a prison term during the war for being a conscientious
objector and who know tries to bring knowledge to his unruly
students. Mile Signoret is equally as effective as his dominating
wife. Attractive, bitter over the poor financial rewards of
Olivier's job, she is still genuinely fond of him, though at
times she treats him with contempt and obviously considers him
a poor specimen of mankind. Sarah Miles makes a strong debut
as the young student who falls in love with Olivier. Terrance
Stamp, in a complete turnabout from his role in "Billy Budd,"
is chilling as a young hooligan, while Hugh Griffith is colorful
as Olivier's lawyer. On the last night of a cultural trip to Paris,
Miss Miles enamored of Olivier comes to his room and tries
to seduce him. He makes light of the whole thing, paternally
whacks her on the bottom and sends her off to bed. Back home,
the frustrated young girl charges Olivier with indecent assault.
Olivier is found guilty, but when he makes an impassioned plea.
Miss Miles breaks down and admits that her storv was false.
The ironic climax finds Mile Signoret, fed up with 01i\ Ier's
talk about purity and humiliation, planning to leave him. She
decides to stay w hen Olivier "confesses'' that Miss Miles' allega-
tion against him was true.

Warner Bros. 113 minutes. Laurence Olivier, Simone Signoret.
James Woolf. Directed by Peter Glenville.

Produced by

Film BULLETIN January 21, 1943 Poqe 11

"A Child Is Waiting"

Scedutete l£atc*t$ Q Q Plus

Dramatic story dealing with retarded children will ap-
peal to serious- minded adults, but poses tough selling
task in general market. Lancaster, Garland provide
b. o. lift.

This Stanley Kramer production for United Artists release
deals with one of the most pressing social and medical problems
of our times — mental retardation — and receives strong, dramatic
treatment. While it figures to score with adult moviegoers par-
tial to serious themes, it demands the utmost effort by UA's
aggressive showmen to make it an attractive offering for the
mass audiences. The task will not be easy. The box office per-
formance will lean heavily on the names of its two stars, Burt
Lancaster and Judy Garland. Specifically concerned with
the treatment and training of retarded children, the film is
persuasively acted by Lancaster and Miss Garland, tautly di-
rected by John Cassavetes ("Shadows") and intelligently
scripted by Abby Mann. The most interesting aspect of "A
Child is Waiting" is that it is informtaive as well as engrossing,
and there are enough light moments to break the generally
solemn mood. An additional strong point is the superb blend-
ing of actual victims and professional moppets. Mann's many
months of research, plus location settings heighten the film's
authenticity. Lancaster portrays the superintendent of a state
institute for retarded children who is attempting to develop new
methods of training and teaching. Miss Garland, in a straight
dramatic role, is a music teacher who hopes to do something
with meaning after failing to find a niche for herself in the
every-day world. The story's focus falls on 12-year-old Bruce
Ritchey, a withdrawn, inarticulate and uncooperative patient,
and his effect on his parents, Gena Rowlands and Steven Hill,
who are now divorced and who refuse to visit him. Young
Ritchey warms to Miss Garland and she, disobeying Lancaster's
orders, sends for Miss Rowlands. The latter leaves without
seeing Ritchey. The boy sees her driving away and that night
flees from the institution. The police return him to the school
and Miss Garland, considering herself a failure, plans to resign.
During a climactic Thanksgiving show in which all the children
participate, Ritchey recites a speech and is applauded for the
first time in his life. Hill, in the audience, now understands his
son's desperate need to achieve something for himself. Miss
Garland agrees to stay.

United Artists. 102 minutes. Burt Lancaster, Judy Garland. Produced by Stanley
Kramer. Directed by John Cassavetes.

"The Hook"

Su4tKC^ Rati*? O O Plus

Korean war story with emphasis on human elements,
rather than combat. Kirk Douglas heads able cast.
OK for mass market.

"The Hook" is best classified as a Korean War drama in-
volved more with the dramatics of man's inhumanity to man
than in the actual physical aspects of war itself. Credit producer
William Perlberg with selecting a most interesting trio of
masculine protagonists — Kirk Douglas, Robert Walker (son
of the late actor) and Nick Adams (of TV and "The Interns"
fame), George Seaton with guiding the events with a shrewd
sense of suspense and personal conflict, and Henry Denker for
putting together an engrossing and somewhat cynical and off-
beat screenplay. The end result is a disturbing, though minor,
film about the conflicts that arise within well-trained, well-
disciplined soldiers when war suddenly is lifted from the mass
level and placed on a personal, man-to-man basis. Critical recep-
tion and aggressive, imaginative promotion will prove the
decisive boxoffice factors for this M-G-M release. It possesses

enough above-average merits to qualify it as the lead attraction
on double-bills in the mass market. The plot finds G.I.'s
Douglas, Walker and Adams and a North Korean prisoner
passengers on a U.N. freighter carrying much-needed oil to
army headquarters somewhere in Korea. Although the trip
through enemy-held waters is rife with peril, the meat of the
drama centers on the moral attitudes arising from Douglas'
orders to kill the enemy prisoner. Douglas gives a strong,
fascinating portrayal of a callous army regular interested mainly
in obeying military orders and regulations. Walker is sensitive
and winning as the youngest of the trio who befriends the
prisoner and refuses to participate in the killing. Adams is
believeable as the not-too-bright member who almost commits
the murderous act after Douglas plies him with alcohol.
Nehemiah Persoff underplays the neutral humanitarian ship's
captain and Enrique Magalona is extremely touching as the
confused and terrified prisoner who cannot speak or under-
stand English. Magalona miraculously survives several attempts
on his life and Douglas finally relents and emerges a human
being. When Magalona gets free, he tries to kill Douglas, and
the latter, not understanding that Magalona also cannot bring
himself to kill, accidentlly kills the Korean.

M-G-M. 98 minutes. Kirk Douglas, Robert Walker, Nick Adams. Produced by
William Perlberg. Directed by George Seaton.

"Arturo's Island"

Italian import has poignant, dramatic moments. OK
entry for art market. Might be acceptable in class houses.

Winner of the San Sebastian Film Festival, this Italian import
being released by M-G-M emerges a touching little journey into
young manhood. Backed by shrewd promotion, it could prove
a moneymaker for art houses, and might be used as a dualler
in certain class situations. There are no known names in this
Carlo Ponti production, but the three leads, especially young
Vanni de Maigret, turn in top-calibre performances. The story
concerns a motherless boy (de Maigret) who idolizes his wan-
dering father (Reginald Kernan) and whose life is dramatically
changed when the latter returns from one of his frequent ab-
sences, bringing to their island home a new bride (Key Meers-
man), only a little older than de Maigret. Director Damiano
Damiani has guided this poignant story with expert touches of
dramatic impact and subtle undercurrents of character revela-
tion, and all of this is realistically unfolded on the mountain-
fringed island of Procida in the Bay of Naples. De Maigret at
first regards Miss Meersman as an intruder, then finds himself
falling in love with her. When Kernan takes off on another
journey, de Maigret declares his love, but the religious Miss
Meersman turns him away. In desperation, de Maigret suc-
cumbs to the bandishments of seductive Gabriella Giorgielli,
whose husband is abroad. Miss Meersman eventually bears
Kernan's son. Kernan finally returns, accompanied by Luigi
Giuliani, a reckless prisoner about to enter the island's peni-
tentiary. Kernan arranges for the latter's release, then plans
to leave the island with Giuliani. When Giuliani calls Kernan
a "pretty boy," de Maigret attacks him and is brutally beaten
up. Giuliani leaves the island alone. A disillusioned de Maigret
realizes he can no longer stay on the island, and leaves Kernan
and his beloved Miss Meersman to venture out into the world.

M-G-M. 95 minutes. Reginald Kernan, Key Meersman, Vanni de Maigret. Produced
by Carlo Ponti. Directed by Damiano Damiani.

• POOR • • FAIR

• • • GOOD • • • • TOPS

Page 12 Film BULLETIN January 21, 1943

TV^at t&e Skatvmm /tie 'Daitta!

MERCHANDISING

& EXPLOITATION DEPARTMENT f

re:

Columbia Given Credit for
Clever 'Diners' Club' Kick-off

Moneys going out of style in Winsted,
Connecticut, at least for a day. And with
the approval of the town council.

Winsted will be the scene of the world
premiere of "The Man From the Diners'
Club" March 13, and everybody in town
gets a Diners' Club credit card for the day,
even the bubble gum set. And they'll have
to use them. It's illegal to use money in
Winsted that day.

The national promotion campaign for
the latest Danny Kaye film will be the
topic of three exhibitor conferences to be
conducted by Columbia Pictures in New
York, Chicago and Los Angeles. Repre-
senting the film company will be vice
presidents Rube Jackter and Jonas Rosen-
field, Jr., promotion chief Robert S. Fer-
guson and Milt Goodman, assistant sales
manager.

Included in the promotional activity
planned for the film will be color adver-
tisements in national magazines, backed
by display material in restaurants, hotels,
transportation companies and other Diners'
Club affiliates throughout the country, pre-
view showings in key cities for prominent
Diners' Club members, extensive news-
paper advertising and music and record
promotion.

Irma' Gets Big 6-Page
I Splash and Cover in LOOK

A splashy publicity break for the Mirisch
Bros. — Billy Wilder — United Artists pro-
duction of "Irma La Douce" is on the
news stands in the form of a colorful
six-page cover story in the current issue
of Look.

Featuring Shirley MacLaine as Irma and
as herself, the magazine's story deals at
length with the picture and the star's
role as a guileless French prostitute and
with the real Miss MacLaine.

"Love's for sale in 'Irma La Douce' as
Hollywood casts its prettiest clown into
the streets of Paris," reads the sub-head
opposite a full-page color picture of Irma,
black dress, green stockings, decollete and
lap dog, strolling a studio-constructed
Parisian street. The cover of Look features
her with Jack Lemmon, as the cop who
falls for Shirley's wiles.

SHOWMANSHIP PAY-OFF

67% on 15%

What can be the difference in
grossing potential between a "plain"
and a "fancy" promotion campaign
on an exploitation picture? Newton
P. Jacobs, president of Crown Inter-
national Pictures, says the boxoffice
gross can run "as high as 67 percent
on a 15% additional investment".

Jacobs figures were derived, he
states, from a survey taken on en-
gagements of "First Spaceship on
Venus".

The increase percentage was ar-
rived at by taking the average busi-
ness and campaign expenses of a
theatre as a base and comparing re-
sults between houses that maintained
minimal promotion policies and
those which joined the campaign.

"Profit obviously is related to
effort", Jacobs declared. "Effort in-
cludes putting money as well as mind
to work. The payoff is proportionate.
That applies to the distributor as
well as the exhibitor. The distributor
who merely ships his product to the
theatre can only hope. The distribu-
tor who merely ships his product to
the theatre can only hope. The dis-
tributor who puts muscle behind the
picture can join his customer in a
liberal profit-sharing plan."

"First Spaceship on Venus" played
saturation bookings in metropolitan
areas backed by a co-operative pro-
motion campaign.

Jacobs said the next two Crown
releases, "Terrified" and "As Nature
Intended", will get the same kind
of intensive campaigns.

Strong Campaign Set for
'Courtship', 2nd Preview Film

The promotion campaign for TOA's
second Hollywood Preview attraction,
"The Courtship of Eddies Father" is com-
plete and ready to trumpet in the March
14 national release of the M-G-M pro-
duction, it was announced by Nat D.
Fellman, chairman of TOA's product com-
mittee.

Backed by the experience gained with
the first Hollywood Preview release, War-
ners' "What Ever Happened To Baby
Jane", a triumvirate of theater showman-
ship executives — Ernest Emerling of
Loew's, Harry Goldberg of Stanley War-
ner, and Fred Herkowitz of RKO Theatres
— have prepared a powerful "Courtship"
campaign in collaboration with MGM's
Dan Terrell and Emery Austin.

National Screen Service is cooperating
to make all advance material available to
theatres well in advance of the kick-off
dates in the U.S. and Canada.

U Sends 'Trouble'
To Press via Wired TV

"40 Pounds of Trouble", Universal re-
lease, which premiered in Florida January
18, was launched in the nation's press two
days earlier by a coast-to-coast closed cir-
cuit television press conference. The hour-
long inTView brought stars Tony Curtis
and Suzanne Pleshette, director Norman
Jewison and producer Stan Margulies be-
fore 400 newsmen in nine major cities and
marked the first use of the closed circuit
TV press conference on a national scale.

Nine cities hooked up: New York, Chi-
cago, Detroit, St. Louis, Boston, Washing-
ton, Pittsburh, Los Angeles and Dallas.

SELLING 'SINS'

The seven cuties pictured
here are out selling the vir-
tues of Joseph E. Levine's
"7 Capital Sins", currently
at the Sutton Theatre, N.Y.
Each of the chicks carried
a sandwich sign naming
one of the sins: Lust, Pride,
Anger, Greed, Gluttony,
Envy, Laziness and distrib-
uted circulars to passersby.

Film BULLETIN January 21. 1963

Page 13

OF PEOPLE AND EVENTS

(Continued from Page 7)
maker for ECA," he said. "Henry Fonda
will portray the President of the United
States. . . I found the book the most
thrilling book I've ever read, and prob-
ably the most important ... I do not
care to discuss the budget at this time
. . . Shooting will begin by April first
and the film will be in the theatres by
August or September at the latest; this
should set a record."

Director Sidney Lumet declared the
subject of "Fail-Safe", the dangers of
accidental release of a nuclear attack, the
"most pressing problem of our time."

"Fail-Safe" authors Eugene Burdick
and Harvey Wheeler stated that from
the book's inception — a luncheon discus-
sion then a short story — "Fail-Safe"
was envisioned by them as a film.

YOUNGSTEIN

Immediately after the press meeting,
ECA president Youngstein hopped a jet
for London, where he revealed to the
British press that a program of four to
six one-million dollar productions will
be made in their country as part of
ECA's first year's 15 picture output.

AIP Sees Hollywood
Swing; Widens Scope

James H. Nicholson and Samuel Z.
Arkoff, enterprising heads of American
International pictures, predict that 1963
"will mark the beginning of a turn away
from overseas production and a revival
of employment and activity in the mo-
tion picture capital." Their company,
they declase, is scheduling half of its
24-picture program on the West Coast
to "pace the 'back to Hollywood' trend."

In addition to pursuing the economic
advantages of a return to Hollywood
production, AIP, while still relying
heavily on a successful witch's brew of
horror films, plans to expand the scope
of its product to include a western, a
war story, two teen comedies and a film
described, believe it or not, as a teen-
horror musical comedy".

Sensationalism Out,
Wholesomeness In

Goodbye, Tennessee Williams. Hello,
Walt Disney.

"No picture or script submitted to the
PAC in the last six months deals with
juvenile delinquency, dope addiction,
prostitution, abortion, or gangsterism."

The quotation is drawn from the sec-
ond semi-annual report by Geoffrey M.
Shurlock, director of the Promotion
Code Administration, on pictures and
scripts presented to the Code during the
last six months of 1962. The swing is
to "wholesome" movies.

Shurlock told MPAA president Eric
Johnston that "the emphasis is definitely
on picture themes suitable for mass au-
dience consumption."

Is the new trend the result of com-
mercial pressures? No, said Shurlock.
"It's starting right at the creative level.
We can see this clearly when we look at
the scripts being handed to us. They
show imagination and taste — not sen-
sationalism."

Add Garrick To New
Production Companies

The news is like manna from heaven
to product-hungry exhibitors. Hardly a
week goes by of late without news of a
new film production organized being set
up to fill the gaping void between the
supply and the demand product.

Last week, the news was of Garrick
Films, organized to help meet, as New
York exhibitor Max A. Cohen put it,
"the greatest need in the industry to-
day . . ., the development of new ideas
and new sources of production".

Closely related to the Theatre Guild,
Garrick Films holds a franchise which
gives the company first film rights to
the Guild catalogue of Broadway plays
produced over the past forty years, a
list which includes plays by such top
ranked authors as Eugene O'Neill,
Robert Sherwood, S. N. Behrman,
Philip Barry and Elmer Rice.

Heading Garrick Films is Broadway
producer Joel Schenker, Roger H.
Lewis, former United Artists promotion
executive, Philip Langner, a director of
Theatre Guild and film producer, and
theatreman Cohen, president of Cinema
Circuit.

Plans initially revealed indicate that
Garrick will concentrate on quality pro-
duction. As Lewis, now vice president of
Garrick put it: "We've spent more than

LEWIS

a year putting together a program that
leans heavily on quality and controversy
and we believe the public and the crea-
tive talents within the industry will
respond.

"Naturally we are concerned with
budgets and cast," Lewis stated, "but
we know from experience that if the
project is exciting enough it will attract
the right writer, director and actors on
the right terms."

Garrick has acquired an interest in
the forthcoming Ely Landau produc-
tion, "The Pawnbroker", apparently
avoided by many producers because of
its hard hitting treatment of man's
inhumanity to man. Others planned for
production are: 'Cast the First Stone",
a penetrating study of prostitution in
New York, "The Margaret Sanger
Story", based on the life of the leading
exponent of planned parenthood, and
"Villa Vardi", a story of the Israeli-
Egyptian campaign of 1956 and the bat-
tle for the Suez Canal.

The new company will headquarter
in New York City, at 165 West 46th
Street. And also will have offices in Los
Angeles and London.

Silverstein Heads
MGM International

In the first executive change since
Robert H. O'Brien took over as M-G-M
president, Maurice (Red) Silverstein
has been moved up to the presidency of
M-G-M International to succeed Morton
A. Spring, retiring after 40 years in the
international film field.

In addition to his duties as chief
executive of M-G-M International, Sil-
verstein will continue to carry the
responsibility for foreign production and
distribution arrangements.

The one-time M-G-M office boy has
racked up broad movie experience in
Europe, the Far East and Latin America
and has, in recent years, been closely
involved in liaison between the studio
and independent producers.

Poge 14 Film BULLETIN January 21, 1943

OF PEOPLE AND EVENTS

Francis To Berlitz?

Francis, the Talking Mule, may be
taking a language course these days. He
would, were he to heed the advice of
film historian Arthur Mayer.

Speaking before an audience of some
800 guests at the second international
film awards dinner of the Independent
Film Importers and Distributors of
America, Mayer declared that films to-
day are truly international and that iso-
lationism is "as dead as Ma and Pa
Kettle or Francis, the Talking Mule."

Today's films are "the product of the
skills, the culture, the combined efforts
of gifted men and women who have, in
different countries and climes, learned to
speak the common language of all
humanity — the cinema," he said.

A feature of the IFIDA affair was the
presentation of awards for outstanding
achievements in foreign film production.
Special awards were presented to Dan
Frankie of Zenith International for his
service to IFIDA, to RKO Theatres
vice president Matthew Polon for that
circuit's "outstanding promotion of
films from abroad", and to Jean Gold-
warm for his "dedication to IFIDA".

Indes Rule Movie
Roost, Says Journal

An estimated 80 percent of U. S.
movies made last year were indepen-
dently produced, compared to 50 per-
cent in 1956, and a minor fraction prior
to 1946.

These statistics were contained in a
front page article in the Wall Street
Journal last Thursday (17th) heralding
what moviemen already know — that
today independents are the cock of the
walk.

The article quotes several spokesmen
for the new breed of film makers. Max
Youngstein, president of ECA, denies
that there is a talent shortage, as
claimed by the established studios.
"There's plenty of talent around ",
Youngstein told the Journal, "but it's
not getting opportunities because the
major studios are suffering from inertia."

Jeff Livingston, vice president of the
Mirisch Company, is quoted as saying:
"We're taking the top creative men and
letting them create." Martin Ransohoff,
head of Filmways, Inc.; "There's a ter-
rific market for a provocative product."

The WSJ piece, written by Stanley
W. Penn, also discusses the manner in
which talent agencies, like William
Morris, collaborate with independents.

WARNER

'Everything's Coming
Up Roses', Sings J.L

One year can make a big difference
in the affairs of a movie company.
Twelve months ago, Warners, for in-
stance, was in the doldrums, with
nothing but flops in stock. Now, presi-
dent Jack L. Warner is singing, "every-
thing's coming up roses at Warner
Bros." — and with good reason.

Following on the heels of the highly
successful surprise hit, "Whatever Hap-
pened to Baby Jane", the company has
a lineup of films which J. L. is confi-
dent "will spark the whole industry".
He sees his company swinging strongly
into the new year with "Gypsy" and
"Days of Wine and Roses", both cur-
rently in prerelease, the first two of a
program, completed and in production,
with built-in entertainment values, as
well as "properties of extraordinary im-
portance, most of them derived from
stage successes and best-selling books".

Warner cited the program as evidence
of the company's "determination to
spearhead a period of industry activity
that will go far to help maintain Hol-
lywood's production and release opera-
tions "as a vigorous, progressive busi-
ness.

'Back To HollywoocT
Bid Made by Labor

Hollywood is taking its case against
"runaway" production to the federal
government. At the same time, union
and guild leaders are making a pitch
for a "back to Hollywood" move di-
rectly to individual production execu-
tives.

The matter is to be aired before U.S.
labor secretary Willard Wirtz in Wash-
intgon this week by a joint labor-man-
agement committee. Heading the com-
mittee's march to Washington are co-
chairmen Pat Somerset, president of the
Hollywood AFL film council, and
Charles Boren, executive vice president
of the Association of Motion Picture

Producers.

Key complaints of the industry are
the "tremendous incentive" (including
outright subsidies) set before American
producers to lure them abroad, re-
strictive import quotas imposed on
American films by some of the same
countries dangling the bait and a free
U.S. market for foreign films.

Movie labor leaders met late last
week with 20th-Fox president Darryl F.
Zanuck in an effort to persuade him to
utilize his company's studio facilities to
the maximum. Since he appears on the
verge of reactivating large-scale pro-
duction, the unions are hopeful that he
will plan to make extensive use of Hol-
lywood's underemployed resources at
20th's Westwood plant.

Further evidence of labor's willing-
ness, not only to solicit but to work
actively for a return of production to
Hollywood are the reports that other
guilds and trade unions will follow the
lead of the Screen Actors Guild in
holding the line on wages on U.S. film
production. SAG recently announced a
policy of seeking no wage hikes this
year in a effort to stimulate a "back to
Hollywood" trend.

Pessimism, Lack of
Promotion Peril Us,
Says Jerry Bresler

Pessimists, wasters, and a lack of
concentrated promotion effort "plague"
the film industry and imperil its survival,
producer Jerry Bresler declared last
week. At the press conference, Bresler
took the occasion, incidentally, to talk
a bit about the results of the talent hunt
for a new Gidget. (P.S.: they found one.)

Noting the optimism among exhibi-
tors reflected in the construction of new
theatres, particularly, Bresler scored the
too little — too late promotion efforts on
the part of the film branch "We can
never be too early in promoting a film
to the trade and the public," he stated.
"No longer can we sit back and wait for
people to come to us, we must make
them come to us." Publicity should be
started as soon as the film project is
conceived, he contended, adding that
foreign markets will be lost, too, if
vigorous effort is not expended on "the
kind of exploitation that will keep
people coming."

Bresler was even more pointed in his
criticism of "wasters". Thev must be
stoped "or eliminated from our in-
dustry," he said, otherwise, "we'll go
out of business."

Film BULLETIN January 21. 1963 Page 15

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

July

BRIDGE, THE Fritz Wepper, Volker Bohnet. Producer Dr.
Herman Schwerin. Director Bernhard Wicki. German
school boys pressed into defending a bridge in waning
days of WWII. 104 min.

EL CID Color. Charlton Heston, Sophia Loren, Raf
Valine, Genevieve Page. Producer Samuel Bronston,
Director Anthony Mann. Story of the warrior-hero who
saved Spain from the Moors. 179 min. 12/11/61.

FRIGHTENED CITY. THE Herbert Lorn, John Gregson,
Sean Connery. Producers John Lemont, Leighton Vance.

Director Lemont. Extortion racketeers invade big busi-
ness. 97 min.

October

CONV'CTS 4 Ben Gazzara. Ray Walston, Sugar Whit-
man, Sammy Davis. Jr., Vincent Price, Rod Steiger.
Producers Miller Kaufman, A. Ronald Lubin. Director
Kaufman. Prison drama. 110 min.

November

BILLY BUDD Peter Ustinov, Robert Ryan, Melvyn Doug-
las, Terence Stamp. Producer-Director Ustinov. Pic-
turization of Herman Melville's sea classic. 123 min.
1 1/12/62.

February

BLACK ZOO Michael Gough, Jeanne Cooper, Rod
Loren. Virginia Grey. Producer Herman Cohen. Direc-
tor Robert Gordon. Horror story.

DAY OF THE TRIFFIDS, THE CinemaScope. Color.
Howard Keel, Nicole Maurey. Producer Philip Yordan.
Director Steve Sekely. Science-fiction thriller. 119 min.

55 DAYS AT PEKING Technirama, Technicolor. Charl-
ton Heston, David Niven, Ava Gardner, Flora Robson,
Harry Andrews, John Ireland. Producer Samuel Bron-
ston. Director Nicholas Ray. Story of the Boxer uprising.

Coming

CAPTAIN MUST DIE, THE Producer Monroe Sachson.
Director Allen Reisner. Suspense thriller.

GREAT GUNFIGHTERS, THE Color, Cinemascope. David
Janssen. Producer Ben Schwalb. Private detective
breaks up outlaw gang that has terrified the Southwest.

LONG CORRIDOR, THE Producer-director Samuel Ful-
ler. A suspense thriller.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

RECKLESS PRIDE OF THE MARINES Producer Lester

Sansom. Andrew Geer's book about a horse which
served as an ammunition carrier in Korea.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen. Producer Martin Jurow. Army comedy.

STREETS OF MONTMARTRE Lana Turner, Louis Jour-
dan. Producer-director Douglas Sirk. Based on two
boons, "Man of Montmartre" and "The Valadon
Drama."

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

July

POE'S TALES OF TERROR Color, Panavision. Vincent
Price, Peter Lorre. Basil Rathbone, Debra Paget. Pro-
ducer-Director Roger Corman. Based on Edgar Allan
Poe trilogy. 90 min. 6/11/62.

August

MARCO POLO CinemaScope, Color. Rory Calhoun,
Yoko Tani Producers Ermano Donati, Luigi Carpentieri.
Director Hugo Fregonese. Recounting of the famous
Venetian adventures. 100 min. 9/17/62.

September

WHITE SLAVE SHIP (Formerly Wild Cargo) Cinema-
Scope, Color. Pier Angeli, Edmund Purdom. Director
Silvio Amadio. Mutiny of prisoners shipped from Eng-
land in the 18th century to America as slaves. 92 min.
I 1/12/62.

October

WARRIORS 5 Jack Palance, Jo Anna Ralli. Producer
Fulvio Lusciano. Director Mario Silvestra. Story of an
American G.I. who organized the underground resist-
ance in Italy. 82 min. 11/12/62.

November

REPTILICUS Color. Carl Ottosen, Ann Smyrner. Pro-
ducer-Director Sidney Pink. Giant sea monster's de-
struction of an entire city. 81 min.

December

SAMSON AND THE 7 MIRACLES OF THE WORLD

(Formerly Goliath and the Warriors of Genghis Kahnl
Color. CinemaScope. Gordon Scott, Yoko Tani. Samson
helps fight off the Mongol invaders.

January

RAVEN, THE Color. Panavision. Vincent Price. Peter
Lorre, Boris Karloff. Producer-director Roger Corman.
Edgar Allan Poe tale. P6 min.

February

BATTLE BEYOND THE SUN (Filmgroup) Color & Vista-
scope — Ed Perry, Aria Powell.

NIGHT TIDE (Filmgroup) Dennis Hopper, Linda Law-
son. 84 min.

THE PIT Dirk Bogarde, Mary Ure. Science fiction.

March

NIGHT TIDE (Filmgroup) Color, vistascope. Boris
Karloff.

OPERATION BIKINI (Formerly Seafighters) Tab Hunter,
Frankie Avalon. Producer-director Anthony Carras.

April

DEMENTIA (Filmgroup) William Campbell, Luana An-
ders, Mary Mitchell. Suspense drama.

TERROR, THE (Filmgroup) Color, Vistascope. Boris Kar-
loff. Horror.

May

NIGHTMARE (Formerly Schizol Leticia Roman, John
Saxon. Producer-director Mario Bava. Suspense horror.

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

June

"X"— THE MAN WITH THE X-RAY EYES Ray Milland.
Science fiction.

July

BEACH PARTY Color, Panavision. Frankie Avalon.
Producer Lou Rusoff. Teenage comedy.

August

MASQUE OF THE RED DEATH Color, Panavision. Ray
MASQUE OF THE RED DEATH Color. Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

COMEDY OF TERROR Color, Panavision. Vincent Price,
Peter Lorre, Boris Karloff. Horror.

DUNWICH HORROR Color. Panavision. Science Fiction.
GENGHIS KHAN 70mm roadshow.

UNDER 21 Color, Panavision. Teen musical comedy.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Producers Julian
Wintle, Leslie Parkyn. H. G. Wells classic.

August

SHOOT THE PIANO PLAYER Charles Aznavour,
Marie Dubois. Producer Pierre Braunberger. Director
Francois Truffaut. 85 min. 7/23/62.

October

IL GRIDO (The Outcry) Steve Cochran, Betsy Blair,
Alida Valli, Robert Alexander. Producer S.P.A. Cine-
matografica. Director Michaelangelo Antonioni. 115
min. 11/12/62.

December

BLACK FOX Marlene Dietrich. Producer-director Louis
Clyde Stoumen. Narration of true story of Adolph
Hitler. 89 min.

OUT OF THE TIGER'S MOUTH Loretta Hwong. David
Fang. Producer Wesley Ruggles, Jr. Director Tim
Whelan, Jr. 81 min.

OUARE FELLOW, THE Patrick M'Goohan. Svlvia Sims.
Walter Macken. Producer Anthony Havelock-Allan.

Director Arihur Dreituss. 8b min. 11/26/62.

January

SWINDLE, THE Broderick Crawford, Giulietta Masina,
Richard Basehart. Director Federico Fellini. Melodrama.
92 min. 1 1/12/62.

TRIAL, THE Anthony Perkins, Jeanne Moreau. Director
Orson Welles.

WORLD BEGINS AT 6 P.M. Jimmy Durante, Ernest Borg-
nine. Director Vittorio DeSica.

Coming

TOTO, PEPPINO and LA DOLCE VITA Toto, Peppino.

July

BON VOYAGE Technicolor. Fred MacMurray. Jane
Wyman, Deborah Walley, Michael Callan. Producer
Walt Disney. Director James Neilson. American family's!
misadventures during a European holiday. 130 min.
5/14/62.

October

ALMOST ANGELS Color. Peter Week, Sean Scully,
Vincent Winter, Director Steven Previn. 93 min. 9/3/62.

November

LEGEND OF LOBO, THE Producer Walt Disney. Live-
action adventure. 67 min. 11/12/62.

December

IN SEARCH OF THE CASTAWAYS Technicolor. Maurice
Chevalier, Hayley Mills, George Sanders. Producer
Walt Disney. Director Robert Stevenson. Based on the
Jules Verne story, "CaDtain Grant's Children." 110
min. 1/7/63.

February

SON OF FLUBBER Fred MacMurray, Nancy Olson,
Keenan Wynn. Comedy. 104 min.

April

MIRACLE OF THE WHITE STALLIONS Robert Taylor,
Lili Palmer, Curt Jergens.

4| 2J502QE^^

August

INTERNS, THE Cliff Robertson, Michael Callan, Suzy
Parker, Nick Adams, James McArthur, Haya Harareet.
Producer Robert Cohn. Director David Swift. Drama of
medical profession. 120 min. 6/11/62.

September

BEST OF ENEMIES. THE Technicolor, Technirama. David
Niven, Sordi Michael Wilding. Producer Dino de
Laurentiis. Director Guy Hamilton. Satirical comedy
on war. 104 min. 8/6/62.

DAMN THE DEFIANT (formerly H.M.S. DEFIANT) Color.
Alec Guinness, Dirk Bogarde, Anthony Quayle. Pro-
ducer John Brabourne. Director Lewis Gilbert. Sea
adventure. 101 min. 8/20/62.

RING-A-DIWG RHYTHM Chubby Checker, Dukes of
Dixieland, Gary (U.S.) Bonds, Dell Shannon. Producer

Milton Suboisky. Director Dick Lester, teenage com-
edy. 78 min. 9/17/62.

October

REQUIEM FOR A HEAVYWEIGHT Anthony Quinn,
Jackie Gleason, Mickey Rooney, Julie Harris. Producer
David Stisskind. Director Ralph Nelson. Award winning
drama. 87 min. 9/17/62.

TWO TICKETS TO PARIS Joey Dee, Gary Crosby, Kay
Medford. Producer Harry Romm. Director Greg Gar-
rison. Romantic comedy. 75 min. 11/26/62.

Film BULLETIN — THIS IS YOUR PRODUCT

November

PIRATES OF BLOOD RIVER Color. Glenn Corbctt, Ker-
win Mathews, Maria Landi. Producer Anthony Nelson
Keys. Director John Gilling. Swashbuckling adventure.
87 min. 8/6/62.

WAR LOVER, THE Robert Wagner, Steve McQueen.
Producer Arthur Hornblow. Director Philip Leacock.
Drama of World War II in the sky. 105 min. 10/27/62.

WE LL BURY YOUI Narrated by William Woodion.
Producers Jack Leewood, Jack W. Thomas. Documen-
tary highlighting rise of Communism. 72 min. 10/15/62.

December

BARABBAS Technicolor. Anthony Quinn, Silvana Man-
gano, Jack Palance, Ernest Borgnine, Katy Jurado,
Douglas Fowley, Arthur Kennedy, Harry Andrews,
Vittorio Gassman. Producer Dino de Laurentiis. Direc-
tor Kichard Neischer. Based on novel by Par Lager-
kvist. 134 min. 9/3/62.

February

DIAMOND HEAD Panavision, Eastman Color. Charlton
Heston, Yvette Mimieux, George Chakiris, France
Nuyen, James Darren. Producer Jerry Bresler. Director
Guy Green. Based on Peter Gilman's novel. 107
min. 1/7/63.

OLD DARK HOUSE, THE Color. Tom Poston, Robert
Morley, Joyce Grenfell. Producer-director William
.Castle.

March

IRON MAIDEN, THE Michael Craig, Anne Helm,
Jeff Donnell.

April

MAN FROM THE DINER'S CLUB, THE Danny Kaye, Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin.

Coming

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney.

JASON AND THE GOLDEN FLEECE Color. Todd Arm-
strong, Nancy Kovak. Producer Charles H. Schneer.
D'rector Don Chaffey.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
1 222 min. 12/24/62.

WEEKEND WITH LULU, A Bob Monkhouse, Leslie
Philips, Shirley Eaton, Irene Handl. Producer Ted
Lloyd. Director John Paddy Garstairs. ?l min. 6/11/62.

September

IMPERSONATOR, THE John Crawford, Jane Griffiths.
)irector Alfred Shaughnessy. Producer Anthony Perry.
Murderer puts town on edge as he prowls for women.
A min.

OPERATION SNATCH Terry-Thomas, George Sanders,
.ionel Jeffries, Jackie Lane. Producer Jules Buck.
)ir»ctor Robert Day. Story of attempt to perpetuate
i famous legend. 83 min. 10/15/62.

October

:ND OF DESIRE Color. Maria Schell, Christian Mar-
luand, Ivan Desny, Pascale Petit. Producer Agnes De-
.ahaie. Director Alexander Astruc. 91 min.

November

.ONELINESS OF THE LONG DISTANCE RUNNER, THE

Michael Redgrave, Tom Courtenay, Avis Bunnage. Pro-
lucer-director Tony Richardson. Explores the attitudes
if a defiant young man sent to a reformatory for
obbery. 103 min. 10/1/62.

■January

•AVID AND LISA Keir Dullea, Janet Margolin, How-
ird Da Silva. Producer Paul M. Heller. Director Frank
'erry. Drama about two emotionally disturbed younq-
ters. 94 min. 1/7/63.

tANDS OF THE STRANGLER Mel Ferrer, Danny Carrol,
'rodueers Stevan Pallos, Donald Taylor. Director Ed-
iond T. Grenville. Drama about a man twisted by a
trange obsession. 86 min. 8/20/62.

February

JREAT CHASE. THE Douglas Fairbanks, Sr., Buster
'eaton, Lillian Gish. Producer Harvey Cort. Silent
,hase sequences. 77 min. 1/7/63.

HIS SPORTING LIFE Richard Harris, Rachel Roberts.

March

VRONG ARM OF THE LAW, THE Peter Sellers
ionel Jeffries.

OUR SHADOW IS MINE Jill Haworth. Michael Ruhl.

April

iLCONY, THE Shelly Winters. Peter Falk.

■riTlliM

September

DEVIL'S WANTON, THE Doris Svedlund, Birgir Malm-
sten. Producer Lorens Marmstedt. Director Ingmar
Bergman. Bergman comments on life, death, immortal-
ity and the devil. 77 min. 6/1 1/62.

DIVORCE— ITALIAN STYLE Marcello Mastroianni. Dan-
iela Rocca, Stefania Sandrelli. Producer Franco Cris-
taldi. Director Pietro Germi. Satirical jabs at the
mores of our times. 104 min. 10/29/62.

LA VIACCIA Claudia Cardinale, Jean-Paul Belmondo,
Pietro Germi. Producer Alfredo Bini. Director Mauro
Bolognini. A drama of the tragic influences of the city
upon a young farmer. 103 min. 11/12/62.

NO PLACE LIKE HOMICIDE! IFormerly What a Carve
Up!) Kenneth Connor, Shirley Eaton. Producers Robert
S. Baker, Monty Berman. Director Pat Jackson. British
spoof on the traditional haunted house. 87 min. 7/9/62.

October

CRIME DOES NOT PAY Danielle Darrieux, Richard
Tndd Pierre Brasseur, Gino Cervi, Gabriele Ferzetti,
Christian Marquand, Michelle Morgan, Jean Servais.
Producer Gilbert Bokanowski. Director Gerard Oury.
French object lesson based on classic crimes. 159 min.
10/29/62.

LONG DAY'S JOURNEY INTO NIGHT Katharine Hep-
burn, Jason Robards, Jr., Sir Ralph Richardson, Dean
Stockwell Producer Ely A. Landau. Director Sidney
Lumet. Film version of Eugene O'Neill's Pulitzer Prize-
winning stage drama. 174 min. 10/29/62.

November

NIGHT IS MY FUTURE Mai Zetterling, Birger Malmsten.
Director Ingmar Bergman. Bergman reflects on the
theme of man's search for human contact and love in
a "hostile universe.1' 87 min. 1/7/63.

December

CONSTANTINE AND THE CROSS Color. Cornel Wilde,
Christine Kaufman, Belinda Lee. Producer Ferdinado
Feliciori. Director Lionello De Felice. Story of early
Christians struggling against Roman persecution. 120
min. 11/26/62.

January

SEVEN CAPITAL SINS Jean-Pierre Aumont, Dany Saval.
Directors Claude Chabrol, Edouard Molinaro, Jean-Luc
Godard, Roger Vadim, Jaques Demy, Philippe De
Broca, Sylvain Dhomme. A new treatment of the classic
sins with a Gallic flavor. 113 min. 11/26/62.

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,
Christian Doermer. Director Francois Truffaut, Andrei
Wajda, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French
Revolution. 104 min.

IT

Current Releases

ANTIGONE (Ellis Films! Irene Papas, Manos Katra-
kis. Producer Sperie Perakos. Director George Tza-
vellas. 88 min. 10/29/62.

ARMS AND THE MAN ICasino Films! Lil'o Pulver,
O. W. Fischer. Ellen Schwiers. Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
96 min.

BERNADETTE OF LOURDES IJanus Films) Daniele A|oret
Nadlne Atari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE ILopert) Lan Carmichael. Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 68 min.

BLOODY BROOD, THE ISutton) Peter Falk, Barbara
Lord. Jack Betts.

BOMB FOR A DICTATOR, A Pierre Fresnay, Michel
Auclair. 72 min.

CANDIDE (Union Films) Jean-Pierre Cassel, Pierre
Brausseur, Dahlia Lavi. Director Norbert Carbonnaux.
90 min. I 1/26/62.

CLEOPATRA'S DAUGHTER Color, Totalscope. Debra
Paget, Robert Alda. 93 min.

COMING OUT PARTY A. James Robertson Justice.
Producers Julian Wintle, Leslie Parkyn. Director Kenn
Annakin. 90 min. 9/17/62.

CONCRETE JUNGLE, THE IFanfare Films) Stanley
Baker, Margit Saad, Sam Wanamaker, Gregoire Asian.
Producer Jack Greenwood. Director Joseph Losey. 86
min. 7/9/62.

CONNECTION, THE Warren Finnerty, Garry Good-
row, Jerome Raphel. Producer Lewis Allen. Director
Shirley Clarke. Off-beat film about dope addicts. 93
min. 10/29/62.

DANGEROUS CHARTER Technicolor. Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

FEBRUARY SUMMARY

An early review of new product avail-
able for the month of February shows
a strong 22. M-G-M will release three
features. Universal, Warners, Columbia,
Embassy, Allied Artists, American-Inter-
national, Continental, and Paramount
all have two set for the month. United
Artists, 20th-Fox, and Buena Vista each
have one scheduled.

DAY THE «KV PXPLOD^D, THC lExcelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR, THE Color, Totalscope. Ricardo
Montalban, Carmen Sevilla. 87 min.

DEVIL MADE A WOMAN, THE Color, Totalscope. Sarita
Montiel. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE ITimes Films! Alain Delon, Monica Vitti.

ELECTRA ILopert! Irene Papas, Aleka Catselli. Pro-
ducer-director Michael Cacoyannis. Version of classic
Greek tragedy. 110 min. 1/7/63.

EVA ITimes Films! Jeanne Moreau, Stanley Baker.

FEAR NO MORE ISutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS Technicolor, Totalvision.
Yoko Tani, Oldrick Lukes. 81 min.

PIVE DAV IOVET THE (Kinsley lnt»rnati™;,l) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE ISutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FLAME IN THE STREETS lAtlantic) John Mills, Sylvia
Syms, Brenda DeBanzie. Producer-director Roy Baker.
93 min. 10/29/62.

FORCE OF IMPULSE ISutton Pictures) Tony Anthony
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

GIRL WITH THE GOLDEN EYES, THE IKingsley-lnter-
national) Marie LaForet, Paul Guers, Francoise Pre-
vost. Producer Gilbert De Goldschmidt. Director Jean-
Gabriel Albicocco. 90 min. 8/20/62.

IMPORTANT MAN. THE ILopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

JOSEPH AND HIS BRETHREN IColorama) Geoffrey
Home, Belinda Lee. Producers Ermanno Donati, Luigi
Carpentierei. Director Irving Rapper. 103 min. 12/24/62.

KIND OF LOVING, A (Governor Films) Alan Bates,
June Ritch'e, Thora Hird. Producer Joseph Janni.
Director John Schlesinger. 11/12/62.

LA NOTE BRAVA IMi'ler Produ^ina Co .) Elss Mar-
tin e I II - Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LES PARISIENNES ITimes Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LONG ABSENCE, THE (Commercial Films) Alida Valli,
Georges Wilson. Director Henri Colp. French drama.
85 min. I 1/26/62

MATTER OF WHO, A (Herts-Lion International! Alex
Nicol, Sonja Ziemann. Producers Walter Shenson,
Milton Holmes. Director Don Chaffey. 90 min. 8/20/ 62.

MONDO CANE (Times Films Eng.) Technicolor. Pro-
ducer R'zzo'i Cineriz. Director Gualtiero Jacopetti.
Film portrayal of real life. 115 min.

NIGHT OF EVIL ISutton! Lisa Gaye, Bill Campbell.
88 min.

NIGHT, THE ILopert! Jeanne Moreau, Marcello
Mastroianni, Monica Vitti. Producer Emanuele Cassulo,
Director Michelangelo Antonioni. 120 min. 3/5/62.

NO EXIT IZenith-lnternationall Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewskl. 1/7/63.

PAGAN HELLCAT (Times Films Eng.) Tumata Teuiau
Producer-d'rector Umberto Bongignori. 59 min.

PARADISE ALLEY (Sutton) Hugo Haas, Corinne Griffith.

PASSION OF SLOW FIRE, THE ITrans-Lux) Jean
DeSailley, Monique Melinand. Producer Francois
Chavene. Director Edouard Molinaro. 91 min. 11/12/62.

PHAEDRA ILopert! Melina Mercouri, Anthony Perkins.

Rat Vdllone. Producer-director Jules Dassin. 115 min.
10/29/62.

PURPLE NOON ITimes Films sub titles! Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I 1 5 min.

Film BULLETIN — THIS IS TOOK PRODUCT

SATAN IN HIGH HEELS (Cosmic). Meg Myles. Gray-
son Hall, Mike Keene. Producer Leonard M. Burton.
Director Jerald Intrator. 97 min. 5/14/42.

SECRET FILE HOLLYWOOD Jonathon Kidd. Lynn Slat-
ten. 82 min.

SECRETS OF THE NAZI CRIMINALS (Trans-Lux). Pro-
ducer Tore Sjoberg. Documentary recounting Nazi
crimes. 84 min. 10/15/62.

SLIME PEOPLE, THE ( Hutton- Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

STAKEOUT Ping Russell, Bill Hale, Eve Brent. 81 min.

SUNDAYS AND CYBELE (Davis-Royal) Hardy Kruger,
Nicole Courcel, Patricia Gozzi. Producer Romain Pines.
Director Serge Bourguignon. 110 min. 11/26/42.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THRONE OF BLOOD (Brandon Films) Toshino Mifone,
Isuzu Yamada. Director Akira Kurosawa 108 min.
1/8/42.

THROUGH A GLASS DARKLY (Janus) Harriet Ander-
son, Gunnar Bjornstrano, Max von Sydow, Lars Past
gard. Director Ingmar Bergman. ?l min. 3/19/42.

TROJAN HORSE, THE Colorama. Steve Reeves, John
Drew Barrymore, Edy Vessel. Director Giorgio Ferroni.
105 min. 7/23/62.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Times Films Eng.) Color. Pro-
ducer-director Marion Gering.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD PCR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

WOZZECK (Brandon) Kurt Meisel, Helo.a Zulch, Rich-
ard Haussler. Producer Kurt Halme. Director George
Klaren. 81 min. 3/19/62.

YOJIMBO (Seneca-International) Toshiro M. Fune, Kyu
Sazanka, Nakadai. Director Akiro Kurosana. 101 min.
9/17/62.

METRO-GOLDWYN-MAYER

September

I THANK A FOOL Susan Hayward. Producer Anatole
de Grunwald. Director Robert Stevens. Screen version
of the dramatic best-seller novel by Audrey Erskine
Lindop. 100 min. 9/17/62.

October

VERY PRIVATE AFFAIR, A Brigitte Bardot, Marcello
Mastnianni. Producer Christine Gouze-Renal. Director
Louis Malle. Story of the meteoric career of a young
screen star who becomes a sex symbol for the world.
94 min. 10/1/62.

November

ESCAPE FROM EAST BERLIN Don Murray, Christine
K^u'm^nn. Producer Walter Wood. Director Robert
Siodmak. Drama of the escape of 28 East Germans to
West Berlin under the wall via a tunnel. 93 min.
10/29/62.

KILL OR CURE Terry-Thomas, Eric Sykes, Dennis Price,
Moira Redmond. Producer George Brown. Director
George Pollack. Detective tale. 88 min. 11/26/62.

PERIOD OF ADJUSTMENT Tony Franciosa, Jane Fonda,
Jim Hutton. Producer Lawrence Weingarten. Director
George Roy Hill. Screen version of Tennessee Williams'
Broadway play. 112 min. 10/29/62.

TRIAL AND ERROR Peter Sellers, Richard Attenbor-
ough. Producer Dimitri de Grunwald. Director James
Hill. Comedy about a henpecked murderer and his
ineffectual lawyer. 99 min. 11/26/62.

December

ARTURO'S ISLAND Reginald Kernan, Key Mersman,
Vanni De Maigret, Ornella Vanomi. Producer Carlo
Ponti. Director D. Damiani. Based on noted Italian

novel. 90 min.

BILLY ROSE'S JUMBO Doris Day, Stephen Boyd, Jimmy
Durante, Martha Raye. Producer Joe Pasternak. Direc-
tor Charles Walters Martin Melcher. Based on the
Broadway musical Tolialgo. 125 min. 10/12/62.

SWORDSMAN OF SIENA Eastman Color. Stewart
Granger, Christine Kaufmann. Producer Jacques Bar.
Director Etienne Pertier. Adventure drama. 92 min.
I 1/26/62.

January

CAIRO George Sanders. Richard Johnson. Producer
Ronald Kinnoch. Director Wolf Rilla. Drama of attempt
to rob the Cairo Museum.

PASSWORD IS COURAGE, THE Dirk Bogarde. Pro-
ducer-Director Andrew L. Stone. One man's war against

the Nazis during World War II 116 min. 1/7/63.

February

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris
Sagal. Race track comedy.

HOOK, THE Kirk Douglas, Nick Adams. Producer Wil-
liam Perlberg. Director George Seaton. Drama set
against background of the Korean War.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min.

March

COURTSHIP OF EDDIE'S FATHER, THE Glenn Ford,
Shirley Jones. Producer Joe Pasternak. Director Vin-
cente Minnelli. Romantic comedy revolving about a
young widower and his small son.

FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
Randell, Russ Tamblyn, Janis Paiqe. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy.

SEVEN SEAS TO CALAIS Rod Taylor. Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate. Based on the life of Sir Francis Drake. 102 min.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatoli de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.

IT HAPPENED AT THE WORLD'S FAIR Panavision,
Color. Elvis Presley. Producer Ted Richmond.

May

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,
Heidi Bruehl. Producer King Brothers. Director Byron
Haskin. Adventure Fantasy.

IN THE COOL OF THE DAY CinemaScope, Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz.

June

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

Coming

DRUMS OF AFRICA Fr^nkie Av*lon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HAUNTING. THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

HOW THE WEST WAS WON Cinerama. James Stewart,
Debbie Reynolds, John Wayne, Gregory Peck, Henry
Fonda. Carroll Baker. Producer Bernard Smith. Direc-
tors Henry Hathaway, John Ford, George Marshall.
Panoramic drama of America's expansion Westward.
155 min. I 1/26/62.

MOON WALK Shirley Jones. Producer Joe Pasternak.
Director George Sidney. Romantic comedy based on
a story in the Ladies Home Journal.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GriffTfh. Pro-

'Jifcer A^ron Rospnbera. Director I owls Mi'"',*^ne.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hal. I 179 min. 11/12/62.

RIFIFI IN TOKYO Karl Boehm, Barbara Lass, Charles
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo.

TAMAHINE Nancy Kwan, Dennis Price. Producer John
Bryan. Director Philip Leacock. Romantic comedy of
a Tahitian girl and her impact on an English public
school.

TODAY WE LIVE Simone Signoret, Stuart Whitman.
Producer Jacques Bar. Director Reng Clement. Drama
of temptation and infidelity in wartime.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

VERY IMPORTANT PERSONS Color. Elizabeth Taylor,
Richard Burton, Louis Jordan. Producer Anatole de
Grunwald. Director Anthony Asquith. Comedy drama.

August

HATARI I Technicolor. John Wayne, Hardy Kruger,
Elsa Martinelli, Gerard Blaine, Red Buttons. Producer-
Director Howard Hawks. Story of the daredevil adven-
turers who capture wild animals for zoos and circuses.
159 min. 6/25/62.

October

PIGEON THAT TOOK ROME. THE Panavision. Charlton
Heston, Elsa Martinelli, Harry Guardino. Producer-
Director Melville Shavelson. Comedy-drama. 100 min.

9/3/ 62.

November

GIRLSI GIRLS I GIRLSI Panavision, Technicolor. Elvli
Presley. Stella Stevens. Producer Hal Wallij. Director
Norman Taurog. 106 min.

December

IT'S ONLY MONEY Jerry Lewis, Joan O'Brien, Zachary
Scott, Jack Weston. Producer Paul Jones. Director
Frank Tashlin. Comedy. 84 min. 9/17/62.

January

WHERE THE TRUTH LIES Juliette Greco, Jean-Marc
Bory, Lisolette Pulver.

February

GIRL NAMED TAMIKO, A Technicolor. Laurence Har-
vey, France Nuyen. Producer Hal Wallis. Director John
Sturges. A Eurasian "man without a country" courts an
American girl in a bid to become a U.S. citizen.

WHO'S GOT THE ACTION Panavision. Technicolor.
Dean Martin, Lana Turner, Eddie Albert, Walter Mat-
hau, Nita Talbot. Producer Jack Rose. Director Daniel
Mann. A society matron becomes a "bookie" to cure
her horse-playing husband. 93 min. 10/1/62.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleason,
Glynis Johns. Comedy-drama based on childhood of
silent screen star Corinne Griffith.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cliff
Robertson, David Jannsen. Producer Garet Gaither.
Director Grover Champion. Broadway star adopts six
abandoned children.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmons,
Pat Hingle. Producer David Susskind. Director Alex
Segol. Film version of play and novel.

COME BLOW YOUR HORN Technicolor. Frank Sinatra,
Barbara Ruth, Lee J. Cobb. Producer Howard Koch. Di-
rector Bud Yorkin. A confirmed bachelor introduces his
young brother to the playboy's world.

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific.

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Rirt. Director Ritt.
Drama set in modern Texas.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Ouine. Romantic-comedy filmed
on location in Paris.

WONDERFUL TO BE YOUNG Cliff Richard, Robert
Morley. 92 min.

20TH CENTURY-FOX

August

FIRE BRAND CinemaScope. Kent Taylor, Lisa Montell.
Producer-Director Maury Dexter. Story of the famou*
Latin fighter, Joaquin Murieta.

F'VE WEFKS IN A BALLOON CinemaScooe, Deluxe
Color. Cedric Hardwicke, Peter Lorre. Producer-Direc-
tor Irwin Allen. Jules Verne's first novel about a mad-
cap flight across Africa in a balloon. 101 min. 8/20/62.

September

I LIKE MONEY CinemaScope, De Luxe Color. Peter Sel-
lers, Nadia Gray, Herbert Lorn, Leo McKern. Producer
Pierre Rouve. Director Pet^r Sellers. Rased on Marc*1'
Pagnol's famous story of "Topaze". 81 min. 5/28/62.

300 SPARTANS, THE CinemaScope, DeLuxe Color.
Richard Egan, Ralph Richardson, Diane Baker, Barry
Coe, David Farrar. Producers Rudolph Mate, Georgt
St. George. Director Mate. Story of the battle of
Thermopylae. 114 min. 8/20/62.

October

GIGOT DeLuxe Color. Jackie Gleason, Katherine Kattt.
Gabrielle Dorziat, Diane Gardner. Producer Ken Hy
man. Director Gene Kelly. Story of a mute and a littli
girl he befriends. 104 min. 6/25/62.

LONGEST DAY. THE John Wayne. Richard Todd
Peter Lawford, Robert Wagner, Tommy Sands, Fabian
Paul Anka, Curt Jurgens, Red Buttons, Irina Demich
Robert Mitchum, Jeffrey Hunter, Eddie Albert, Ra'
Danton, Henry Fonda, Edmond O'Brien, Robert Ryan
Producer Darryl Zanuck. Directors Gerd Oswald
Andrew Marton, Elmo Williams, Bernard Wicki, Ke
Annakin 180 min.

November

LOVES OF SALAMMBO Deluxe. Jeanne Valerie, Jacque
Sernas. Edmund Purdom. Director Sergio Griecc
Adventure drama. 72 min. 11/12/62.

Film BULLETIN — THIS IS YOUR PRODUCT

January

SODOM AND GOMORRAH Stewart Granger, Pier An
geli, Stanley Baker, Rossana Podesta, Producer Gof-
Fredo Lombardo. Director Robert Aldrich. Biblical tale.
|I54 min.

February

LION, THE CinemaScope, De Luxe Color. William Hol-
den, Trevor Howard, Capucine. Producer Samuel
Engel. Director Jack Cardiff. Based on best-seller
about a girl's love for a wild lion. 93 min. 9/3/63.

March

MINE HOURS TO RAMA CinemaScope, DeLuxe Color,
-lorst Buchholi, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi.

April

A/OMAN IN JULY, A Joanne Woodward, Richard Bey-
ner, Gypsy Rose Lee, Claire Trevor.

Coming

:LEOPATRA Todd-AO Color. Elizabeth Taylor, Richard
iurton, Rex Harrison. Producer Walter Wanger.
>irector Joseph Mankiewicz. Story of famous queen.

EOPARD, THE Burt Lancaster, Claudia Cardinale.

JUEEN'S GUARDS, THE CinemaScope, DeLuxe Color.
Daniel Ivlassey, Raymond Massey, Robert Stephens.
Producer-Director Michael Powell. A tale of the
radition and importance of being a Guard.

rOUNG GUNS OF TEXAS James Mitchum, Alana Ladd,
lody McCrea. Producer-director Maury Dexter. West-
ern. 78 min. 11/12/62.

UNITED ARTISTS

August

4ARY HAD A LITTLE Agnes Laurent. Hazel Court, Jack
Vatling. Producer George Fowler. Director Edward
iuzzell. 79 min. 8/21/61.

September

WORD OF THE CONQUEROR Jack Palance, Eleonora
;o»si Drago, Guy Madison. Producer Gilberto Carbone.
Mrector Carlo Campogallian. 95 min. 9/17/62.

ALIANT. THE John Mills, Ettore Manni.

October

tERO'S ISLAND James Mason, Neville Brand, Kate
<anx, Rip Torn. Producer-Director Leslie Stevens. Ad-
enture drama. 94 min. 9/17/62.

RESSURE POINT Sidney Poitier, Bobby Darin, Peter
alk. Producer Stanley Kramer. Director Hubert Corn-
ield. Drama dealing with racial prejudice in U.S 91
lin. 9/17/62.

HREE ON A SPREE Jack Watling, Carole Lesley,
:olin Gordon. Producer George Fowler. Director Sid-
ey J. Furie. 83 min. 10/2/61.

November

4ANCHURIAN CANDIDATE, THE Frank Sinatra, Laur-
nce Harvey. Janet Leigh, Angela Lansbury, Henry
ilva. Producers George Axelrod, John Frankenheimer.

'irector Frankenheimer. Suspense melodrama 126 min
0/29/62.

January

:HILD IS WAITING, A Burt Lancaster, Judy Garland
tephen Hill, Gena Rowland. Producer Stanley Kramer'
Mrector John Cassavetes.

ARAS BULBA Tony Curtis, Yul Brynner, Brad Dexter
am Wanamaker, Vladimir Sokoloff, Akim Tamiroff'
.hnstine Kaufmann. Producer Harold Hecht. Director
. Lee Thompson. Action spectacle. 122 min. 12/10/62.

February

WO FOR THE SEESAW Robert Mitchum, Shirley Mac
aine. Producer Walter Mirisch. Director Robert Wise
ased on the Brodaway hit. 119 min. 10/29/62.

March

IVE MILES TO MIDNIGHT IFormerly The Third Dimen-
on| Sophia Loren, Anthony Perkins, Gig Young
eland Turner. Producer-Director Anatole Litvak.

.RAND DUKE AND MR. PIMM. THE Glenn Ford
tope Lange, Charles Boyer.

April

ARETAKERS, THE Robert Stack, Joan Crawford.

Coming

EAUTY AND THE CEAST Joyce Taylor, Mark Damon
dward Franz, Merry Anders. 77 min.

>EAD TO THE WOP.LD Reedy Talton, Jana Pearce Ford
amey, Casey Peyson. Producer F. William Hart. Direc-
or Nicholas Webster. 87 min.

LADIATORS, THE Yul Brynner. Director Martin Ritt.

LORIOUS BROTHERS, MY Producer-director Stanley
ramer. From Howard Fast's best-seller

hi
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ll'

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til,

GREAT WAR, THE Vittorio Gassman, Silvana Mangano,
Alberto Sordi. Producer Dino De Laurentis. Director
Mario Monicelli. 118 min. 9/18/61.

HAWAII Producer-director Fred Zinneman. Film ver-
sion of James Michener's epic novel.

INVITATION TO A GUNFIGHTER Producer Stanley
Kramer. Director Paul Stanley.

LAND WE LOVE, THE Color. James Mason, Kate Manx,
Neville Brand, Rip Torn, Brendan Dillon. Producer-
Director Leslie Stevens.

PHAEDRA Melina Mercouri, Anthony Perkins. Producer-
Director Jules Dassin.

WAY WEST, THE James Stewart, Kirk Douglas. Burt
Lancaster. Producer Harold Hecht.

mnnnmsm

August

SPIRAL ROAD, THE Color. Rock Hudson, Burl Ives, Gena
Rowlands. Producer Robert Arthur. Director Robert
Mulligan. Based on Jan de Hartog's best-seller novel.
140 min. 6/1 1/62.

September

PHANTOM OF THE OPERA, THE Color. Herbert Lorn,
Heather Sears, Edward de Souza, Ian Wilson, Michael
Gough, Thorley Walters, Patrick Troughton. Producer
Anthony Hinds. Director Terence Fisher. Tale of a
"monster" who terrorizes a theatre. 84 min. 6/25/62.

October

NO MAN IS AN ISLAND Color. Jeffrey Hunter. Pro-
ducer-Directors Richard Goldstone, John Monk, Jr.
War melodrama. I 14 min. 8/6/62.

November

IF A MAN ANSWERS Color. Sandra Dee, Bobby Darin.
Producer Ross Hunter. Director Henry Levin. Romantic
comedy. 102 min. 9/3/62.

STAGE COACH TO DANCERS' ROCK Warren Stevens,
Martin Landau, Jody Lawrance, Don Wilbanks, Del
Morre, Bob Anderson, Judy Dan. Producer-Director
Earl Bellamy Western. 72 min. 10/15/62.

January

FREUD Montgomery Clift, Susannah York, Larry Parks.
Producer Wolfgang Reinhardt. Director John Huston.
Story of Freud's initial conception of psychoanalysis.
139 min. 12/24/62.

February

40 POUNDS OF TROUBLE Color, Panavision. Tony Cur-
tis, Phil Silvers, Suzanne Pleshette. Producer Stan Mar-
ginles. Director Norman Jewison. Comedy. 106 min.
12/24/62.

MYSTERY SUBMARINE Edward Judd, Laurence Payne,
James Robertson Justice. 90 min.

March

TO KILL A MOCKINGBIRD Gregory Peck. Producer
Alan Pakula. Director Robert Mu.ligan. Based on
Harper Lee's novel. 129 min. 1/7/63.

April

BIRDS, THE Technicolor. Rod Taylor. Jessica Tandy.

UGLY AMERICAN, THE Color. Marlon Brando. Sandra
Church, Yee Tak Yip. Producer-Director George Eng-
lund.

Coming

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives.
Producer Robert Arthur.

CHARADE Color Panavision. Cary Grant, Audrey Hep-
burn. Producer-Director Stanley Donen.

FOR LOVE OR MONEY IFormerly Three Way Match!
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon.

GATHERING OF EAGLES. A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann.

KISS OF THE VAMPIRE Clifford Evans, Jennifer Daniel,
Edward De Souza, Noel Willman.

LAWCEIOT AND GUINEVERE Color. Panavision. Cornel
Wilde, Jean Wallace. Producers Cornel Wilde, Bernard
Luber. Director Wilde.

LIST OF ADRIAN MESSENGER. THE Georqe C. Scott,
Dana Wynter. Producer Edward Lewis. Director John
Huston.

MAN'S FAVORITE SPORT Color. Rock Hudson, Maria
Perschey.

PARANOIC Janette Scott, Oliver Reed. Producer An-
thony Hinds. Director Freddie Francis.

SHOWDOWN IFormerly The Iron Collar! Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen.

TAMMY AND THF DOCTOR Col". Sandr-i Dee. Peter
Fonda. Producer Ross Hunter. Director Harry Keller.

THKIU OF IT ALL, THE Color. Doris Dav, James Gar-
ner Arlene Francis. Producers Ross Hunter, Martin
Melcher. Director Norman Jewison.

W A RNE R BROTH ERS

September

STORY OF THE COUNT OF MONTE CRISTO, THE

Technicolor. Louis Jourdan, Yyvonne Furneaux. Pro-
ducers Joan-Jacques Vit^l, Rpne Modiano. Director
Claude Autant-Lara. Drama from the novel. 132 min.
6/1 1/62.

October

CHAPMAN REPORT, THE Technicolor. Shelley Winters,
Efrem Zimbalist, Jr., Jane Fonda, Claire Bloom, Glynis
Johns. Producer Richard Zanuck. Director George Cu-
kor. Based on Irving Wallace's best-seller of a sex
survey in an American suburb. 125 min. 9/3/62.

November

GAY PURR-EE Technicolor. Voices of Judy Garland,
Robert Goulet, Red Buttons, Hermione Gingold. Pro-
ducer Henry G. Saperstein. Director, Abe Levitow.
Animated comedy feature of Parisian cats. 86 min.
10/29/62.

WHAT EVER HAPPENED TO BABY JANE? Bette Davis,
Joan Crawford. Producer-Director Robert Aldrich.
Shock thriller. 132 min. 10/29/62.

January

GYPSY Technicolor, Tech.iirama. Rosalind Russell, Nat-
alie Wood, Karl Maiden. Producer-Director, Mervyn
LeRoy. From Broadway musical hit based on Gypsy
Rose Lee's career. 149 min. 10/1/62.

February

DAYS OF WINE AND ROSES Jack Lemmon, Lee
Remick. Producer Martin Manulis. Director Blake
Edwards. A drama of the effects of alcoholism in a
modern marriage. 117 min. 12/10/62.

TE3M OF TRIAL Laurence Olivier, Simone Signoret. Pro-
ducer James Woolf. Director Peter Glenville. A cou-
ple's term of trial in face of charges against the husband.
113 min.

A pril

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min.

Coming

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom.

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

ISLAND OF LOVE IFormerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece.

PALM SPRINGS WEEK-END Troy Donahue. Producer,
Michael Hoey. Director, Norman Taurog. Drama of
teen-agers' riotous week-end.

PANIC BUTTON Maurice Chevalier, Eleanor Parker,
Jayne Mansfield. Producer Ron Gorton. Director
George Sherman. Comedy set in Rome.

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II.

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama .

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family.

THE CASTILIAN Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors.

THE INCREDIBLE MR. LIMPET Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Directors Arthur
Lubin. Combination live action-animation comedy with
music.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama.

WORLD BY NIGHT NO. 2 Producer Francesco Mazzei.
Director Gianni Proia. 118 min. 8/6/62.

DEPENDABLE SERVICE!

CLARK
TRANSFER

Member National Film Carriers
Philadelphia, Pa.: LOcust 4-3450
Washington, D. C: DUpont 7-7200

Film BULLETIN — THIS IS YOUR PRODUCT

the drive-ins' %(f PROFIT- MAKERS

are available for ]

n

u

l! -i

National Screen's

SNACK BAR
INTERMISSION
QUARTET

ii' i ii i i i a ;;.) ii

Now Produced in 2 versions

ii

for DRIVE-INS
Q-l PROFESSOR
Q-2 LEPRACHAUN
Q-3 GUARD
Q-4 CREATURE

for CONVENTIONAL THEATRES

QC-l PROFESSOR
QC-2 LEPRACHAUN
QC-3 GUARD
QC-4 CREATURE

Since we introduced (for Drive-ins) the FOUR beautiful FULL
COLOR Intermission Trailers that comprise the N.S.S. SNACK BAR
INTERMISSION QUARTET... the demand from exhibitors of "con-
ventional" theatres has been so great that we have produced this
unique, fully-animated series in a special version for 4-wall theatres!
The "QC" series has all the charm, sales appeal and entertainment
that has made the original (Drive-in) version so popular. We've just
changed a few of the items from typical Drive-in offerings to those
commonly found at conventional theatre Refreshment Stands. It's
the hottest "Profit Combo" ever produced to sell Refreshments . . .
and now all FOUR of these great trailers are available ... in the "Q"
Series for Drive-Ins... in the "QC" series for Conventional Theatres!

They're only $15.00 each... ALL FOUR for $50.00! Buy all FOUR
. . .and rotate them from week-to-week!

mmmvfsCbew service

\J pftiztBaar of me/aoasmr

BULLETIN

Opinion of* the In.cLu.stry

FEBRUARY 4, 1963

EXHIBITION RAISES
ITS VOICE AGAINST

'Suicide
Policy

euiews

THE RAVEN

CAIRO
RICE GIRL
FATAL DESIRE

ALL THE EXCITEMENT OF THE WORLD'S HOTTEST <
MALE-FEMALE COMBINATION IN THEIR BIGGEST HIT!|

tSIANTIS NOW
"MORE GIANT I
THAN EVER id

WITH MADS! ■THEATRE

AND TV TRAILERS! RADIO
SPOTS! GHACCESSORIES!
AND A BRAND ■ CONCEPT!

AVAILABLE FROM WARNER BR(

STANLEY KRAMER PRESENTS TWO OF THE SCREEN'S GREATEST STAR

in a

motion picture
that gives so much
goes so far...
looks so deep
into the hearts

of children
that it touches
the emotions
of every
man and woman

BURT LANCASTER

"Dramatically engrossing! i
Done with imagination, i
sensitivity and excitement! \
Impressive talent! Cast
is headed by highly
commercial names!"

co-starring

6ENA ROWLANDS STEVEN HILL ABBY MANN JOHN CASSAVETES Associate Producer PHILIP LANGNER Music ERNEST GOLD

— FILM DAILY

Directed by

JUDY GARLANI

A

CHILD
IS

WAITING

EE

What They're Talking About

□ □ □ In the Movie Business □ □ □

ISSUE HOT. The burning question of what
o do about the competition of comparatively
ecent features on prime time television has
rought TOA and Allied leaders closer together
han ever. They have been discussing ways
nd means of making exhibition's violent
pposition felt by the film companies. One
dea being bruited about is that large numbers
f theatremen should make their appearance at
uture stockholders meetings of all the
istribution companies to ask for an accounting
f what the sale of individual, cos.tly features
as brought from TV, to inform shareholders
hat reissue values could be, and to present
hat one TOA man called "the cold dollar
acts about the stupid policy of selling off
aluable film properties in order to paint a
right, if short-lived, financial picture for the
dification of the bankers." Whereas, in past
ears, the exhibition branch has always come
o the rescue of film executives in trouble with
elligerent shareholders or proxy fighters,
he attitude of theatremen today is anything
ut friendly toward incumbent managements.
From another prominent and irate exhibitor
ame this comment the other day: "It's high
ime we did something to throw out the
[management of one of the film companies, if
bnly to make an example of our strength.
ISome of the distributors seem to be marked
bn a course that will put us out of business
eventually, so I say we should fight them while
(We're still alive."

■

PARAMOUNT CHANGES? We hear rumors
that there will shortly be several changes in
Paramount's top echelon personnel. It has been
reported on this page before that president
Barney Balaban might step out before long,
and the current information reaching us is that
!this might happen in the very near future.
Meanwhile, there are indications that some of
the men in the ranks are being aligned to take

over increased responsibility in the company's
top-level decisions. Our guess is that George
Weltner will become the the chief officer,
Charles Boasberg the second in command.

■

DELAY 'JOURNEY' CUT. No decision on
cutting "Long Day's Journey into Night" are
likely to be made until after the Academy
Awards nominations are in. Joseph E. Levine,
the distributor, has suggested that the
174-minute adaptation of the Eugene O'Neill
play should be trimmed as much as one hour
to make it more acceptable in the mass market,
but if the film receives strong "Oscar"
recognition it is unlikely that producer Ely
Landau will agree to any cuts.

■

AA WESTERNS. Convinced that there is a
theatre market for quality westerns in color,
Allied Artists is planning to turn out at least
three of them this year. The spate of oat operas
on TV persuaded most of the film companies
to give up thise type of fare, but AA officials,
having surveyed the market, take the
contrary view that the durability of westerns
on video proves the public's continuing desire
for them and are proceeding with plans to
add outdoor action features in increasing
number to their future programs. They feel
that the overseas market, particularly, will
deliver good grosses on such pictures.

■

ACE-ECA DEAL. If conversations currently
being held between Max Youngstein and
Sidney M. Markley materialize — and it
appears likely they will — A. C. E. Films, Inc.
which Markley heads, probably will put up some
of the funds for one or more of the projects
Youngstein's Entertainment Corp. of America
has on the drawing boards. ECA aims to get
its first production, "Fail-Safe", rolling by May 1
and Markley has evinced considerable interest
in this venture.

■

WHY A TITLE? 20th Century-Fox officials are
convinced that the title is not necessary to
advertise "Cleopatra", and all of the early ads
on the costliest film of all time will consist
merely of an art illustration of Liz and Dick,
plus the line, "Tickets Are Now On Sale". The
bold idea is to be presented to the press
this week.

Film BULLETIN February 4. I?A3 Page 5

Of People and Events

Free Pay-TV, with
Free Popcorn, Yet

Free pay-TV to a "live" audience —
with refreshments on the house — is the
latest gimmick employed by the Hart-
ford feevee promoters to stir up public
interest in their test operation in the
Connecticut city.

On January 19, a Sunday evening,
some 100 members of the congregation
of Beth David Synagogue were invited
to a free showing of the current Col-
umbia release, "The War Lover", in
the studios of Channel 18, the RKO
Phonevision experimental outlet. This
invasion of exhibition's prerogatives
and Columbia's copyright has stirred
the ire of theatremen and, it is reported,
of the film company.

HARLING

Philip F. Harling, chairman of the
Joint Committee Against Pay-TV,
promptly fired off a letter to all film
companies citing the showing as "not
an isolated event, but one of other free
theatre parties planned by Channel 18
to publicize its pay-TV operation." He
asked the distributors, rhetorically: "Is
it the intention of the motion picture
distributors to further dilute, in the
future, any potential theatre boxoffke
results and their own percentage there-
of, by aiding and abetting such free
competition in the name of promoting
"experimental" pay-TV?"

What's New? Levine's
Twin 'Carpetbaggers7

Joseph E. (for Enterprising) Levine
usually can be counted on to do some-
thing different. The master showman
again made headlines last week with the
announcement that his Embassy Pictures
in collaboration with Paramount, will
make a second feature from Harold Rob-
bins' best-seller, "The Carpetbaggers".

The second film, based on a character
in the novel, will be titled "Nevada

LEVINE

Smith" and is to be a multi-million
dollar production in color. Last Septem-
ber, Embassy and Paramount entered
into a co-production deal for "The Car-
petbaggers", which also will be a high
budget, color undertaking.

Levine said, "It is unique in motion
picture history that two such great
subjects — 'The Carpetbaggers' and
'Nevada Smith' — can be scheduled from
one book." Speaking for Paramount,
Jack Karp, head of the studio, lauded
Levine: "We deem it a pleasure to be
working with this master film man."

Indes Building Up
Own Talent Stables

Independent producers, offshoots of
the major film companies, are begin-
ning to look more and more like their
big brothers all the time. With long-
range planning and long-term contrac-
tual arrangements, the independents, or
some of them, at least, are gradually
adopting the same policies they forced
big studios to abandon some years back.

One of the reasons is that successful
combinations of producers and direc-
tors or directors and performers have
grown up out of the independent situa-
tions, combinations that gravitated to-
gether once they were free of old-time
contractual restrictions.

One such "hot" combination is that
of Billy Wilder and the Mirisch Bro-
thers. Expressing their mutual admira-
tion, Harold Mirisch describes Wilder
as having "a genius for consistently
combining in his films top quality with
international boxoffice popularity ", and
Wilder calls the Mirish Brothers "a
highly efficient production organization

WILDER & HAROLD MIRISCH

which enabled me to devote a maximum
portion of my time to creative film
making." The Mirisch- Wilder combo,
responsible for such hits as "The Apart-
ment" and "Some Like it Hot", recently
signed a new contract for three more
pictures to follow currently filming
"Irma La Douce", which is slated for
summer release.

Another one-time feature of major
studio operations — the large roster of
stars and promising young talent on
contract — has all but disappeared.
Only a few of the big companies, among
them Universal and Columbia, continue
the development of young talent. But
an independent, Seven Arts, now boasts
a roster of nine young people on con-
tracts ranging from three pictures to
seven years. In what may be the begin-
ning of developing an old-time "stable"
of long-term contracted players Seven
Arts has signed Nancy Kwan, Pat
Boone, Jane Fonda, Sue Lyon, Alain
Delon, Sue Lloyd, Kier Dullea, Sandy
Dennis and Victor Buono.

One of the problems of recent years
has been the lack of facilities for the
development of film performing talent
and, particularly at this time of free-
wheeling, established stars, this invest-
ment in potential talent is being viewed
with great interest in the industry. The
independents seem to be paving the
way to a return to what was lost to the
majors: a supply of available talent to
meet production schedules.

YOUNGSTEIN, KASTNER, BEATTY

Beatty, Preston Set
In ECA Productions

Max Youngstein's Entertainment Cor-
poration of America is on the move
with announcements of new production
activities coming on an average of
once a week. Two new items were
added to the growing ECA list in the
past fortnight.

Elliot Kastner, formerly a top execu-
tive with MCA, has been signed by
Youngstein to produce "Honeybear, I
(Continued on Page 9)

Page 6 Film BULLETIN February 4, 1943

viewpoints

FEBRUARY 4, 1963 W VOLUME 31, NO. 3

Morp o#t J€erchan<iisintj Foreign Films

To The Editor:

Irving Sochin, sales director for Times
Film Corporation, took the trouble, in
your issue of December 10, 1962, to re-
ply to your editorial, "Can Foreign
Films Help Ease the Product Famine?"
(issue of November 26, 1962). Since
the controversy revolves about the
writer's proposal to the Independent
Film Importers and Distributors of
America that they "package" some of
their worthwhile foreign films in local
level showmanship campaigns, to reach
a broader market and at the same time
alleviate the current product shortage,
we trust that you will permit the fol-
lowing observation of Mr. Sochin's com-
ments, which are offered in behalf of
AMPA's Exhibitor Services Division.

By and large, Mr. Sochin's com-
ments, which are sincerely rendered
from a first-hand knowledge of the sit-
uations he explores, are indisputable
from the current point-of-view, and in-
sofar as the history of foreign film dis-
tribution is concerned. It is not our
intention to attack the credibility or
veracity of Mr. Sochin's comments. We
wonder, however, if the point-of-view,
not only of Mr. Sochin and fellow dis-
tributors, but of exhibitors, producers,
major distributors, et al, is not the com-
ponent in our industry that requires the
greatest refurbishing.

Essentially, Mr. Sochin places the
blame on the exhibitor, for his failure
to accept foreign films despite the prod-
uct shortage, and he cites as commend-
able an instance as the merchandising
of "Purple Noon" as a case in point.
He sums up his comments with the sug-
gestion that "The Independent Film
Importer is to be used 'until the famine
is relieved' if he is used at all."

I am sure that the average exhibitor
could write thousands of equally com-
mendable words on why he has not
used foreign films. In fact, if our indus-
try has been active in any kind of "soul
searching," the emphasis of this activity
has certainly been toward searching the
souls of their opposing entities, with

the resulting recriminations that make
no progress, but only widen the breach.

AMPA's Exhibitor Services Division
is attempting to offer constrictive assist-
ance that will transcend the "recrimina-
tions" that merely deter progress. We
think it's fair to assume that exhibitor
rejection of a motion picture . . . espe-
cially when his need for product is so
great . . is predicated on his considered
evaluation of the foreign film as a box-
office attraction. Your editorial of
November 26th accurately reflected our
opinion that "not all foreign art pic-
tures are acceptable in the U.S. market."
For the films (that are suitable) to at-
tain a valuable boxoffice potential in
the general-release market, they must
be accompanied by strong showmanship.

Accepting Mr. Sochin's comments on
the exhibitor's refusal to play foreign
films, as a valid complaint, we suggest
that, like any other business, it behooves
us to ascertain how we can overcome
the exhibitors' objections in this regard.
Our recommendation toward that end
is the "Showmanship Package Plan."
Since it is reasonable to assume that
any exhibitor will be swayed by the
"boxoffice attractability" of an attrac-
tion, we believe that there are many
foreign films which can be made attrac-
tive with specially designed campaigns.

Mr. Sochin makes reference to "Pur-
ple Noon" as an outstanding attraction
which he states was offered with proper
exploitation, and packaged with another
picture, where necessary. Since Mr.

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 123? vine
Street, Philadelphia 7, Pa., LOcust 8-0950. 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manager; Max Garelick,
Business Manager; Robert Heath, Circulation
Manager. BUSINESS OFFICE: 550 Fifth Ave-
nue, New York 36, N. Y., Circle 5-0124;
Ernest Shapiro, N.Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
$3.00 in the U. S.; Canada, $4.00;
Europe, $5.00. TWO YEARS, $5.00 in
the U. S.; Canada, Europe, $9.00.

Sochin is closer to that situation than
the writer, we obviously cannot specifi-
cally explain the failure of this attrac-
tion to attain its maximum playing time.

With due respect for Mr. Sochin's
experience in these areas, we must point
out that AMPA's preoccupation with
"Showmanship Packages" of foreign
films is dictated by its faith in the effi-
cacy of hard-hitting showmanship cam-
paigns . . . the current product shortage
which makes suitable foreign films,
properly exploited at the local level, a
desirable adjunct to the theatre's pro-
gramming . . . the assurance that exhi-
bitor organizations will get behind any
worthwhile move to relieve the afore-
mentioned shortage . . . the assured co-
operation of the trade press in such a
worthwhile venture . . . and the indus-
try-enlightenment to which AMPA is
presently dedicated.

We would answer Mr. Sochin's sum-
mation that "The Independent Distrib-
utor is to be used until the famine is
relieved . . ." by stating that, if as Mr.
Sochin says, exhibitors are ". . most
reluctant to give up any playing time
for a foreign made picture regardless
of its quality or content," the oppor-
tunity to be "used" at this time should
be welcomed . . . and if foreign films
are as boxoffice-worthy as Mr. Sochin
suggests, this is the time to make the
necessary inroads into the general-
release market.

In our own summation, we say . . .
if, by Mr. Sochin's own statements, pre-
vious methods have been ineffectual . . .
shouldn't the independent film distrib-
utors enthusiastically subscribe to new
methods . . . substantially aided by the
efforts and the guidance of other seg-
ments of the industry?

We would suggest that expressions
that declaim the "lack of support'" of
other segments of the industry are
"fiddle-faddle." Each segment supports
its own needs. The necessary move is to
"supply" those needs.

MELVIN L. GOLD, Chairman

Exhibitor Services Division,

Associtilttl Motion Pictures Ailtiilisns, bit.

Film BULLETIN February 4, 1943 Page 7

Why Go Out?

Two of the television networks are now programming the-
atrical films in prime evening time. This is neither a compliment
to the creative appetites of these networks nor great news for
exhibitors.

What is particularly interesting is that the audience for the
movies fluctuates widely. It hasn't been able to cut down opposi-
tion television programming to any discernible extent, but it
has on occasion come up with fairly healthy ratings. Even for
free movies on television, the audience has been quite selective.
They don't watch the program week after week, as they do with
Lucille Ball or "The Beverly Hillbillies.'' With the old movies
in prime time, they take or leave each picture on its own.

Television is therefore now making the same discovery about
feature pictures that exhibitors did some years ago. This dis-
covery is that — as far as feature pictures are concerned — there
is little or no "moviegoing habit" left. People at home, as well
as at the boxofnce, go to a movie rather than to the movies. This
puts a far greater burden on those whose job it is to win an
audience for a film. They no longer can count on the sure
attendance of the regular patrons. There aren't enough regu-
lar patrons to matter any more. Some people will say that this
confirms the wisdom of the moviemakers who gave up quantity
production to concentrate on turning out blockbusters. But this
is as debatable as which came first, the chicken or the egg.

For my part, I am firmly convinced that it was the movie pro-
ducers who conditioned the audience into accepting nothing but
the mammoth epics. When it became harder to make good low-
cost pictures, they just increased the costs instead of working
more on the quality. Yet even now a shoestring production like
"David and Lisa" can come along and become a financial suc-
cess by grossing less than five days' production costs on a bomb
of a spectacular. If "David and Lisa" returns a million dollars,
much of the million is profit. Any one of a dozen dillies I
could name have grossed a couple of million or more and
caused seven digits of red ink on the ledgers.

The cancer of the movie business has been that it has too
often substituted cash for creativity, high budgets for high art
and marquee names for wise casting. It is harder to make a
good picture for $200,000 than to make a potboiler for
$2,000,000.

Through the years, as the makers of expensive potboilers had
to add more and more to their budgets to keep the pots boil-
ing, they have been draining the industry of the very things
that used to help build the moviegoing habit. They have not
been giving sufficient opportunities and sufficient build-ups to
enough new young performers, because it was easier to take an
established name and have him carry a weak script than to do
a good script. It was easier, too, to concentrate on one $5,000,-
000 picture than five $1,000,000 productions. So they made
fewer pictures. Thereby they made fewer opportunities for new

writers, new actors and fewer people all along the production
line. And all through the years of this trend, they consoled
themselves by explaining that the public was becoming more
and more selective and that the day of the ordinary program
picture was gone.

The trouble was that they were suffering from a confusion of
terms. When they said the ordinary program picture was gone
they really meant all small pictures. They meant that every
picture had to be big and important — big budget, important
stars. Every picture had to stand or fall on its own, not doing
a thing to persuade people to go more often to the movies, not
helping a smidgin to build a new crop of stars.

Fortunately, not all the producers thought that way. We
would have absolutely no industry at all today, I am convinced,
if everybody had been confined to producing the eye-popping
specials. I don't mean to suggest that there hasn't been a middle
path. Ross Hunter and those glossy Universal comedies, for
example, haven't been working with budgets of a buck and a half,
but they haven't been in the class of some of the hard-ticket
extravaganzas either. "Whatever Happened to Baby Jane" is a
prime example of smart moviemaking at reasonable prices. It's
also a sample of what can be done with good performers.

Today's successful smaller pictures don't depend on the
moviegoing habit. They attract their own audiences. They have
to. But if only enough good pictures were made I believe the
moviegoing habit would return.

The people who look at movies on television fall into sev-
eral categories. The late, late show audience is pretty habitual
and regular. The prime time audience is something else again.
In the first place, the competition is a lot stiffer in prime time.
In the second place, there's a lot of difference between watching
because you have insomnia and watching because you want to
laugh or cry or escape. And — as a friend of mine recently re-
marked— all you see in the new movies on television are the
same old stars. If they are the old stars you have always liked,
maybe you'll watch. It's cheaper than going to see these same
old stars in new movies at the theatres. So, if I'm a Yul Bryn-
ner fan, I'll stay home and watch him in an oldie on TV, rather
than pick myself up, go out, and pay money to see him in a
new one at the theatre.

Selectivity begins when either the taste of the audience moves
upward or the quality of the pictures moves downward. I will
not presume to insist on the primacy of either reason. However,
I will presume most assuredly that the big names in big pic-
tures are given much more encouragement by the bankers than
the little pictures with new ideas and new faces. If I were a
banker I would have this prejudice, because I would be inter-
ested in my particular investment and not in the risks of
pioneering.

I don't want to make bankers the villains of the movie scene.
What has hurt the business has been the banker mentality of
the movie people at some of the companies. Motion picture
production must always be speculative and adventurous. It
can't be another form of investment banking. It needs the pro-
moters, the Mike Todds and the Joe Levines. It neeeds the rug-
ged independents in the mold of the wonderful Sam Goldwyn,
whose movie-making know-how was always worth many extra
dollars at the boxoffice no matter who he had in the cast. It
needs the experts at making attractive low budget pictures.

And above all, it needs sufficient product so that if the audi-
ence is selective there will be a variety of pictures from which
to select, rather than a picture vs. live television vs. going to
the bowling alley. Just change the adjective and I think you'll
see exactly what I mean. You may call the audience selective.
I call it disinterested. They are not interested enough to go.
They aren't selective, they're reluctant.

And we?

Page 8 Film BULLETIN February 4, 1943

OF PEOPLE AND EVENTS

ECA PRODUCTIONS

(Continued from Page 6)

Think I Love You" in conjunction with
Warren Beatty, who will star in the
film and whose recently formed inde-
pendent company will co-produce the
picture. Shooting is scheduled to start
in Hollywood in May.

From England came word of ECA's
acquisition of "The Third Secret", an
original screenplay by Robert L. Joseph,
which will star Robert ("Music Man")
Preston. Mr. Joseph, who has a solid
reputation in legitimate theatre in both
New York and London, will act as the
film's producer, with Youngstein as ex-
ecutive producer. The film will be
directed by Charles Crichton, whose
credits include the classic comedy,
"Lavender Hill Mob".

Will Father Orphan
Season, says AIP Head

Not one to let a potential boxoffice
period be "orphaned" for lack of prod-
uct, American International Pictures
will "father" the February-through-May
season by releasing a spate of ten fea-
tures within those four months, presi-
dent James H. Nicholson announced
last week to an assemblage of theatre-
men and the press. The move, he said,
is "in response to the requests of ex-
hibitors, who, in turn, have pledged
American International their fullest
support."

NICHOLSON

Warning that, "in spite of all the talk
and glorious announcements", the total
film output this year will likely be less
than in '62, Nicholson unveiled an ex-
panded and diversified program planned
by his company during the current year
and into 1964. While AIP will have its
share of horror and science-fiction fare,
the schedule also includes several un-
usual projects, on dealing with race re-
lations, another with psychological ex-
perimentation.

20th To Spread Out
'Longest Day' Release

"The Longest Day", 20th Fox's block-
buster, is outgrowing its limited quar-
ters. The highly successful Darryl
Zanuck production, already having
rolled up a gross of well over $3 mil-
lion in only 35 roadshow engagements
in the U. S. and Canada, will be poured
into an additional 100 sub-key theatres
late next month, it was revealed by
20th's roadshow manager, Joseph M.
Sugar, last week.

The policy in these new situations
will be three showing daily at advanced
admission prices. The film's openings
in each locality will be backed by a
large-scale promotion campaign.

Seymour Poe, 20th vice president in
charge of worldwide distribution, indi-
cated at the weekend that present plans
call for "The Longest Day" to go into
general release throughout the country
in the latter part of June.

Bill German Exits
Eastman after '63

A man whose name never appeared
on the list of credits, but who provided
the very stuff of which movies are made,
has announced his retirement.

William J. German, for over forty
years the distributor of Eastman film to
the movie industry, will retire at the
end of this year, terminating four de-
cades of association with the film and
television industries and with Eastman
Kodak Company. Eastman will directly
handle the distribution of its film.

Affectionately regarded for his many
charitable activities over the years. Bill
German announced no plans for himself
after his retirement. But he sees good
days ahead for movie business. "Re-
gardless of temporary ups and downs,"
he says, "the motion picture industry
will flourish and each year more people
throughout the world will become part
of the motion picture viewing public."

SW Moves into Texas

The Lone Star Theatre chain last
week moved into the Stanley Warner
constellation with the latter's acquisi-
tion of the Texas string of 32 drive-ins
and 5 conventional houses. The deal
boosts SW's present outlets to a total
of 249, a figure which will drop slightly
as, under the terms of acquisition, SW
is required to dispose of thirteen of the
Texas properties.

FABIAN

S. H. Fabian, Stanley Warner presi-
dent, in noting the drive-in acquisitions,
said that his company long had been
interested in outdoor exhibition, but
that "the then existing roadblocks in
the Consent Decree" prevented it from
movinc; into that field. "We see en-
larged opportunities," Fabian declared,
"for exhibition in the leading growth
areas of the nation, such as Texas."

He revealed that SW will operate the
Lone Star group with the present staff
including Albert Reynolds, zone man-
ager; Brandon Doak, film buyer; Harry
McCartney, contact manager and Dan
Goodwin, purchasing agent.

Paramount's 'Eyes &
Ears' Pass to Wolper

"The Eyes and Ears of the World"
have passed from Paramount Pictures
into the hands of an independent entre-
preneur. Some 10 million fe?t (1,900
miles) of Paramount News has been
acquired by Wolper Productions, Inc.
The deal, it was stated by President
David L. Wolper, may involve a price
in excess of a half million dollars.

This source of great historical inter-
est, for which Paramount apparently
could find no profitable use, covers vir-
tually every major news event of the
past 36 years. The enterprising Wolper
outfit likely will find a healthy market
for most of this film in the theatre,
television and educational fields.

Honor Tim Clagett

"In these years when there has been
a threat in any state to freedom of the
screen, there you have found Tim
Clagett combating it.

"Where there have been attempts
through state legislation to treat our
industry unfairly, or to impose dis-
criminatory laws, there you have found
Tim Clagett on the firing line.

"There is less statutory censorship of
motion pictures today than when Tim
Clagett started fifteen years ago."

The words were spoken by MPAA
president Eric Johnston at a luncheon
honoring Manning (Tim) Clagett, who
represents the distributors' association s
governmental relations in the U. S.

Film BULLETIN February 4, 1963 Page 9

MR. SHURLOCK'S APPEASEMENT OF BOWDLERIZERS IS DISAPPROVED

It is difficult for me to understand
what is meant by wholesome entertain-
ment, a phrase which has served as a
theme for a six months' report by Mr.
Geoffrey M. Shurlock, director of the
Production Code Administration.

It may be assumed that Mr. Shur-
lock. who addressed his compendium to
Mr. Eric Johnston, his boss, really meant
to pay his respects to the professional
do-gooders and the dismal array of
blue-noses who seem to be popping up
all over the country.

If this tactic is intended to offset the
many bowdlerizers in their efforts to
reenact censorship and classification
bills in a number of states and commu-
nities, then we have more evidence that
the Motion Picture Producers Associa-
tion and the Motion Picture Association
of America are still living in the era
of General Hays. The frustrated cranks
who clamor for censorship of motion
pictures cannot be quelled in this man-
ner. They literally have to be fought
until they find a suitable and appro-
priate niche in the halls of oblivion.

Mr. Shurlock felt that "even our
most vigorous critics will find little to
complain about as these pictures hit the
screen. The emphasis is definitely on
picture themes suitable for mass audi-
ence consumption".

He goes on to explain that no pres-
sure from any groups caused this turn
to the right, but that the sublimation
"started at the creative level. The
scripts show imagination and taste, not
sensationalism." He made a decided
point that in the past six months there
has not been a picture about juvenile
delinquency, prostitution, dope addic-
tion, abortion or gangsterism. My ans-
wer to this is not to shout hurrah but
to wonder why a picture based on any
one of these themes could not be done
in good taste, with imagination and
without sensationalism. Television has
done shows on all these subjects. And,
if I recall correctly, no great harm was
done by a fine picture titled "Black-
board Jungle", to say nothing of pic-
tures such as "Man with the Golden
Arm"; "Hatful of Rain"; "Girl of the
Night" based on a sociological study
called "Call Girl." When that lady
from Arizona went to Europe to have
her abortion the newspapers gave the
story all the space they could afford.

What, I wonder, would Mr. Shurlock
do if someone presented a movie script
based on some of the good Bible stories
about prostitution. And for that matter
what would he do about George Bern-
ard Shaw's "Mrs. Warren's Profession".

Why have so many censorship bills

ADAM WEILER

developed over the same period that
encompasses Mr. Shurlock's report?
Evidently the Production Code is no
longer the answer to the forces who be-
lieve the motion picture business should
confine its creative talent to making
"Five Little Peppers".

Justice William O. Douglas is not
afraid to speak his mind on the subject
of censorship. In a pamphlet, "Freedom
of the Mind", he writes that '"censor-
ship of the publication or distribution
of literature is an evil power. By a
stroke of the pen a movie or a tract can
be banned. . . . Movie censorship in this
country has not involved political ideol-
ogy. Rather it has been almost entirelv
concerned with obscenity. While movie
censorship has been upheld, censorship
of other parts of the press has been
struck down.

"Both in movies and in literature gen-
erally, obscenity has concerned itself
with two aspects of sex. First is the
school of thought that condemns a play,
a movie, a novel or other publication
because it arouses lustful thoughts and
desires. . . . But should a publication
whose main impact is the arousal of
sexual desires be banned? A goodly part
of life is the arousal of sexual desires.

"The real purpose is to make the
public live up to the censor's code of
morality. The vice of the test that
makes arousal of sexual appetites a
basis for condemning a book, an article,
or a movie is that it enables one censor,
who is a prude, to ban Shakespeare or
even the Song of Solomon. . . . Sex can-
not be suppressed in life. Should it be
attempted in literature"

If you really care about fighting cen-
sorship you may obtain this pamphlet
by sending sixty cents to Public Affairs
Pamphlets, 22 East 38th Street, New
York City

The question now comes to mind:
How much does this industry really
care about important matters such as
fighting censorship? Compo has done
a fine job even with its limited re-
sources and at least has organized a
frontal attack. But Compo has very
little money for this purpose and the
MPA has never, to this writer's knowl-

edge, raised special funds to man the
barricades against censorship.

The truth of the matter is that the
industry is fighting censorship in such
a quiet way that the public is not aware
of the stakes. It is not enough for Mr.
Johnston to give perorations on the
dangers of censorship. He has given
many good speeches on the subject. But
the time now has arrived to put up a
fight. To do this demands raising a war
chest and mobilizing the citizenry to go
after the blue-noses who want to de-
prive them of a basic liberty.

So, I don't like Mr. Shurlock's report
because it is a gesture to the hypocrites
who may now say that those wicked
boys out in Hollywood are really scared
again. What good is Mr. Shurlock go-
ing to accomplish by speaking about
our wholesome entertainment when
there is nothing wholesome about the
forces who would force us to make the
kind of pictures they want. Who made
them the judges for 180 million Ameri-
cans !

At this writing, Mrs. Richard Burton
has spurned money offers from Mr. Bur-
ton, who was under the impression,
according to cabled reports, that half
a million would induce his wife to take
a walk and thus enable Dick to marry
Liz. There was some speculation about
whether or no Mrs. Burton has been
under the influence of "Cleopatra's"
cost, and also whether she has indulged
in extrapolations on Miss Taylor's
"take" on the picture. While, at one
time, 20th Century-Fox might have
had some concern whether "Cleopatra"
would ever get into a theatre the way
things were going, certainly millions of
us, who lean more to the human equa-
tion than to fiscal matters, have been
wondering just how Liz and Dick
would move forward in view of the fact
that both had slight encumberances
such as a wife and a husband. The gal-
lantry of the latter, Mr. Eddie Fisher,
in stating that his only interest is to do
his part to make it possible for Liz to
be happy, is certainly a noble stance
and one that should enhance his rating
with his many aficianados.

It is matters like that that give one
a feeling that chivalry lives on, and
when you get right into an analysis of
the whole business you can't help but
feel that between Miss Taylor, Mr. Bur-
ton and Mr. Fisher a beautiful friend-
ship is in the offing. As for the effect
all of this will have on the success of
"Cleopatra", it is my prediction that it
easily will add to the gross more than
the half-million Mrs. Burton rejected.

Page 10 Film BULLETIN February 4, 1943

Exhibition Raises Its Voice Against

The 'Suicide Policy

No problem — not even the pressing product shortage nor the creeping
threat of pay-TV — is troubling theatremen today more acutely than the
splurge on free television of relatively new, top-drawer feature films, some
no more than two years old, and being offered at prime evening hours on
the big theatre nights, Saturday and Sunday. Even before exhibitor David
E. Milgram loosed his "Sunday Night Suicide" blast a few weeks ago, Film
BULLETIN was hearing from exhibitors about the devastating effects of
this competition in the home. We surveyed a number of the country's lead-
ing theatremen on the issue, asking two questions: (1) Is the competition
of newer and more important features on Saturday and Sunday night TV
shows harming your business? (2) Is there anything exhibition can do to
halt the flow of such pictures into millions of homes? The responses
appear below and on the following pages.

NEED 10 YEARS CLEARANCE— TREXLER

It is my opinion, concurred in by my associates that schedul-
ing of motion picture film on television during prime hours, not
only on Saturday and Sunday, but all days during the week, is
exceedingly harmful and contrary to the best interests of both
exhibition and production.

Oftentimes, there will be scheduled on television a film with
the same stars and possibly the same director and producer as a
current attraction showing in a local theatre or theatres in the
television area. The television programs are highly advertised
by free space given to the television stations by the newspapers,
as well as through purchased space exhorting the public on the
merits of the particular movie and the time of the movie. We,
the exhibitors, must buy all of the space available to us to
advertise our attraction, getting a small bonus from the news-
paper occasionally through a lead story in the paper preceding
the engagement, or, perhaps, following the engagement of a
particular picture.

While we have not been able to scientifically measure the
impact of these television shows on the box office, we feel con-
fident, based upon the results we obtain, that the television show
materially affects the boxoffice potential of the current attraction
in the theatre.

We feel too that the image projected through film on tele-
vision is sometimes quite bad in that very fine motion pictures
are "chopped up", shown only in part and represented as being
a full movie as originally produced, and frequently interrupted
for advertisements during the scheduled film time. Local surveys
indicate that many people complain about this treatment of mov-

( Continued on Page 22 )
| More on 'Suicide'

REISSUE VALUE DESTROYED-COSTON

Showing of motion pictures on TV on Saturday and Sunday
prime time has a very harmful effect upon the grosses of every
theatre, particularly in the smaller towns, such as we operate
in Wisconsin and Indiana, as well as the outlying theatres in
Chicago.

There was a time when motion pictures on TV were ten or
more years old and were shown either in the afternoon or after
ten o'clock at night. Today, pictures are being shown as early
as two years after general release and at the best times of the
evening (between 6 and 10 o'clock) and on Saturdays and
Sundays which are our two best nights of the week. On TV last
Sunday, "Inherit the Wind" released June, I960. A week ago
Sunday on TV "Solomon and Sheba" released December, 1959.
At the same time, in the City of Chicago, pictures released for
the week of January 4th, were "Requiem For A Heavyweight"
and "Samson and the Seven Miracles of the World"; for the
week of January 11th, "Period of Adjustment" and "Damon
and Pythias."

It hurts — especially when the pictures shown are of a quality
and drawing power that is better and greater than the new
currently released pictures being shown on our screens.

Recently, my managers in Beloit, Green Bay and Kenosha,
Wisconsin, called my attention to the fact that while we were
playing "Swordsman of Sienna" the TV stations were playing
ing pictures mentioned above. As a result, the editorial writers
the outstanding pictures mentioned above. As a result, the edi-
torial writers in the newspapers wrote articles comparing the
pictures shown on TV and in the theatres, to our detriment.

(Continued on Page 20)

Policy on Page 12 1

Film BULLETIN February 4, 1 963 Page 11

THE SUICIDE' POLICY

PROBLEM IS DISTRIBUTION'S— JONES

There is no doubt, in my mind, that important feature motion
pictures showing on this prime time affects theatre attendance.
Last Sunday night, January 13th, at 8:30 p.m. EST, "Inherit
The Wind", with Frederic March and Spencer Tracy, was on the
local TV station. I have this week queried several of my
acquaintances and friends whom I know to be potential theatre
customers and found that most of them watched this movie.

It is to be remembered that this picture is only some two
years old and I am sure that many theatres throughout the
nation were adversely affected not only by this showing but also
others in the past. It seems to me that the motion picture indus-
try is very much like a man stricken with a severe blood disorder
and in one arm they are pumping new blood but in the other
arm they are taking out as much or more than they are putting
in. How then can this sick man recover any more than our busi-
ness can recover and remain healthy with the showing of
important motion pictures on Saturday and Sunday nights at
a time when we have normally expected our peak attendance?

You asked in your letter "What can exhibition do to halt the
flow of such pictures into millions of homes?" Frankly, this
seems to me to be a problem for distribution and I am quite
sure that exhibitors and exhibitor organizations have brought
to the attention of distributor heads the fallacy of releasing such
film to TV. If distribution is interested in the perpetuation of
the motion picture industry and the continued health of the
business, they should see that they are undermining the future
of the business by their acts in releasing such product to TV.

I know of no other solution to this problem.

ROBERT V. JONES,

President, Affiliated Theatres, Inc., Indianapolis, Indiana

0 0

EXPEDIENCY, NOT PLANNING— KERASOTES

The present apprehensions and economic ills of our industry
were created by individuals within the industry itself. We are
an industry inflicted with the malady of belated thinking. We
have shunned away from research and totally disregarded public
opinion surveys. We sit in contemplation unable to comprehend
what has happened to our box office returns. We fail to under-
stand why our patrons have not attended some of the better
current attractions. We expect them to attend our theatres but
conveniently release our current releases on network prime time
three nights a week. The networks purchased these films for
their prime time simply because motion pictures are the best
buy for the money. Their public opinion surveys showed that
movies brought them larger audiences than their own produced
programs. We are suffering from over exposure with over 10,-
000 films available to television.

The financial statements of our distributing and theatre com-
panies reflect the gravity of the present situation but yet we live
by expediency rather than planning for greater audienecs in our
theatres. Must we wait for complete disaster before we correct
our methods? Must we violate the simple elementary laws of
supply and demand with no regard to the law of diminishing
returns from the flood of motion pictures on television?

We have been indiscriminate and indiscreet with our inven-
tories and are paying the penalty for mere expediency. The
product shortage can only be solved by larger audiences at the
box office which means greater returns to the producer to
encourage him to make more motion pictures. If we are to
expend our theatres and audiences for the sake of the paltry

( Continued

Page 12 Film BULLETIN February 4, 1963

expedient remuneration from television, our industry will not
survive as a mass media of communications. It is urgent that the
prodigal distributor change his methods of business operations
and act prudently and intelligently for the economic welfare
of the entire industry.

GEORGE KERASOTES,

Kerasotes Theatres, Springfield, Illinois

0 0

ACT OF HARI-KARI-LONDON

Obviously the industry is engaging in an act of hari-kari by
permitting competition from major motion picture product on
free television during prime weekend time. Exhibition alone is
helpless to prevent this brutal act of economic suicide.

The facts are indisputable. A serious decline in theatre
attendance has accompanied the scheduling of major motion
pictures on free television every Saturday and Sunday evening.
This is depriving the motion picture industry of tremendous
revenue from current theatre releases. The resulting loss of in-
come is incalculable, but certainly it is great enough to mean
the difference between prosperity and disaster to production
and distribution as well as to exhibition.

It is a matter of record that Allied has for more than a
decade strenuously objected to the release of motion picture
product to television. Allied leaders have continuously pro-
tested to the responsible heads of the film companies, empha-
sizing the economic and moral arguments involved. As a prac-
tical approach to the problem, Allied has advocated that all
film contracts should provide for clearance over television for
a definite period after national release date. Marshall H. Fine,
the National Allied president, and I discussed this with film
company heads in New York as recently as last October. On
November 16 Marshall H. Fine again wrote each of the film
company presidents a letter which included the following:
"Would you be willing to discuss the insertion of a clause in
the exhibitors License Agreement granting a specific period of
clearance over television?" The replies were evasive.

Exhibition obviously does not have the legal or economic
means to prevent the release of motion picture product to
television. But this growing cancer which is consuming the en-
tire motion picture industry is not the exclusive concern of
exhibition. Production and distribution are also vitally involved.
There is only one possible solution which at this late date can
still save the industry from impending self-destruction: every-
one in production, distribution and exhibition must unite in
insisting — as a matter of self-preservation — that all film con-
tracts on new releases contain a clause granting theatrical ex-
hibition a definite clearance over free television release.

MILTON H. LONDON,

Executive Director, Allied States Association

0 0

HARMFUL? DEFINITELY!— NAIFY

Is the showing of the important feature films on Saturday
night TV harmful to the motion picture business? The answer
is definitely "Yes."

The second part — is there anything the exhibiton business can
do to help stop the flow of such pictures into millions of homes?
If there is anything that can be done, it would have to be on
the level of top management of distributing companies to with-
hold these pictures from TV. This approach has been tried
before without success. We, however, would lend our efforts to
any such plan which would have the desired effect.

MARSHALL NAIFY,

President, United California Theatres, Inc.

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THE 'SUICIDE' POLICY

'WILL DESTROY US ALL!'— STEMBLER

Your questions are, of course, purely rhetorical. The com-
petition of newer and more important feature films on the
Saturday and Sunday night TV shows — at prime hours — are
not only hurting my business, they are hurting the business of
everyone in exhibition, distribution and production.

As one of our key members of TOA, Mr. David E. Milgram,
said publicly in a recent ad, this is industry suicide. And that
goes for every segment of the industry. I know for a fact that
many in distribution and production, as well as exhibition,
would like to halt the sale of films to television. But the sales
go on, amid distributor cries of "We need the money."

Is there anything distribution and and production can do to
halt the flow of such pictures into millions of homes? Yes, a
million times, a billion dollars — yes!

It is no secret to you or to anyone else in the industry that
TOA has approached distributors and producers time and again
through the past decade, urging them to stop selling films to
televison. We have furnished statistics — facts furnished by their
own statisticians — that vividly point up the self-destructive
blindness that has caused distributors to grab immediate tele-
vision money at the sacrifice, not of future revenue, but of
immediate boxoffice receipts.

Mr. Milgram pointed out what happened when Yul Brynner
in "Taras Bulba" found himself competing against Yul Brynner
in "Solomon and Sheba" on television. Theatre receipts on
"Taras Bulba" had been cut almost 50% compared with results
for "Sholomon and Sheba" three years ago, in the case cited.

This is not an isolated example. Again and again, in fact,
I jthousands and thousands of times during the past decade, thea-
I tres find their pictures competing against television offerings of
- equal or better quality.

The producer-distributor partnership that invests, say, three
I million dollars in a new picture and another million in adver-
tising and publictiy often finds its investments melted away, its
t potential profit turned to substantial loss because the television
I competition is showing an old film sold to them for peanuts
I (as part of a "package") by the same producer-distributor
j icombination.

This is not beating a dead horse. It is a very much alive issue.
J If the distributors and producers keep ignoring it, all of us
I will continue to suffer — many to the point of being forced out
of business. The American public also suffers.

The motion picture industry, from its very inception, has
jbeen one of the great cultural assets of our country. I don't
mean this in any highbrow, aesthetic sense. I mean that Holly-
wood movies are a homegrown, native culture that has leavened
the bread of our days, inspired the dreams of our nights, has
added to our knowledge, helped improve our living standards,
and has, in its most exalted moments, presented a fresh, vibrant,
hopeful and altogether native American image to the world.

What has happened to the American motion picture industry?
160-odd motion pictures all last year out of the same Holly-
wood that used to produce more than 500; with the bulk of
I Hollywood effort going into television production.

Television is a great medium of communication and enter-
I tainment in its own right. But television is not a theatre. It has
no theatre audience with whom you can share your emotions, in
the midst of whom your own sense of drama, romance, laughter
or suspense is magnified and enhanced.

An audience is as vital to the full enjoyment of motion pic-

( Continued

ture entertainment as it is to the full enjovment of a play.
You don't merely think at a movie — you feel. You have to be
part of an audience to feel the full impact of a motion picture.

We can go on and on — and we can anticipate the answer of
many distributors: "We need the money! If we did not sell our
old films to television, we'd be out of business."

Our answer to this cry is: "You distributors have sold your
old films and other assets. But it hasn't helped — it has hurt you
to the point of extinction for some of you, near-death for many
others."

We of TOA once again urge the distributors and producers
of Hollywood to stop the sale of films to television — or cer-
tainly the current ones — to put a halt to their suicidal actions
that, if continued, will destroy us all.

JOHN H. STEMBLER,

President, Theatre Ouners of America, Inc.

0 0

LONGER CLEARANCE NEEDED-HASSANEIN

With regard to the showing of motion pictures on television
on Saturdays and Sundays, the following are my answers to
your questions:

1. Yes.

2. I feel that some of the distributors are releasing pictures
to television closer and closer to the release of these pic-
tures to theatres. There used to be some reasonable lapse
of time at the outset on the sale of pictures to television.
Now we have pictures playing on television which were in
our theatres not more than two or three years ago.

I think that it should be the responsibility of TOA and Allied
to arrange with the distributors that a longer period of time
should elapse between the showing of motion pictures in the
theatre and their presentation on television.

SALAH M. HASSANEIN,

Executive Vice President, United Artists Theatre Circuits, Inc.

0 0

CALLS FOR 'CONCERTED' TOA -ALLIED ACTION

There is not the slightest doubt in my mind the newer and
more important feature films on the Saturday and Sunday night
TV shows at prime time is hurting our business. As you no
doubt know, we operate theatres from the north to the south
end of our state. Some are in large towns, some in small towns,
and the answer is the same from all our managers when we
ask "what's happened to our business on Saturday and Sunday
nights?" I just do not understand the thinking of distribution.
I know distribution has a lot of problems due to costs that have
been allowed to get out of hand. This is something that cannot
and will not be corrected overnight. However, in their desire to
get a "fast buck" from the sale of relatively new features to
Television they are slowly contributing to putting hundreds of
small theatres out of business. With fewer and fewer pictures
available, small town theatres are rapidly going to one change
per week instead of three and larger theatres are being forced
to play pictures full weeks instead of two changes, etc. This cuts
severely into the theatre-going habit and people simply stay
home and watch TV. I know of no other major busmen where
a customer (exhibitor) is treated in this fashion.

It seems to me that only through concerted action by the
Allied and TOA theatre organizations can we hope to get relief.

ANONYMOUS

Page 18)

Film BULLETIN February A, 1963 Page 17

THE SUICIDE' POLICY

MOVIES CHEAPENED BY TV SHOWING-GOLDMAN

After giving much though to your query about the affect
of weekend TV competition and its impact on our business,
I would submit the following observations:

1. Exhibitors are being hurt by the newer, more important
features being shown on TV. The ironic thing about it is
the inescapable fact that the film producers who release
their product without control as to when it can be shown
on TV are in the awkward position of hurting their own
grosses on new product.

2. The practice of releasing films to TV has been protested
by exhibitors ever since it was first undertaken. Despite the
outcry and the constantly diminishing supply of new prod-
uct from producers, the pace of releasing vintage film has
quickened. The futility of protest has been recognized.

3. The attrition of this blatant disregard of common sense
policy is evident in lost box-office dollars and closed theatres
across the country. The film makers have by design adopted
the practice of releasing their better product only in pre-
ferred periods of seasonal playing time. They have foisted
a "feast or famine" existence upon the theatres which in-
volves stretching runs beyond their profitable limits for all
concerned in order to keep theatres operative. Expensive
first-run properties have been forced to fill in playing time
with third-rate product, thus killing off habit business,
which was the life blood of the industry. TV has been
responsible for the loss of mid-week and matinee business
aided and abetted by a bulging library of Hollywood's finest.

4. How can the independent producer be persuaded to exercise
restraint in releasing his product pre-maturely to TV?
That is the sixty-four dollar question. I am certain Pay-TV
is not the producers answer to prosperity for his efforts.
It is fundamental that the movie-watching habit has been
cheapened by free movies. The faster the flow of the newer
films to TV is quickened, the faster our movie audiences
will diminish. They will not pay for something now avail-
able free regardless of vintage. Viewers themselves will
reject paying for TV entertainment. They are smart enough
to know that once they submit to paying for one thing they
will soon be required to pay for any worthwhile program-
ming. If this message is properly driven home to the public
Pay-TV will never be sanctioned.

5. The futility of protest will continue until the film distribu-
tors who are financing much of independent production are
moved by a growing awareness of the price they are paying.
Then, and only then, will they proceed to place a more
realistic time-tag on the releases of major product to TV.
Until this happens we are all going to witness diminishing
attendence which is slowing and surely strangling our in-
dustry. As America's population increases, patronage fails
to reflect a proportionate growth pattern, as is the case in
other industries. The nation's exhibitors can continue to
build new theatres in an effort to cater to a mobile, urban,
car-parking populace, but they are incapable without the
cooperation of the film makers to stop the TV attrition and
reverse the habit pattern now well established by free
motion pictures in the home.

In conclusion, we can only hope that one day the realization
will dawn that if both producer and exhibitor are really to
prosper, realistic steps must be taken to revitalize showbusiness.
That is practical, and within the realm of accomplishment.

WILLIAM GOLDMAN,

President, William Goldman Theatres, Inc.

( Continued

Page 18 Film BULLETIN February 4, l?A3

SUNDAYS SHOW SHARP DECLINE

We feel that newer pictures showing on television has affected
our business to a considerable extent. Particularly on Sunday
night.

In pre-television days Sunday was the highest grossing day
of the week, amounting to approximately 3/ 10th of the weeks
gross. Presently, Sunday is worth approximately 18% of our
week's business, with Saturday being the best day and Friday
second best, and Sunday third best. We feel that this difference
in gross has been lost to television.

We further feel that the diminishing of the supply of older
pictures is making it increasingly difficult to book drive-in thea-
tres and subsequent run theatres, other than with first run
product or second run product, which is generally percentage
film rental. This makes a problem of many theatres playing the
same pictures at the same time, thus giving the theatre customer
less variety. Also, this situation makes it impossible to operate
smaller grossing theatres which cannot afford to pay percentage
film rental, but which could operate profitably by playing proper
combinations of older pictures, on a flat price basis.

We do not know what could be done to remedy this situa-
tion other than to go directly to the film producers and dis-
tributors. The United Artists Company seems to be the prime
offender, presently playing pictures on television which are less
than 2 years old. We feel that this is a short sighted policy on
the part of the film companies, since the prime revenue still
comes from motion picture theatres and will continue to do so
in the foreseeable future. Therefore, anything they do that hurts
theatre grosses, certainly hurts their possibilities of revenue.
However, it seems that they are more interested in the quick
dollar than they are in the long range welfare of the motion
picture industry.

ANONYMOUS

0 0

SAYS NOTHING WILL DISSUADE FILM COMPANIES

The Film BULLETIN has over the years represented the best
interests of the Motion Picture Industry for all segments con-
cerned.

Why exhibiton has survived these many years, since the sale
of the first motion picture feature to TV, can only be attributed
to the sweat and business acumen of the exhibitor. The showing
of feature films on Saturday nights, or any night, on television
positively hurts our box office. When I say "it hurts", you must
not take this term lightly. It covers years of worry, strict opera-
tional cost control, high film charges, and all the other factors
concerned in an up-hill fight directly attributed to television.

The producers tell me they must sell film to TV in order to
finance new features for exhibition. I do not agree with this
theory. In view of the attitude and lack of foresight of the dis-
tributors over the years in setting any policy which they feel
might aid them in obtaining a quick dollar without any thought
to the injury at the box office of a current release, nothing, I
feel, can persuade them to turn away from the disastrous course
they are set upon.

ANONYMOUS

WANTED: Experienced Theatre Managers

We have under construction a number of
new theatres, and need two experienced
theatre managers — one for an art house
situation in New York City, the other a
first-run key situation in New Jersey.

Apply Walter Reade Theatres
Oakhurst, N. J.

Page 20)

40 POUNDS
OF TROUBLE"

IS A TON OF
BOXOFFICE

JOY™ EXHIBITORS EVERYWHERE!

Ilorida territory bigger than "Lover Come Back." New
York City outcrossing "Great Impostor" throughout area

i Washington, D.C. — Biggest grosser at Loew's Palace

ii over two years. Boston, Providence and Worcester
ciitgrossing "Great Impostor" which set records through-
cut territory. Indianapolis running way ahead of "Great
Inpostor" gross at Circle. St. Louis— Fox's outstanding
gross compares to Universale biggest.

0 SPITE THE WEATHER 40 POUNDS OF TROUBLE" IS BRINGING JOY TO ALL EVERYWHERE!

THE 'SUICIDE' POLICY

MORE SERIOUS PROBLEM THAN PAY-TV

The following paragraph from an article in your December
24, 1962, issue by Roland Pendaris made more sense than any-
thing I have read recently.

"Less theatre movies on prime time television. Putting old
movies on the local late show is one thing and putting not so
old movies on in choice network time is something else again.
It doesn't do exhibitors — who are still the distributors' prime
customers — any good at all. How the devil can we condemn
feevee for showing relatively new movies, when the same kind
of programming is offered by a network? The place for thea-
trical movies is the theatre and later on a local late show: but
please, not as a network feature at theatregoing time.''

Why the distributors are supplying their newer features to
NBC and other TV networks for prime time presentation on
Saturday, Sunday, and Monday, thereby turning TV into a
national motion picture screen is certainly perplexing.

A first thought would be they are getting tremendous rentals,
but Variety refutes this opinion in an article in the December
26, 1962 issue which says: "Indeed, the network had to pay
relatively little for the 20th-Fox pix that populate Saturdays."
It is equally amazing to realize why some of the national theatre
organizations, as far as I can learn, are saying and doing so little
about this devastating condition and are saying so much about
pay TV.

ANONYMOUS

0 0

AT LEAST, ADVERTISE CURRENT FILMS

Any infringement on our playing time hurts business. Satur-
day and Sunday TV movies are no exception.

The only suggestion we might make is to advertise current
releases, if possible, during station breaks, preceding and fol-
lowing the TV movie cutting in on our time.

WALTER M. LOWRY, JR.,

Pitts Theatres, Fredericksbury, Virginia

0 0

COSTON

( Continued from Page 11)

The theatres have reached the point where they cannot com-
pete with the TV stations in advertising. In Chicago the news-
papers contain five times as much lineage in TV ads and articles
as for theatres. This, added to inclement weather, the extremely
cold wave we are having, makes it much more disadvantageous
to us and makes it easier for people to stay at home than to
go out to the theatres, even if the attractions were equal.

In no other business that I know of, does the seller (dis-
tributor) do so much to harm his customers (exhibitors) for
the quick buck that the sale of his pictures to TV brings him,
without giving a thought to the ultimate harm that it does to
the motion picture business as a whole and particiularly to the
theatres. If this continues, it is only a matter of time until there
are few, if any, exhibitors left. I doubt very much if TV,
whether pay-TV or not, will give the proper returns to the pro-
ducers and distributors that they have been receiving in the past.

As to your question, "What can exhibiton do to halt the flow
of pictures?" this is a question for which no one, at the present
time, can find an easy solution, especially when there are so
many small individual producing companies. Even though they

( Continued

Paqe 20 Film BULLETIN February A, 1963

release through national releasing companies, they still have
the right to sell their pictures to TV in order to get their invest-
ment back as soon as possible.

Some time ago, a plan was adopted by some exhibitors to pay
for the re-release of some of the outstanding productions to
the theatres. These pictures would then have been held back
from TV for a period of three or four years. So far, this plan
has not materialized.

Some of the pictures played on a reissue basis at the theatres
have done very well; others not so well. Undoubtedly, the public
expected to see them soon on TV. If these pictures, produced
for the theatres for exhibition in the theatres, were withheld
from TV for approximately ten years after general release, it is
my opinion, that they can be re-released to the theatres most
successfully. The recent news is that the TV stations are
accorded the privilege of selecting their pictures and are not
forced to the block booking system of buying them in groups.
This means that they have greater selectivity from the vast
number produced and they show them to the public free of
charge. In fact, some of the pictures have already been shown
two or three times within six months on the same TV stations.

It is plain to be seen that a closer cooperation on the part of
the distributors must be had to any plan advanced; that the
"fast buck" men must change their tactics; that confidence be-
tween distributors and exhibitors must be re-established so as
,to arrive at some solution which will be to our mutual
advantage.

JAMES E. COSTON,

Coston Enterprises, Inc., Chicago, Illinois

FILM &

THEATRE

STOCKS

Close

Close

Film Companies

1/17/63

1/31/63

Change

ALLIED ARTISTS

.. 3%

3%

+ %

ALLIED ARTISTS (Pfd.) .

■ - 10%

9%

-1

CINERAMA

15

16

+ 1

COLUMBIA

■ • 23i/2

23

- %

COLUMBIA (Pfd.)

79%

+ 2%

DECCA

■ 451/4

45%

+ %

DISNEY

. 333/8

32%

- 7/8

FILM WAYS

• 63/8

63/4

+ %

MCA

54

53%

- %

MCA (Pfd.)

■ 35%

35

- %

M-G-M

• 293/4

30

+ %4

PARAMOUNT

■ 35%

39%

+ 3%

SCREEN GEMS

17%

17%

+ %

20TH-FOX

. 24%

26%

+ 23/4

UNITED ARTISTS

29

30%

+ 1%

WARNER BROS

14

15

+ 1

Theatre Companies

* * *

AB-PT

.. 36%

36i/4

- %

LOEWS

21

20%

- 3/4

NATIONAL GENERAL

.. 10%

IOI/4

- %

STANLEY WARNER

22

22%

+ %

TRANS-LUX

. . 12%

13

+ %

(Allied Artists, Cinerama, Screen Gems, Trans

Lux, American

Exchange; all others

on New York Stock Exchange.)

j, .j, a.

1/17/63

1/31/63

Over-the-counter

Bid

Asked

Bid

Asked

GENERAL DRIVE-IN

10

11

10

11

MAGNA PICTURES

... 1%

13/4

1%

1%

MEDALLION PICTURES

... 43/4

5%

5

53/4

SEVEN ARTS

... 8%

9%

83/8

91/4

UA THEATRES

... 5%

6%

5%

6%

UNIVERSAL

57%

6P/4

58%

623/g

WALTER READE-STERLING

.. 1%

2%

1%

2%

WOMETCO

■ ■ ■ 19%

21%

191/4

21

( Quotations courtesy National Assn. Securities

Dealers, Inc.)

Page 22)

MERCHANDISING & EXPLOITATION DEPARTMENT W

UA Outflanks N.Y. News Strike
8y All-Media Campaign on 'Story'

I How do you beat a newspaper strike?
Jnited Artists' campaign to trumpet "West
Side Story" into its popular priced satura-
tion run in the New York area started
Feb. 6 reads like a textbok on the subject.

For every answer there has to be a
problem. The problem here is, how to
:ake an established picture which has re-
reived wide acclaim and let people know
vhere they can see it. Plugging the picture
s secondary, advertising the names of the
S2 theatres showing the film and the dates
Is the important thing.
I Following a meeting held with par-
icipating theatremen by vice presidents
lames R. Velde, Eugene Picker and Fred
joldberg, UA's showmen put every avail-
ible promotion medium to work for the
oopular-price engagements of "West Side
kory". Radio spot announcements of the-
itre names and times and dates of show-
ngs are being relied upon heavily. These
ire backed up by the music from the film
)n special and regular programs. TV
.pots, as with radio announcements, are
;lotted adjacent to top-rated programs to
each the largest number of listeners.

New York's hosts of commuters come
n for their share of attention, too. Posters
ire up on all subway platforms in the
:ity, and window cards ride all cars of the
subway and the Long Island Railroad,
Drominently featuring theatre names. A
leavy campaign has gone into all news-
oapers not affected by the strike, in mag-
lzines, and college newspapers.

Exhibitor aids include the regular
railer, two special trailers, one cross-plug-
»ing the playdates and theatres, the other
soliciting word-of-mouth mention. Her-
dds for shopping center and supermarket
distribution are being offered to the par-
icipating exhibitors.

The theatres involved in the saturation
jlay-off blanket the Greater New York

7CMIALS1NS

JWKMlr lift fOtOKf Of FUNNY AMiNttFIOtlflH

nmm wuilSfti'

WRSUTTOM THEATRE- SJ&Vi

"ITS LUSTY. LIVELY. AND WILD"-

This huge float is touring New York streets to
ping Embassy Pictures' "7 Capital Sins".

Charge it all to "The Alan From the Diners'
Club". Columbia shotted off the Danny Kaye
starrer and the promotion campaign on same to
theatremen on the east and west coasts. Above:
Columbia vice presidents Jonas Rosenfield, Jr.,
Samuel Briskin and Sol Schwartz show their
pleasure after a session in L.A. with western
exhibitors. Center: worldwide promotion chief
Robert S. Ferguson and v. p. Rube Jackter dis-
play one of the key ads in N.Y. for eastern and
Canadian theatremen. Below: Jackter, third
from left, chats with exhibitors Sam Seletsky,
John Stembler and David E. Mil gram.

area. Meanwhile, "Story" will be contin-
uing its two-year engagement at the Rivoli.

Also present at the showmanship meet-
ing int he UA offices were Gabe Sumner,
national promotion director, Mort Hock,
Meyer M. Hutner and Al Fisher.

Embassy Calls Press to See
Love Made in Five Languages

The Universal Language of love, as
spoken in five different countries, France,
Germany, Italy, Japan and Poland, gets a
polyglot sendoff this week before a group
of journalists from American-published
papers of the five languages and New
York correspondents of their countries.

"Love at Twenty", Joseph E. Levine's
multilingual quintet of stories of young
love, which is having its American pre-
miere at New York's Murray Hill Thea-
tre, will be seen by the international
group of newsmen prior to its opening.
The multilingual Embassy Pictures release,
filmed in France, Germany, Italy, Japan
and Poland, tells a love story in each
country's language. Each sequence was
filmed by a leading young director of that
nation.

To reach the college crowd, for whom
love at twenty is an immediate reality,
Embassy is sponsoring a contest for cam-
pus film critcs. Two prizes, each a $25

Manson, McSorley, Rafshoon

Named to new posts: Arthur Manson,
director of promotion for the new Dino
De Laurentiis Corp. of America . . . Lars
McSorley, New York press representative
for Samuel Bronston Productions . . .
Gerald W. Rafshoon, assistant to 20th-
Fox advertising director Abe Goodman,
savings bond, will be awarded.

In New York. "The Raven" stars host theatre circuit executives
at lunch. L. to r.: Matthew Polou, v.p. of R.K.O. Theatres;
Lorre; Harry Mandel, RKO president: Karloff; Milton Moritz.
Alt' promotion director, who took the stars on lour.

American International look two
of the stars of its current terrorific
hit, "The Raven", out on the road
for a series of personal appearances.
Peter Lorre and Boris Karloff drew
huge crowds, and frightened no one,

on their swing of eastern cities. AIP
and exhibitors playing "The Raven"
discovered that two grand old
bogeymen are much more attractive
than fearsome. In New York and
Boston, the turnouts were enormous,
in spite of frigid temperatures.

(

Film BULLETIN February 4, 1963 Page 21

THE 'SUICIDE' POLICY

REASONS FOR SALE TO TV CALLED 'FRIVOLOUS'

The writer, personally, and other members of our firm have
had numerous conversations with executives of the major film
companies urging them to call a halt to the ridiculous policy
of selling the relatively new films to the TV networks for
home showing at prime hours. In most cases, they acknowledge
that this is harmful to exhibition, but excuse their actions on
the grounds that they follow this policy because (1) members
of their boards of directors insist that this quick cash be picked
up to keep their company treasuries in good, liquid condition,
(2) most of the pictures actually are owned by independent
production companies, which retain the right to sell them to
television, and (3) they are fearful of the Government's
reaction if they withhold their pictures from TV.

Frankly, I believe all three answers are frivolous and a
"dodge" to cover indecision and incompetence in management.

It would seem to me that any distribution head worth his salt
could make it perfectly clear to the board of directors that the
exhibition of features on television at prime hours will cost the
company and the entire industry much more than the sums they
might obtain from their sale.

As for the contention that the independent producers control
the product within a couple years after initial release to thea-
tres, this is a confession of stupid management. Any film
executive interested in preserving the company and the whole
industry on a long range basis could write into every contract
with his firm's independent producers a restrictive covenant
clause preventing the release of the pictures to television for a
specified number of years. A minimum of five years clearance
would be reasonable.

The issue of the Department of Justice attitude toward a
clause restricting films for theatre use only for a number of
years strikes me as being an idle and fictitious one. It seems
highly improbable, our counsel tells us, that the Government
could sustain any legal move to force the owner of a copy-
righted film to sell it, and thereby injure himself and his estab-
lished customers.

Is it too much to ask this kind of sane, business-like conduct
on a matter which — as presently practised — is wreaking havoc
upon our industry?

ANONYMOUS

0 0

TREXLER

(Continued from Page 11)

ies on television, but they continue to see the shows in spite of
their objections to the manner in which they are presented.

The producer or distributor, in our opinion, is materially
damaged by substantially reducing the potential on the pictures
w hich are new, currently showing in the motion picture theatres.
Thus, it appears to us that damage occurs to the film industry
in general in two ways. One, bad presentation on television,
which causes discontent to viewers; Two, reduced revenue pro-
duced on current attractions at the motion picture theatre.

I do not have a "pat" answer to the problems involved in this
matter. Undoubtedly, producers and distributors feel that they
are financialy benefitted by showing their older product on tele-
vision, and sometimes even relatevly new product, while their

current attractions are being exhibited in the theatres. Appar-
ently, they have been unable to measure in any way satisfactory
to them the degree of damage worked on current releases by
films which they are releasing for television usage.

I believe that producers and distributors should withhold all
motion pictures produced for exhibition in motion picture thea-
tres from the television screen for a minimum period of ten
years. A limitation of this type would enable the producer and
distributor to get maximum returns on current attractions, and
encourage the exhibitor to more fully promote these current
attractions to the mutual benefit of all.

Exhibition should continue to work with the various dis-
tributor organizations and producers in the compilation of sta-
tistics, through current surveys, and such other means as can
be devised, to present to distributors and producers tangible
evidence as to the damage incurred through the present practice
of releasing relatively current attractions for prime showing
time in competition with new pictures in release for the motion
picture theatre.

CHARLES B. TREXLER,

President and Treasurer, Stewart & Everett Theatres, Inc.

0 0

GOOD BUSINESS JUDGMENT MUST RULE-YURASKO

We exhibitors are well aware of the attendant dangers to
the spreading practice of TV showings of product that is rela-
tively new. Our alarm is of a selfish nature but I wonder if the
distribution moguls are acting in accordance with good business
judgment. I, therefore, offer the following questions which
could be put to the distributors.

Is it good business for a distributor to permit his pictures to
be booked on TV without regard for the order in which they
were released? He would not condone this for theatre distribu-
tion but he does for Television to ridiculous extremes.

Is it good business for a distributor to increase his share of
box-office dollars from Theatres and, at the same time, encour-
age audiences to wait at home for TV showings? He then is
affecting the total number of box-office dollars and narrowing
the exhibitors' share and thus risking a loss of more theatre
outlets for his product.

Is it good business for a distributor to secure Court approval
of his theatre distribution practices and not fight for this same
right (if he has to) with regard to distribution on TV?

In short ... is it good business for a distributor to get a fast
"buck" today by digging his own grave to fall into tomorrow?
That TV "buck (and probably more) will still be there any
time in the future that he chooses to get it . . . after all his
prior-releases have been sold.

I believe the above adequately covers this subject of product
which is produced and distributed by the same company.

Of course, there is another facet and that is the matter of dis-
tributors competitively negotiating to distribute the product of
independent producers. No doubt, one of the factors in these
competitive negotiations is the amount of time that the dis-
tributor retains the right for theatre distribution. This could be
similarly called the question of clearance over Television. I think
this could be handled if the distributors arrive at a common
equation covering this contingency.

The Consent Decree gave the distributors the right to deter-
mine clearance for theatre distribution and this becomes a matter
of self-preservation, as I see it, when it comes to determining
the interval between commercial showings and TV showings.

WILLIAM E. YURASKO,

Comerjord Theatre Circuit, Scranlou. Pa.

Page 22 Film BULLETIN February 4, 1943

"The Raven"

Su4i*te44 'Rating Q O O

Laughs and chills aplenty in tongue-in-cheek version of
Poe's classic. Price, Lorre, Karloff vie for honors. Color.

When one terror trio (Edgar Allan Poe, producer-director
Roger Corman, American International Pictures) teams up with
another (Vincent Price, Peter Lorre, Boris Karloff) , the out-
come figures to be an entertaining blending of horror and ham.
That is exactly what is in store for you in this loose, tongue-in-
cheek version of Poe's famous chiller poem. The combination
augurs good returns in the action-ballyhoo market. Scripted
along terror-comic lines (with the accent on comedy) by Rich-
ard Matheson, "The Raven" tells of three magician sorcerers,
circa, sixteenth century England. One, Price, lives with his
daughter, Olive Sturgess, and mourns the apparent death of
his wife, Hazel Court. One night he encounters Lorre who has
been turned into a Raven for daring to challenge the power of
Karloff, the sinister Grand Master of the United Brotherhood
of Sorcerers. The fight for power among these three results in
such popular shock devices as a return from the dead, hypno-
tism, revenge and torture. Mugging credits go to Lorre who, as
secret agent for Karloff, expertly steals each scene. Price, a
meek-type, and Karloff fight him scene for scene. Corman's
direction is first-rate in the first half (the encounter between
Lorre and Price), then the pace lags during the middle section,
but picks up again with the magical duel-to-the-death finale.
The sets and special effects are eerie and effective. Price changes
Lorre back to a human and the latter convinces Price that he's
seen Miss Court at Karloff's castle. The two of them, accom-
panied by Miss Sturgess and Lorre's son, Jack Nicholson (the
attractive romantic interest), pay a visit to Karloff. Price learns
that Miss Court has tricked him into believing her dead so she
could desert him for Karloff's superior wealth and power. The
climactic duel of magic between Price and Karloff finds Price
the victor, Karloff and Miss Court perishing in flames and
Lorre, returning once again, to the form of a Raven.

AIP. 86 minutes. Vincent Price, Peter Lorre, Boris Karloff. Produced and Directed
by Roger Corman.

"Cairo"

OK suspense-action melodrama should satisfy in action
market. George Sanders heads competent cast.

George Sanders stars in this mild suspense meller about the
preparation, execution and aftermath of a robbery of antique
jewels from the Cairo Museum. Much of the ground has been
covered before, and this M-G-M release emerges as a fair dual-
ler largely on the basis of (1) solid performances, (2) tight
direction by Wolf Rilla who only now and then allows Joanne
Court's crisp screenplay to become overly melodramatic and
(3) picturesque Egyptian backgrounds, plus an exotic musical
score. It is best suited for the action market. Sanders portrays
a cynical, suave, woman-conscious international thief who mas-
terminds the daring robbery of the King Tutankh-Amun jewels.
In support are: Richard Johnson, an unhappy drug addict and
Arab gunman; John Meillon, an Australian explosives expert
who has worked with Sanders before; Eric Pohlmann, a Greek
nightclub and illegal gambling house owner; Walter Rilla, an
importer-exporter with a weakness for young girls; Ahmen
Mazhar, a coffee house owner and the getaway driver. Several
Egyptian lovelies add spice to the proceedings. The jewels are
stolen from the safe, but a series of alarms go off accidentally
and Meillon is seriously wounded during the getaway. An
accomplice of Rilla's tries to take the jewels at gunpoint, but he
is killed and Johnson is wounded. Rilla becomes implicated and

nut

i

Ufl

kills himself. The police rush to Meillon's flat only to find him
dead from his wounds. Sanders delays his escape to watch a
belly dancer at a night club. With a shrug of acceptance he
hands over the jewels to the police. Johnson, delirious with pain,
heads for his parent's farm. He arrives, collapses and dies.

M-G-M. 91 minutes. George Sanders, Richard Johnson, Faten Hamama. Produced by
Ronald Kinnoch. Directed by Wolf Rilla.

"Rice Girl"

Sututeu, /Rate*? O O

Sex-sparked Italian melodrama with incestuous under-
tones. Dubbed, CinemaScope and color. Exploitable entry.

Backed by an imaginative promotion campaign, this dubbed,
sex-sparked Italian import about life in the great rice fields of
the Po Valley might make a fair showing in ballyhoo situa-
tions. It is being coupled as a dual bill combo with "Fatal
Desire". Filmed in CinemaScope and Eastman Color, the Ultra
release tells a soap opera-type story about one of the many-
women employed as migrant rice harvesters. Uneven editing
and a hackneyed plot prevent the film from achieving dramatic
intensity, but there is a fair sprinkling of sex, a couple of fights
and a fire sequence. Elsa Martinelli stars as the pretty Milanese
girl who becomes involved with her boss, Folco Lulli, he be-
lieving Miss Martinelli might be the daughter of his old love.
Michel Auclair plays Lulli's spoiled, handsome nephew, and
Rik Battaglia is a hard-working mechanic. Raffaello Mata-
razzo's direction is competent though uninspired. Miss Mar-
tinelli becomes troubled by Lulli's interest, but she warms to
him slightly after he saves her from the fire. However, she falls
in love with Battaglia, then loses him when he shows jealousy
over Lulli's actions. During the festivities following completion
of the season, Auclair tries to rape Miss Martinelli in an empty
building and Battaglia comes to her rescue, accidentally kills
Auclair. Lulli appears, tells Miss Martinelli she is his daughter,
sends the two lovers away, takes the blame for Auclair's death.

Ultra Pictures. 90 minutes. Elsa Martinelli, Folco Lulli, Michel Auclair. A Carlo
Ponti-Excelsa Production. Directed by RaffaeJIo Mataraizo.

"Fatal Desire"

Anthony Quinn, May Britt give marquee value to slow-
moving, dubbed import. OK as dualler with "Rice Girl."

Ultra Pictures is packaging this dubbed, non-musical version
of Pietro Mascagni's opera "Cavalleria Rusticana" with the ex-
ploitable "Rice Girl," and box-office returns will lean heavily
on the advertising campaign for the combination. Promotion
mileage can be made out of the presence of Anthony Quinn,
currently one of the "hottest" names extant, and May Britt.
However, word-of -mouth will work against this Italian import,
since the heavy-handed direction of Carmine Gallone fails to
develop the violent aspects of this tale of tormented love,
intrigue, betrayal and revenge. Plus factors are the excellent
Sicilian countryside photography and Mascagni's effective musi-
cal background. Quinn portrays a simple, shy but brutish-
looking worker who marries the beautiful Kerima. Ettore Manni
is Kerima's former sweetheart, returning to his village after
five years of military service, and Miss Britt is a pretty villager
secretly in love with Manni. Bitter over Kerima's marriage,
Manni turns his attention to Miss Britt, who soon declares her
love for him. They plan to marry. But Kerima, now bored with
the dull Quinn, begins tempting Manni. One night, while Quinn
is away. Miss Britt sees Manni entering Kerima's house and
admonishes him, but he declares his indifference to her en-
treaties. Hysterical, Miss Britt tells Quinn what has been hap-
pening. He challenges Manni to a knife duel and kills him.

Ultra Pictures. 80 minutes. Anthony Quinn, Kerima, May Britt. An Excclsa Film
Production. Directed by Carmine Gallone.

Film BULLETIN February A. 1963 Page 23

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

July

BRIDGE, THE Fritz Wepper, Volker Bohnet. Producer Dr.
Herman Schwerin. Director Bernhard Wicki. German
school boys pressed into defending a bridge in waning
days of WWII. 104 min.

EL CID Color. Charlton Heston, Sophia Loren, Raf
Valine, Genevieve Page. Producer Samuel Bronston,
Director Anthony Mann. Story of the warrior-hero who
saved Spain from the Moors. 17? min. 12/11/61.

FRIGHTENED CITY. THE Herbert Lorn, John Gregson,
Sean Connery. Producers John Lemont, Leighton Vance.

Director Lemont. Extortion racketeers invade biq busi-
ness. 97 min.

October

CONVICTS 4 Ben Gazzara, Ray Walston, Sugar Whit-
man. Sammy Davis. Jr., Vincent Price. Rod Steiger.
Producers Miller Kaufman, A. Ronald Lubin. Director
Kaufman. Prison drama. 110 min.

November

BILLY BUDD Peter Ustinov, Robert Ryan, Melvyn Doug-
las; Terence Stamp. Producer-Director Ustinov. Pic-
turization of Herman Melville's sea classic. 123 min.
1 1/12/62.

February

BLACK ZOO Michael Gough, Jeanne Cooper, Rod
Loren, Virginia Grey. Producer Herman Cohen. Direc-
tor Robert Gordon. Horror story.

DAY OF THE TRIFFIDS, THE CinemaScope. Color.
Howard Keel, Nicole Maurey. Producer Philip Yordan.
Director Steve Sekely. Science-fiction thriller. 119 min.

55 DAYS AT PEKING Technirama, Technicolor. Charl-
ton Heston, David Niven, Ava Gardner, Flora Robson,
Harry Andrews, John Ireland. Producer Samuel Bron-
ston. Director Nicholas Ray. Story of the Boxer uprising.

Coming

CAPTAIN MUST DIE, THE Producer Monroe Sachson.
Director Allen Reisner. Suspense thriller.

GREAT GUNFIGHTERS. THE Color, Cinemascope. David
Janssen. Producer Ben Schwalb. Private detective
breaks up outlaw gang that has terrified the Southwest.

LONG CORRIDOR. THE Producer-director Samuel Ful-
ler. A suspense thriller.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

RECKLESS PRIDE OF THE MARINES Producer Lester
Sansom. Andrew Geer's book about a horse which
served as an ammunition carrier in Korea.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen. Producer Martin Jurow. Army comedy.

STREETS OF MONTMARTRE Lana Turner, Louis Jour-
dan. Producer-director Douglas Sirk. Based on two
books, "Man of Montmartre" and "The Valadon
Drima."

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

July

POE'S TALES OF TERROR Color, Panavision. Vincent
Price, Peter Lorre. Basil Rathbone, Debra Paget. Pro-
ducer-Director Roger Corman. Based on Edgar Allan

Poe trilogy. 90 min. 6/11/62.

August

MARCO POLO CinemaScope, Color. Rory Calhoun,
Yoko Tani. Producers Ermano Donati, Uiigi Carpentieri.
Director Hugo Fregonese. Recounting of the famous
Venetian adventures. 100 min. 9/17/62.

September

WHITE SLAVE SHIP (Formerly Wild Cargo) Cinema-
Scope, Color. Pier Angeli, Edmund Purdom. Director
Silvio Amadio. Mutiny of prisoners shipped from Eng-
land in the 18th century to America as slaves. 92 min.
I 1/12/62.

October

WARRIORS 5 Jack Palance, Jo Anna Ralli. Producer
Fulvio Lusciano. Director Mario Silvettra. Story of an
American G.I. who organized the underground resist-
ance in Italy. 82 min. 11/12/62.

November

REPTILICUS Color. Carl Ottosen, Ann Smyrner. Pro-
ducer-Director Sidney Pink. Giant sea monster's de-
struction of an entire city. 81 min.

December

SAMSON AND THE 7 MIRACLES OF THE WORLD

I Formerly Goliath and the Warriors of Genghis Kahn)
Color. CinemaScope. Gordon Scott, Yoko Tani. Samson
helps fight off the Mongol invaders.

January

RAVEN, THE Color. Panavision. Vincent Price, Peter
Lorre, Boris Karloff. Producer-director Roger Corman.
Edgar Allan Poe tale. P6 min.

February

BATTLE BEYOND THE SUN IFilmgroup) Color & Vista-
scope — Ed Perry, Aria Powell.

NIGHT TIDE IFilmgroup) Dennis Hopper, Linda Law-
son. 84 min.

THE PIT Dirk Bogarde, Mary Ure. Science fiction.

March

OPERATION BIKINI (Formerly Seafighters) Tab Hunter,
Frankie Avalon. Producer-director Anthony Carras.

April

DEMENTIA IFilmgroup) William Campbell, Luana An-
ders, Mary Mitchell. Suspense drama.

TERROR, THE IFilmgroup) Color, Vistascope. Boris Kar-
loff. Horror.

Max

MIND BENDERS, THE Dick Bogard, Mary Ure.

NIGHTMARE (Formerly Schizo) Leticia Roman, John
Saxon. Producer-director Mario Bava. Suspense horror.

YOUNG RACERS. THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

June

"X"— THE MAN WITH THE X-RAY EYES Ray Milland.

Science fiction.

July

BEACH PARTY Color, Panavision. Frankie Avalon.
Producer Lou Rusoff. Teenage comedy.

August

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

COMEDY OF TERROR Color, Panavision. Vincent Price,
Peter Lorre, Boris Karloff. Horror.

DUNWICH HORROR Color. Panavision. Science Fiction.

GENGHIS KHAN 70mm roadshow.

HAUNTED PALACE Color, Scope. Ray Milland.

IT'S ALIVE Color. Peter Lorre, Frankie Avalon. Teen,
horror, musical comedy.

UNDER 21 Color, Panavision. Teen musical comedy.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Producers Julian
Wintle, Leslie Parkyn. H. G. Wells classic.

August

SHOOT THE PIANO PLAYER Charles Aznavour,
Marie Dubois. Producer Pierre Braunberger. Director
Francois Truffaut. 85 min. 7/23/62.

October

IL GRIDO (The Outcry) Steve Cochran, Betsy Blair,

Alida Valli, Robert Alexander. Producer S.P.A. Cine-
matografica. Director Michaelangelo Antonioni. 115
min. 11/12/62.

December

BLACK FOX Marlene Dietrich. Producer-director Louis
Clyde Stoumen. Narration of true story of Adolph
Hitler. 89 min.

OUT OF THE TIGER'S MOUTH Loretta Hwong, David
Fang. Producer Wesley Ruggles, Jr. Director Tim
Whelan, Jr. 81 min.

OU APE FELLOW, THE Patrick MrGoohan, Svlvia Sims.
Walter Macken. Producer Anthony Havelock-Allan.
Director Arthur Dreifuss. 85 min. 11/26/62.

January

SWINDLE. THE Broderick Crawford, Giulietta Masina,
Richard Basehart. Director Federico Fellini. Melodrama.
92 min. 1 1/12/62.

TRIAL, THE Anthony Perkins, Jeanne Moreau. Director
Orson Welles.

WORLD BEGINS AT 6 P.M. Jimmy Durante, Ernest Borg-
nine. Director Vittorio DeSica.

Coming

TOTO, PEPPINO and LA DOLCE VITA Toto, Peppino.

Mi B I TM7TT7W

July

BON VOYAGE Technicolor. Fred MacMurray, Jane
Wyman, Deborah Walley. Michael Callan. Producer
Walt Disney. Director Jamei Neilson. American family't
misadventures during a European holiday. 130 min.
5/14/62.

October

ALMOST ANGELS Color. Peter Week, Sean Scully,
Vincent Winter, Director Steven Previn. 93 min. 9/3/62.

November

LEGEND OF LOBO, THE Producer Walt Disney. Live-
action adventure. 67 min. 11/12/62.

December

IN SEARCH OF THE CASTAWAYS Technicolor. Maurice
Chevalier, Hayley Mills, George Sanders. Producer
Walt Disney. Director Robert Stevenson. Based on the
Jules Verne story, "Captain Grant's Children." 110
min. 1/7/63.

February

SON OF FLUBBER Fred MacMurray, Nancy Olson.
Keenan Wynn. Walt Disney Production. Director Robert
Stevenson. Comedy. 100 min. 1/21/63.

April

MIRACLE OF THE WHITE STALLIONS Robert Taylor.
Lili Palmer, Curt Jergens.

m+wuiwm

August

INTERNS, THE Cliff Robertson, Michael Callan, Suiy
Parker, Nick Adams, James McArthur, Haya Harareet.
Producer Robert Cohn. Director David Swift. Drama of
medical profession. 120 min. 6/11/62.

September

BEST OF ENEMIES. THE Technicolor, Technirama. David
Niven, Sordi Michael Wilding. Producer Dino de
Laurentiis. Director Guy Hamilton. Satirical comedy
on war. 104 min. 8/6/62.

DAMN THE DEFIANT (formerly H.M.S. DEFIANT) Color.
Alec Guinness, Dirk Bogarde, Anthony Ouayie. Pro-
ducer John Brabourne. Director Lewis Gilbert. Sea
adventure. 101 min. 8/20/62.

RING-A-DING RHYTHM Chubby Checker, Dukes of
Dixieland, Gary (U.S.) Bonds, Dell Shannon. Producer

Milton Subotsky. Director Dick Lester. Teenage com-
edy. 78 min. 9/17/62.

October

REQUIEM FOR A HEAVYWEIGHT Anthony Quinn,
Jackie Gleason, Mickey Rooney, Julie Harris. Producer
David Susskind. Director Ralph Nelson. Award winning
drama. 87 min. 9/17/62.

TWO TICKETS TO PARIS Joey Dee, Gary Crosby, Kay
Medford. Producer Harry Romm. Director Greg Gar-
rison. Romantic comedy. 75 min. 11/26/62.

Film BULLETIN — THIS IS YOUR PRODUCT

November

PIRATES OF BLOOD RIVER Color. Glenn Corbelt, K.r-
win Mathews, Maria Landi. Producer Anthony Nelson
Keys. Director John Gilling. Swashbuckling adventure.
87 min. 8/4/62.

WAR LOVER, THE Robert Wagner. Steve McQueen.
Producer Arthur Hornblow. Director Philip Ltacock.
Drama of World War II in the sky. 105 min. 10/29/42.

WE'LL BURY YOUI Narrated by William Woodson.
Producers Jack Leewood. Jack W. Thomas. Documen-
tary highlighting rise of Communism. 72 min. 10/15/42.

December

BARABBA5 Technicolor. Anthony Quinn, Silvana Man-
gano, Jack Palance, Ernest Borgnine, Katy Juredo,
Douglas Fowley, Arthur Kennedy, Harry Andrews,
Vittorio Gassman. Producer Dino de Laurentiis. Direc-
tor Richard Fleischer. Based on novel by Par Lager-
kvist. 134 min. 9/3/42.

February

DIAMOND HEAD Panavision, Eastman Color. Charlton
Heston, Yvette Mimieux, George Chakiris, France
Nuyen, James Darren. Producer Jerry Bresler. Director
Guy Green. Based on Peter Gilman's novel. 107
min. 1/7/43.

LOVERS OF TERUEL, THE Ludmila Tcherina, Rene-Louis
Lafforgue, Milko Sparemblak. Director Raymond Rou-
leau. Ballet import. 90 min. 1/21/43.
OLD DARK HOUSE. THE Color. Tom Poston, Robert
Morley, Joyce Grenfell. Producer-director William
Castle.

March

IRON MAIDEN, THE Michael Craig, Anne Helm,
Jeff Donnell.

April

MAN FROM THE DINER'S CLUB. THE Danny Kaye, Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin.

Coming

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney.

JASON AND THE GOLDEN FLEECE Color. Todd Arm-
strong, Nancy Kovak. Producer Charles H. Schneer.
.Director Don Chaffey.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
5piegel. Director David Lean. Adventure spectacle.
222 min. 12/24/42.

WEEKEND WITH LULU, A Bob Monkhouse, Leslie
Philips, Shirley Eaton, Irene Handl. Producer Ted
Lloyd. Director John Paddy Garstairs. 91 min. 4/11/42.

mat

September

IMPERSONATOR. THE John Crawford. Jane Griffiths.
Jirector Alfred Shaughnessy. Producer Anthony Perry.
Murderer puts town on edge as he prowls for women.
A min.

OPERATION SNATCH Terry-Thomas, George Sanders,
ionel Jeffries, Jackie Lane. Producer Jules Buck,
director Robert Day. Story of attempt to perpetuate
i famous legend. 83 min. 10/15/62.

October

ND OF DESIRE Color. Maria Schell, Christian Mar-
'luand, Ivan Desny, Pascale Petit. Producer Agnes De-
ahaie. Director Alexander Astruc. 91 min.

November

ONELINESS OF THE LONG DISTANCE RUNNER. THE

4ichael Redgrave, Tom Courtenay, Avis Bunnage. Pro-
ucer-director Tony Richardson. Explores the attitudes
! If a defiant young man sent to a reformatory for
Dbbery. 103 min. 10/1/42.

January

AVID AND LISA Keir Dullea, Janet Margolin, How-
rd Da Silva. Producer Paul M. Heller. Director Frank
erry. Drama about two emotionally disturbed young-
lers. 94 min. 1/7/43.

IANDS OF THE STRANGLER Mel Ferrer, Danny Carrol,
roducers Stevan Pallets. Donald Taylor. Director Ed-
iond T. Grenville. Drama about a man twisted by a
range obsession. 84 min. 8/20/42.

F ebruary

REAT CHASE, THE Douglas Fairbanks, Sr., Buster
jeaton, Lillian Gish. Producer Harvey Cort. Silent
'iiase sequences. 77 min. 1/7/43.

HIS SPORTING LIFE Richard Harris, Rachel Roberts.

March

'RONG ARM OF THE LAW. THE Peter Sellers,
onel Jeffries.

OUR SHADOW IS MINE Jill Haworth, Michael Ruhl.

April

\LCONY, THE Shelly Winters, Peter Falk.

September

DEVIL'S WANTON. THE Doris Svedlund, Birgir Malm-
sten. Producer Lorens Marmstedt. Director Ingmar
Bergman. Bergman comments on life, death, immortal-
ity and the devil. 77 min. 6/1 1/62.

DIVORCE— ITALIAN STYLE Marcello Mastroianni, Dan-
iela Rocca, Stefania Sandrelli. Producer Franco Cris-
taldi. Director Pietro Germi. Satirical jabs at the
mores of our times. 104 min. 10/29/62.

LA VIACCIA Claudia Cardinale, Jean-Paul Belmondo.
Pietro Germi. Producer Alfredo Bini. Director Mauro
Bolognini. A drama of the tragic influences of the city
upon a young farmer. 103 min. 11/12/62.

NO PLACE LIKE HOMICIDE! (Formerly What a Carve
Up! I Kenneth Connor, Shirley Eaton. Producers Robert
S. Baker, Monty Berman. Director Pat Jackson. British
spoof on the traditional haunted house. 87 min. 7/9/62.

October

CRIME DOES NOT PAY Danielle Darrieux, Richard
Todd, Pierre Brasseur, Gino Cervi, Gabriele Ferzetti,
Christian Marquand, Michelle Morgan, Jean Servais.
Producer Gilbert Bokanowski. Director Gerard Oury.
French object lesson based on classic crimes. 159 min.
10/29/42.

LONG DAY'S JOURNEY INTO NIGHT Katharine Hep-
burn, Jason Robards, Jr., Sir Ralph Richardson, Dean
Stockwell Producer Ely A. Landau. Director Sidney
Lumet. Film version of Eugene O'Neill's Pulitzer Prize-
winning stage drama. 174 min. 10/29/42.

November

NIGHT IS MY FUTURE Mai Zetterling, Birger Malmsten.
Director Ingmar Bergman. Bergman reflects on the
theme of man's search for human contact and love in
a "hostile universe." 87 min. 1/7/43.

December

CONSTANTINE AND THE CROSS Color. Cornel Wilde.
Christine Kaufman, Belinda Lee. Producer Ferdinado
Feliciori. Director Lionello De Felice. Story of early
Christians struggling against Roman persecution. 120
min. 11/24/42.

January

SEVEN CAPITAL SINS Jean-Pierre Aumont, Dany Saval.
Directors Claude Chabrol, Edouard Molinaro, Jean-Luc
Godard, Roger Vadim, Jaques Demy, Philippe De
Broca, Sylvain Dhomme. A new treatment of the classic
sins with a Gallic flavor. 113 min. 11/24/42.

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,
Christian Doermer. Director Francois Truffaut, Andrez
Wajda, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French
Revolution. 104 min.

Current Releases

ANTIGONE (Ellis Films) Irene Papas, Manos Katra-
kis. Producer Sperie Perakos. Director George Tza-
vellas. 88 min. 10/29/42.

ARMS AND THE MAN (Casino Films) Lilo Pulver,
O. W. Fischer. Ellen Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
94 min.

BERN ADE7TE OF LOURDES IJanus Films) Daniele Ajoret
Nadine Alari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY. THE (Lopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 48 min.

BLOODY BROOD, THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR. A Pierre Fresnay, Michel
Auclair. 72 min.

CANDIDE lUnion Films) Jean-Pierre Cassel, Pierre
Brausseur, Dahlia Lavi. Director Norbert Carbonnaux.
90 min. I 1/24/42.

CLEOPATRA'S DAUGHTER Color, Totalscope. Debra
Paget, Robert Alda. 93 min.

COMING OUT PARTY A. James Robertson Justice.
Producers Julian Winlle, Leslie Parkyn. Director Kenn
Annakin. 90 min. 9/17/62.

CONCRETE JUNGLE, THE (Fanfare Films) Stanley
Baker, Margit Saad, Sam Wanamaker, Gregoire Asian.
Producer Jack Greenwood. Director Joseph Losey. 86
min. 7/9/62.

CONNECTION, THE Warren Finnerty, Garry Good-
row, Jerome Raphel. Producer Lewis Allen. Director
Shirley Clarke. Off-beat film about dope addicts. 93
min. 10/29/62.

DANGEROUS CHARTER Technicolor. Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

FEB

FEBRUARY SUMMARY

s-

The number of available new re-
leases for February now is 23. Three
features will be forthcoming from both
Allied Artists and American-International.
Seven companies — M-G-M, Columbia,
Universal, Warners, Embassy, Continen-
tal, and Paramount — promise two each.
20th-Fox, United Artists and Buena
Vista all list one release for the month.

DAY THE SKY EXPLODED, THE (Excelsiorl Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR, THE Color, Totalscope. Ricardo
Montalban, Carmen Seville. 87 min.

DEVIL MADE A WOMAN, THE Color, Totalscope. Sarita
Montiel. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

ELECTRA (Lopert) Irene Papas, Aleka Catselli. Pro-
ducer-director Michael Cacoyannis. Version of classic
Greek tragedy. 110 min. 1/7/63.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FEAR NO MORE ISutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS Technicolor, Totalvision.
Yoko Tani, Oldrick Lukes. 81 min.

FIVE DAY LOVER, THE IKinqsley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay

Forester, Pamela Mason, Donald Woods. 86 min.

FLAME IN THE STREETS (Atlantic) John Mills, Sylvia
Syms, Brenda DeBanzie. Producer-director Roy Baker.
93 min. 10/29/62.

FORCE OF IMPULSE ISutton Pictures) Tony Anthony
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

GIRL WITH THE GOLDEN EYES, THE I Kingsley-lnter-
national) Marie LaForet, Paul Guers, Francoise Pre-
vost. Producer Gilbert De Goldschmidt. Director Jean-
Gabriel Albicocco. 90 min. 8/20/62.

IMPORTANT MAN. THE (Lopertl Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

JOSEPH AND HIS BRETHREN IColorama) Geoffrey
Home, Belinda Lee. Producers Ermanno Donati, Luigi
Carpentieri. Director Irving Rapper. 103 min. 2/12/62.

KIND OF LOVING, A (Governor Films) Alan Bates,
June Ritchie, Thora Hird. Producer Joseph Janni.
Director John Schlesinger. 11/12/62.

LA NOTTE BRAVA (Miller Producing Co.) Elsa Mar-
tin el li . Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LONG ABSENCE, THE (Commercial Films) Alida Valli,
Georges Wilson. Director Henri Colp. French drama.
85 min. I 1/26/62

MATTER OF WHO, A (Herts-Lion International) Alex
Nicol, Sonja Ziemann. Producers Walter Shenson,
Milton Holmes. Director Don Chaffey. 90 min. 8/20/62.

MONDO CANE (Times Films Eng.) Technicolor. Pro-
ducer Rizzoli, Cineriz. Director Gualtiero Jacopetti.
Film portrayal of real life. 115 min.

NIGHT OF EVIL ISutton) Lisa Gaye, Bill Campbell.
88 min.

NIGHT, THE (Lopert) Jeanne Moreau, Marcello

Mastroianni, Monica Vitti. Producer Emanuele Cassulo,
Director Michelangelo Antonioni. 120 min. 3/5/62.

NO EXIT (Zenith-International) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala.
Hector Olivera. Director Tad Danielewski. 1/7/63.

PAGAN HELLCAT (Times Films Eng.) Tumata Teuiau.
Producer-d:rector Umberto Bongignori. 59 min

PARADISE ALLEY (Sutton) Hugo Haas. Corinne Griffith.

PASSION OF SLOW FIRE, THE ITrans-Luxl Jean
DeSailley, Monique Melinand. Producer Francois
Chavene. Director Edouard Molinaro. 91 min. 11/12/62.

PHAEDRA (Lopert) Melina Mercouri, Anthony Perkins,
Rdf Vallone. Producer-director Jules Dassin. 115 min.
10/29/62.

PURPLE NOON (Times Films sub titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I I 5 min.

Film BULLETIN — THIS IS YOUR PRODUCT

SATAN IN HIGH HEELS ICosmic). Meg Myles. Gray-
son Hall, Mike Keene. Producer Leonard M. Burton.
Director Jerald Intrator. 97 min. 5/ 14/62.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

SECRETS OF THE NAZI CRIMINALS [Trans-Lux). Pro-
ducer Tore Sjoberg. Documentary recounting Nazi
crimes. 84 min. 10/15/62.

SLIME PEOPLE, THE I Hutton-Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

STAKEOUT Ping Russell, Bill Hale, Eve Brent. 81 min.

SUNDAYS AND CYBELE IDavis-Royal) Hardy Kruger,
Nicole Courcel, Patricia Gozzi. Producer Romain Pines.
Director Serge Bourguignon. 110 min. 11/26/62.

THEN THERE WERE THREE lAlexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THRONE OF BLOOD (Brandon Films) Toshino Mifone,
Isuzu Yamada. Director Akira Kurosawa 108 min.
1/8/62.

THROUGH A GLASS DARKLY (Janus) Harriet Ander-
son, Gunnar Bjornstrano, Max von Sydow, Lars Past-
gard. Director Ingmar Bergman. 91 min. 3/19/42.

TROJAN HORSE, THE Colorama. Steve Reeves, John
Drew Barrymore, Edy Vessel. Director Giorgio Ferroni.
105 min. 7/23/62.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Times Films Eng. I Color. Pro-
ducer-director Marion Gering.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FCR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

WOZZECK (Brandon) Kurt Meisel, Helqa Zulch, Rich-
ard Haussler. Producer Kurt Halme. Director George
Klaren. 81 min. 3/19/62.

YOJIMBO (Seneca-International) Toshiro M. Fune, Kyu
Sazanka, Nakadai. Director Akiro Kurosana. 101 min.
9/17/62.

METRO-GOLDWYN-MAYER

September

I THANK A FOOL Susan Hayward. Producer Anatole
de Grunwald. Director Robert Stevens. Screen version
of the dramatic best-seller novel by Audrey Erskine
Lindop. 100 min. 9/17/62.

October

VERY PRIVATE AFFAIR, A Brigitte Bardot, Marcello
Mastr-jianni. Producer Christine Gouze-Renal. Director
Louis Malle. Story of the meteoric career of a young
screen star who becomes a sex symbol for the world.
94 min. 10/1/62.

November

ESCAPE FROM EAST BERLIN Don Murray, Christine
"ni'mJim Producer Walter Wood. Director Robert
Siodmak. Drama of the escape of 28 East Germans to
West Berlin under the wall via a tunnel. 93 min.
10/29/62.

KILL OR CURE Terry-Thomas, Eric Sykes, Dennis Price,
Moira Redmond. Producer George Brown. Director
George Pollack. Detective tale. 88 min. 11/26/62.

PERIOD OF ADJUSTMENT Tony Franciosa, Jane Fonda,
Jim Hutton. Producer Lawrence Weingarten. Director
George Roy Hill. Screen version of Tennessee Williams'
Broadway play. 112 min. 10/29/62.

TRIAL AND ERROR Peter Sellers, Richard Attenbor-
ouqh. Producer Dimitri de Grunwald. Director James
Hill. Comedy about a henpecked murderer and his
ineffectual lawyer. 99 min. 11/26/62.

December

A RTI'RO'S ISLAND Reginald Kernan, Key Meersman,
Vanni De Maiqret, Ornella Vanomi. Producer Carlo
Ponti. Director D. Damiani. Based on noted Italian
novel. 95 min. 1/21/63.

BILLY ROSE'S JUMBO Doris Day, Stephen Boyd, Jimmy
Durante, Martha Raye. Producer Joe Pasternak. Direc-
tor Charles Walters. Martin Melcher. Based on the
Broadway musical Tolialgo. 125 min. 10/12/62.

SWORDSMAN OF SIENA Eastman Color. Stewart
Granger, Christine Kaufmann. Producer Jacques Bar.
Director Etienne Pertier. Adventure drama. 92 min.
1 1/26/62.

January

CAIRO George Sanders, Richard Johnson. Producer
Ronald Kinnoch. Director Wolf Rilla. Drama of attempt

to rob the Cairo Museum. 91 min.

PASSWORD IS COURAGE, THE Dirk Bogarde. Pro-
ducer-Director Andrew L. Stone. One man's war against
the Nazis during World War II. 116 min. 1/7/63.

February

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris

iagal. Kace track comedy. 94 min.

HOOK, THE Kirk Douglas, Nick Adams. Producer Wil-
liam Perlberg. Director George Seaton. Drama set

against background of the Korean War. 98 min.
1/21/63.

March

COURTSHIP OF EDDIE'S FATHER, THE Glenn Ford,
Shirley Jones. Producer Joe Pasternak. Director Vin-
cente Minnelli. Romantic comedy revolving about a
young widower and his small son.

FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
Randell, Russ Tamblyn, Janis Paiqe. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate. Based on the life of Sir Francis Drake. 102 min.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer AnatoU de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.

IT HAPPENED AT THE WORLD'S FAIR Panavision,
Color. Elvis Presley. Producer Ted Richmond.

May

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,
Heidi Bruehl. Producer King Brothers. Director Byron
Haskin. Adventure Fantasy.

IN THE COOL OF THE DAY CinemaScope, Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz.

June

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

MAIN ATTRACTION. THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min.

November

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GriffTfn. Pro-

Hucer At»ron Rosenberg. Director Lewis Milestone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hal. I 179 min. 11/12/62.

Coming

DRUMS OF AFRICA Fr^nkie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

HOW THE WEST WAS WON Cinerama. James Stewart,
Debbie Reynolds, John Wayne, Gregory Peck, Henry
Fonda. Carroll Baker. Producer Bernard Smith. Direc-
tors Henry Hathaway, John Ford, George Marshall.
Panoramic drama of America's expansion Westward.
155 min. I 1/26/62.

MOON WALK Shirley Jones. Producer Joe Pasternak.
Director George Sidney. Romantic comedy based on
a story in the Ladies Home Journal.

RIFIFI IN TOKYO Karl Boehm. Barbara Lass, Charles
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo.

TAMAHINE Nancy Kwan, Dennis Price. Producer John
Bryan. Director Philip Leacock. Romantic comedy of
a Tahitian girl and her impact on an English public
school.

TODAY WE LIVE Simone Signoret, Stuart Whitman.
Producer Jacques Bar. Director Reng Clement. Drama
of temptation and infidelity in wartime.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

VERY IMPORTANT PERSONS Color. Elizabeth Taylor,
Richard Burton, Louis Jordan. Producer Anatole de
Grunwald. Director Anthony Asquith. Comedy drama.

October

PIGEON THAT TOOK ROME, THE Panavision. Charlton
Heston, Elsa Martinelli, Harry Guardino. Producer-
Director Melville Shavelson. Comedy-drama. 100 min.
9/3/62.

November

GIRLSI GltLSI GIR1SI Panavision, Technicolor. Elvit
Presley. Stella Stevens. Producer Hal Wallii. Directar

Norman Taurog. 106 min.

December

IT'S ONLY MONEY Jerry Lewis, Joan O'Brien, Zachary
Scott, Jack Weston. Producer Paul Jones. Director
Frank Tashlin. Comedy. 84 min. 9/17/42.

January

WHERE THE TRUTH LIES Juliette Greco, Jean-Marc
Bory, Llsolette Pulver.

February

GIRL NAMED TAMIKO. A Technicolor. Laurence Har-
vey, France Nuyen. Producer Hal Wallis. Director J otto.
Sturges. A Eurasian "man without a country" courts an
American girl in a bid to become a U.S. citizen.

WHO'S GOT THE ACTION Panavision. Technicolor.
Dean Martin, Lana Turner, Eddie Albert, Walter Mat-
hau, Nita Talbot. Producer Jack Rose. Director Denial
Mann. A society matron becomes a "bookie" to curt
her horse-playing husband. 93 min. 10/1/62.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleason,

Glynis Johns. Comedy-drama based on childhood af
silent screen star Corinne Griffith.

April

MY SIX LOVES Technicolor. Debbie Reynolds. CUM
Robertson, David Jannsen. Producer Garet Gaittver.
Director Grover Champion. Broadway star adopts sin
abandoned children.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmans,
Pat Hingle. Producer David Susskind. Director Alex
Segol. Film version of play and novel.

COME BLOW YOUR HORN Technicolor. Frank Sinatra,
Barbara Ruth, Lee J. Cobb. Producer Howard Koch. Di-
rector Bud Yorkin. A confirmed bachelor introduces his
young brother to the playboy's world.

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama la
the South Pacific.

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director RH1.
Drama set in modern Texas.

PARIS WHEN IT SIZZLES Panavision, Technicolor. WH-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

WONDERFUL TO BE YOUNG Cliff Richard, Robert
Morley. 92 min.

20TH CENTURY-FOX

August

FIVE W^EKS IN A BALLOON CinemaScoDe, Deluxe
Color. Cedric Hardwicke, Peter Lorre. Producer-Direc-
tor Irwin Allen. Jules Verne's first novel about a flight
across Africa in a balloon. 101 min. 8/20/62.

September

I LIKE MONEY CinemaScope, De Luxe Color. Peter Sel-
lers, Nadia Gray, Herbert Lorn, Leo McKern. Producer
Pierrp Ronve. Director Peter Sellers. Based on Marcel
Pagnol's famous story of "Topaze". 81 min. 5/28/62.

300 SPARTANS, THE CinemaScope, DeLuxe Color.
Richard Egan, Ralph Richardson, Diane Baker, Barry
Coe, David Farrar. Producers Rudolph Mate, George
St. George. Director Mate. Story of the battle of
Thermopylae. 114 min. 8/20/62.

October

GIGOT DeLuxe Color. Jackie Gleason, Katherine Kath.
Gabrielle Dorziat, Diane Gardner. Producer Ken Hy-
man. Director Gene Kelly. Story of a mute and a little
girl he befriends. 104 min. 6/25/62.

LONGEST DAY, THE John Wayne, Richard Todd,
Peter Lawford, Robert Wagner, Tommy Sands, Fabian,
Paul Anka, Curt Jurgens, Red Buttons, Irina Demich,
Robert Mitchum, Jeffrey Hunter, Eddie Albert, Ray
Danton, Henry Fonda, Edmond O'Brien, Robert Ryan.
Producer Darryl Zanuck. Directors Gerd Oswald,
Andrew Marton, Elmo Williams, Bernard Wicki, Ken
Annakin. 180 min.

November

LOVES OF SALAMMBO Deluxe. Jeanne Valerie, Jacques
Sernas. Edmund Purdom. Director Sergio Grieco.
Adventure drama. 72 min. 11/12/62.

January

SODOM AND GOMORRAH Stewart Granger, Pier An
geli, Stanley Baker, Rossana Podesta. Producer Gof-
fredo Lombardo. Director Robert Aldrich. Biblical tale
154 min. 1/21/63.

February

LION, THE CinemaScope, De Luxe Color. William Hoi
den, Trevor Howard, Capucine. Producer Samue
Engel. Director Jack Cardiff. Based on best-selle1
about a girl's love for a wild lion. 93 min. 9/3/63

Film BULLETIN — THIS IS YOUR PRODUCT

March

NINE HOURS TO RAMA CinemaScope, DeLuxe Color.
Horst Buchholi, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi.

April

WOMAN IN JULY, A Joanne Woodward. Richard Bey-
mer, Gypsy Rose Lee, Claire Trevor.

Coming

CLEOPATRA Todd-AO Color. Elizabeth Taylor, Richard
Burton, Rex Harrison. Producer Walter Wanger.
Director Joseph Mankiewici. Story of famous queen.

LEOPARD, THE Burt Lancaster, Claudia Cardinale.

QUEEN'S GUARDS, THE CinemaScope, DeLuxe Color.
Daniel Massey, Raymond Massey, Robert Stephens.
Producer-Director Michael Powell. A tale of the
tradition and importance of being a Guard.

YOUNG GUNS OF TEXAS James Mitchum, Alana Ladd,
Jody McCrea. Producer-director Maury Dexter. West-
ern. 78 min. I 1/12/62.

UNITED ARTISTS

September

SWORD OF THE CONOUEROR Jack Palance, Eleonora
R*ssi Drago, Guy Madison. Producer Gilberto Carbone.
fl| Director Carlo Campogallian. ?5 min. 9/17/42.

VALIANT. THE John Mills, Ettore Manni.

October

HERO'S ISLAND James Mason, Neville Brand, Kate
vlanx, Rip Torn. Producer-Director Leslie Steven's. Ad-
venture drama. 94 min. 9/17/42.

:i PRESSURE POINT Sidney Poitier, Bobby Darin, Peter
:alk. Producer Stanley Kramer. Director Hubert Corn-
field. Drama dealing with racial preiudice in U S 91
jfniu. 9/17/42.

i[HREE ON A SPREE Jack Watling, Carole Lesley,
^olin Gordon. Producer George Fowler. Director Sid-
ley J. Furie. 83 min. 10/2/41.

November

MANCHURIAN CANDIDATE, THE Frank Sinatra, Laur-
el: |5nce Harvey. Janet Leigh, Angela Lansbury, Henry
>ilva. Producers George Axelrod, John Frankenheimer.
Jirector Frankenheimer. Suspense melodrama 126 min
0/29/62.

January

:HILD IS WAITING, A Burt Lancaster, Judy Garland
jtephen Hill, Gena Rowland. Producer Stanley Kramer'
>irector John Cassavetes. Drama dealing with retarded
:hildren. 102 min. 1/21/43.

IARAS BULBA Tony Curtis, Yul Brynner, Brad Dexter
>am Wanamaker, Vladimir Sokoloff, Akim Tamiroff'
-hnstine Kaufmann. Producer Harold Hecht. Director
• Lee Thompson. Action spectacle. 122 min. 12/10/42

February

WO FOR THE SEESAW Robert Mitchum, Shirley Mac-
aine. Producer Welter Mirisch. Director Robert Wise,
lased on the Brodaway hit. 119 min. 10/29/42.

March

Jut.

' IVE MILES TO MIDNIGHT (Formerly The Third Dimen-
on) Sophia Loren, Anthony Perkins, Gig Young
, ;. eland Turner. Producer-Director Anatole Litvak.

OVE IS A BALL (Formerly the Grand Duke and Mr.
imm) Glenn Ford, Hope Lange Charles Boyer Pro-
ucer Martin H. Poll. Director David Swift. Comedy of
ex and the international set.

A pril

ARETAKERS, THE Robert Stack, Joan Crawford.

Coming

EAUTY AND THE EEAST Joyce Taylor, Mark Damon
award Franz, Merry Anders. 77 min.

■;- EAD TO THE WORLD Reedy Talton, Jana Pearce Ford
■'. ainey Casey Peyson. Producer F. William Hart. Direc-
s._ or Nicholas Webster. 87 min.

•LADIATORS, THE Yul Brynner. Director Martin Ritt

LORIOUS BROTHERS, MY Producer-director Stanley
ramer. From Howard Fast's best-tellor.

•REAT WAR, THE Vittorio Gassman, Silvana Mangano
.Iberto Sordi. Producer Dino De Laurentis. Director
<ano Monicelli. 118 min. 9/18/41.

AWAII Producer-director Fred Zinneman Film v«r-
on »f James Miehenor's epic novel.

NVITATION TO A GUNFIGHTER Producer Stanley
ramer. Director Paul Stanley.

AND WE LOVE, THE Color. James Mason, Kate Manx,
eville Brand, Rip Torn, Brendan Dillon. Producer-
irector Leslie Stevens.

HAEDRA Melina Mercouri, Anthony Perkins. Producer-
irector Jules Dassin.

/AY WEST, THE James Stewart, Kirk Douglas
ancaster. Producer Harold Heeht.

Burt

mnnsnznm

September

PHANTOM OF THE OPERA, THE Color. Herbert Lorn,
Heather Sears, Edward de Souza, Ian Wilson, Michael
Gough, Thorley Walters, Patrick Troughton. Producer
Anthony Hinds. Director Terence Fisher. Tale of a
"monster" who terrorizes a theatre. 84 min. 4/25/42.

October

NO MAN IS AN ISLAND Color. Jeffrey Hunter. Pro-
ducer-Directors Richard Goldstone, John Monk, Jr.
War melodrama. 114 min. 8/4/42.

November

IF A MAN ANSWERS Color. Sandra Dee, Bobby Darin.
Producer Ross Hunter. Director Henry Levin. Romantic
comedy. 102 min. 9/3/42.

STAGE COACH TO DANCERS' ROCK Warren Stevens,
Martin Landau, Jody Lawrance, Don Wilbanks, Del
Morre, Bob Anderson, Judy Dan. Producer-Director
Earl Bellamy Western. 72 min. 10/15/42.

January

FREUD Montgomery Clift, Susannah York, Larry Parks.
Producer Wolfgang Reinhardt. Director John Huston.
Story of Freud's initial conception of psychoanalysis.
139 min. 12/24/42.

February

40 POUNDS OF TROUBLE Color. Panavision. Tony Cur-
tis, Phil Silvers, Suzanne Pleshette. Producer Stan Mar-

n'Tes. Director Norman Jewison. Comedy. 105 min.
12/24/42.

MYSTERY SUBMARINE Edward Judd, Laurence Payne,
James Robertson Justice. 90 min.

March

TO KILL A MOCKINGBIRD Gregory Peck. Producer
Alan Pakula. Director Robert Mulligan. Based on
Harper Lee's novel. 129 m'n. 1/7/63.

April

BIRD3, THE Technicolor Rod Taylor, Jessica Tandy,
Suzanne Pleshette. Producer-Director Alfred Hitchcock.

UGLY AMERICAN, THE Color. Marlon Brando. Sandra
Church, Yee Tak Yip. Producer-Director George Eng-
lund.

Coming

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives.
Producer Robert Arthur. Director Harry Keller.

CAPTAIN NEWMAN, M.D. Gregory Peck. Producer
Robert Arthur. Director David Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills. Producer Ross Hunter. Direc-
tor Ronald Neame.

CHARADE Color Panavision. Cary Grant, Audrey Hep-
burn. Producer-Director Stanley Donen.

FOR LOVE OR MONEY I Formerly Three Way Match!
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon.

GATHERING OF EAGLES. A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann.

KISS OF THE VAMPIRE Clifford Evans, Jennifer Daniel,
Edward De Souza, Noel Willman. Producer Anthony
Hinds. Director Don Sharpe.

LANCELOT AND GUINEVERE Color. Panavision. Cornel
Wilde. Jean Wallace. Producers Cornel Wilde, Bernard
Luber. Director Wilde.

LIST OF ADRIAN MESSENGER, THE George C. Scott,
Dana Wynter. Producer Edward Lewis. Director John
Huston.

MAN'S FAVORITE SPORT Color. Rock Hudson, Maria
Perschey. Producer-director Howard Hawks.

MYSTERY SUBMARINE Edward Judd, Laurence Payne,
James Robertson Justice. Producer Bertram Oster. Di-
rector C. Pennington Richards, 92 min. 1/21/43.

PARANOIC Janette Scott, Oliver Reed. Producer An-
thony Hinds. Director Freddie Francis.

SHOWDOWN I Formerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen.

TAMMY AND THE DOCTOR Color. Sandra Dee Peter
Fonda. Producer Ross Hunter. Director Harry Keller.

THRILL OF IT ALL, THE Color. Doris Day, James Gar-
ner, Arlene Francis. Producers Ross Hunter, Martin
Melcher. Director Norman Jewison.

WARNER BROTHERS

September

STORY OF THE COUNT OF MONTE CRISTO, THE

Technicolor. Louis Jourdan,
Hucers Jean-Jacques Vital.
Claude Autant-Lara. Drama
6/1 1/42.

Yyvonne Furneaux. Pro-
Rene Modiano. Director
from the novel. 132 min.

October

CHAPMAN REPORT, THE Technicolor. Shelley Winters,
Efrem Zimbalist, Jr., Jane Fonda, Claire Bloom, Glynis
Johns. Producer Richard Zanuck. Director George Cu-
kor. Based on Irving Wallace's best-seller of a sex
survey in an American suburb. 125 min. 9/3/42.

November

GAY PURR-EE Technicolor. Voices of Judy Garland,
Robert Goulet, Red Buttons, Hermione Gingold . Pro-
ducer Henry G. Saperstein. Director, Abe Levitow.
Animated comedy feature of Parisian cats. 84 min.
10/29/62.

WHAT EVER HAPPENED TO BABY JANE? Bette Davis,
Joan Crawford. Producer-Director Robert Aldrich.
Shock thriller. 132 min. 10/29/62.

January

GYPSY Technicolor, Tech.iirama. Rosalind Russell, Nat-
alie Wood, Karl Maiden. Producer-Director, Mervyn
LeRoy. From Broadway musical hit based on Gypsy
Rose Lee's career. 149 min. 10/1/62.

February

DAYS OF WINE AND ROSES Jack Lemmon, Lee
Remick. Producer Martin Manulis. Director Blake
Edwards. A drama of the effects of alcoholism in a
modern marriage. 117 min. 12/10/42.

TERM OF TRIAL Laurence Olivier, Simone Signoret. Pro-
ducer James Woolf. Director Peter Glenville. Drama of
young girl's assault charge against teacher. 113 min.
1/21/43.

April

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min.

Coming

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom.

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music .

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.
ISLAND OF LOVE IFormerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece.

PALM SPRINGS WEEK-END Troy Donahue. Producer,
Michael Hoey. Director, Norman Taurog. Drama of
teen-agers' riotous week-end.

PANIC BUTTON Maurice Chevalier, Eleanor Parker,
Jayne Mansfield. Producer Ron Gorton. Director
George Sherman. Comedy set in Rome.
PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II.

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda.
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama.

WORLD BY NIGHT NO. 2 Producer Francesco Mazzei.
Director Gianni Proia. 118 min. 8/4/42.

To Better Serve You . . .

Office & Terminal Combined At

1018-24 Wood St. New Phones

labove Vine) Phila.: WAInut 5-3944-45

Philadelphia 7, Pa. N. J.: WOodlawn 4-7380

NEW JERSEY
MESSENGER SERVICE

Member National Film Carries

DEPENDABLE SERVICE!

CLARK
TRANSFER

Member National Film Carriers
Philadelphia, Pa.: LOcust 4-3450
Washington, D. C: DUpont 7-7200

Film IULLETIN — THIS IS YOUR PRODUCT

FIRST CAME

NOW COMES

SALESMANSHIP

dm

IVIARCH 4*

JOSEPH

LEVINE

PICTURES CORP

Time and Life Building • Rockefeller Center • NewYork 20, N.V

BULLETIN

Oioiriiori of tlie Industry

FEBRUARY 18, 1963

FINANCIAL REPORT

Film Shares
No Hot Item

Movie Companies Seen More Speculative
Than Ever by Wall Street and Investors

THE 5000-SEATERS ARE PASSING

DEMISE OF THE
MOVIE PALACE

eviewi

30 YEARS OF FUN

PAPA'S DELICATE CONDITION

SAMSON AND THE SEVEN
MIRACLES OF THE WORLD

LOVE AND LARCENY

MONKEY IN WINTER

LOVE AT TWENTY

THE MARRIAGE OF FIGARO

Mr. Showman,
Mdkeyourowntrjdead,

ion'

Cut out si I of these items and
drrsnge them you nseif, keeping

in wind "Critic's Choice is
everybody's choice <ss the
picture M//fr) the hottest
campaign of all!

on N&f n,\
o^dem

Co-starring

RIP

ELL-TORN -LAI

SPECIAL Bob Hope and L
SPECIAL Bob Hop

nations/ '
bb Hope 'TV

is

Screenplay by JACK SHER- From the stage play by IRA LEVIN -Produced by FRANK P. ROSENBERG" Directed by DON WEIS ■ TECHNICOLOR"- PANAVISION • Presented by WARNER BR0S.1

T/ Spots. SPECIAL Bob Hope and Lucille Ball Badio Spots.
B^l I Theatre Trailers. I SPECIAL Bob Hope and Lucille Ball Teaser Trailer.

KEEP YOUR EYE
ON THE BALL!

PREDICTION: The Crystal Ball says
"TWO screen masterpieces will bring
FABULOUS grosses to box-offices this year! "
RIGHT! The two gold-mine attractions are M-G-M's
"SHOW BOAT" and "THE GREAT CARUSO' -together
THERE's magic, there's money in that package -
THERE'S laughter and tears, there's
STAR-WEALTH, music-glory, heart thrill!
WRITE! PHONE! Rush to your nearest
M-G-M Independent Distributor -
GET ready !

M-G-M prmnfi

SHOW BOAT'

KATHRYN . AVA . HOWARD
GRAYSON GARDNER KEEL

JOE E. BROWN -MARGEand GOWER CHAMPION
ROBERT STERLING • AGNES MOOREHEAD
WILLIAM WARFIELD
color by TECHNICOLOR

From th. Immortal Mu.itol Ploy "SHOW BOAT" by

JEROME KERN and OSCAR HAMMERSTEIN,
do,.d on EDNA FERBER'S n»».i
<r..r, Ploy by JOHN LEE MAHIN
Oiroct.d by GEORGE SIDNEY
Produced by ARTHUR FREED

M-G-M p,.,.„t.

THE GREAT
CARUSO

MARIO LANZA- ANN BLYTH

DOROTHY. JARMILA .BLANCHE
KIRSTEN NOVOTNA THEBOM

TERESA CELLI ■ RICHARD HAGEMAN
CARL BENTON REID
color b» TECHNICOLOR

i by SONYA LEVIEN and WILLIAM LUDWIG

'fd br DOROTHY CARUSO'S BIOGRAPHY OF HER HUSBAND
D.recl.d by RICHARD THORPE
Prod„<«d by JOE PASTERNAK
Auociote Producer JESSE L. LASKT

\Hlkt They're hiking About

□ □ □ In the Movie Business □ □ □

EXHIBITION'S WRATH. Not since the days
when Allied States Association was in its
most militant mood has exhibition voiced such
violent wrath against the film companies as is
heard today. Their resentment, sparked by the
sales of relatively recent, top-drawer films
to the television networks, is overflowing into
other areas of intra-industry dispute dormant
in recent years. And some of the sharpest
words are coming, not from belligerent small
theatre operators, but from executives of
important circuits. It was no "small potato"
theatreman who expressed himself to us in the
following terms: "It is not surprising to me
that some of the distributors feel no
compunction about selling us down the river
by unloading blocks of valuable pictures to
television for a 'quick buck', without any
concern for the fact that they are wrecking the
theatre boxoffice. Th fact is that they have
no respect for exhibition's rights. I suspect they
have been violating every anti-trust law on
the books in recent years by their competitive
bidding policies, by their unique, cleverly
planned, non-competitive releasing practices
that make only one important picture available
at a time (except on holidays), by the price-
fixing pressures incorporated in their bidding
forms, by the uniform patterns they follow in
steadily jacking up the terms of pictures to
squeeze out more and more of the diminishing
profit left for the exhibitor, by maintaining the
product shortage to preserve the sellers'
market. You fellows who run the trade papers
have seen the distributors' unity of action by
their steady curtailment of advertising. I refuse
to believe that all these policies are merely
oincidental; they surely smack of a deliberate,
lanned program. And someone should start
sking if the Motion Picture Association of

America, Inc. might be an instrument for the
violation of the anti-trust laws. I intend to
discuss this privately with some of the TOA
members and with Allied members, with the
thought of bringing it to the attention of the
Department of Justice. The theatremen of this
country, unlike their British contemporaries
who worked together to keep features from
TV, have allowed the film companies to take
every advantage of them in recent years, and
now we suffer the ultimate damage inflicted
by their callous dumping of comparatively new
pictures on TV, to be seen at home almost
every night in the week free of charge, for the
flick of a dial. The distributors pretend to be
fearful of the Justice Department, so they give
their films to the Pay-TV promoters, and they
hold up their hands in horror when somebody
suggests that they refuse to sell their more
recent pictures to the TV networks, or, at very
least, restrict the showings to hours that do
not compete directly with theatre exhibition.
Since they are so afraid of the Justice
Department, I say it's time for TOA and Allied
to start hollering to that branch of our
Government for help from the outrageous
things the film companies are doing to
exhibition."

■

'CLEO' TO LONDON. Even at this late date,
problems pursue "Cleopatra". Darryl F. Zanuck,
director Joseph L. Mankiewicz and the
company which had assembled in Spain to
shoot added scenes for the $40 million
production were forced by bad weather last
week to shift operations to London. Zanuck
had expected the shooting to be completed
by the weekend and planned to be back in the
20th-Fox home office on the 18th. He is now
due to return Monday, 25th. Mankiewicz is
using Richard Burton, Rex Harrison and Roddy
McDowall in the additional scenes, which
perfectionist Zanuck felt were essential to
bridge the story between the phase of
Cleopatra's involvement with Caesar and her
affair with Antony.

Does Mirisch Deal
Mean UA Production?

In a surprising and unusual deal re-
vealed at the weekend, United Artists
announced that it is acquiring, on or
about March 1, the Mirisch Co., whose
films UA has been releasing.

Speculation was rife immediately as
to the implications of the deal. It was
bound to raise the question of whether
United Artists, which has always func-
tioned only as a distributor, was now
about to enter actively into the produc-
tion field.

For the Mirisch company's stock and
full rights to twenty features, 14 which
have been released and 6 in various
stages of production, United Artists will
deliver to Mirisch Co. 62,069 shares of
UA Class B common stock, which is
convertible into regular common. On
the basis of the current approximate
$30 price of United Artists stock, the
purchase involves over $1,800,000.

Under the terms of the deal, it was
stated by UA president Arthur B. Krim,
the three Mirisch brothers, Harold,
Walter and Marvin, have entered into a
long-term contract to continue produc-
ing exclusively for United Artists.
Among their outstanding films of the
past have been "Some Like It Hot",
"Horse Soldiers", "The Apartment",
"Magnificent Seven". In the wings they
have "Irma La Douce" and "The Great
Escape" ready, and four more produc-
tions are under way.

GOLDSTEIN

Page 6 Film BULLETIN February 18, ?43

CAST &
CREDITS

Report on the Industry's
PEOPLE and EVENTS

M-G-M Product To
Move Under Lefko

As was anticipated when he took over
the presidency of M-G-M, Robert H.
O'Brien is building his own team. The
departure of Robert Mochrie as general
sales manager and his replacement by
Morris Lefko will not be the last of the
key personnel changes.

Immediately after his appointment,
Lefko was reported to have set in
motion plans to step up the rate of
release of M-G-M's completed product.

A veteran sales executive who has
established a strong reputation as a
handler of roadshow attractions, Lefko,
56, joined Metro in I960 to supervise
"Ben Hur" sales, coming from similar
duties with Mike Todd's "Around the
World in 80 Days" and with Para-
mount's "Ten Commandments '. His
career in the industry has run the gamut
from poster clerk to booker to branch
manager.

Product Makes the
Film Man— Goldstein

Modesty is hardly a common virtue
of sales managers, but Morey (Razz)
Goldstein might be an uncommon film
executive.

At his first press conference since
becoming president and general sales
manager of Warner Bros. Pictures Dis-
tributing Corp., sparked the coffee and
danish session with this observation:
"Sales managers can be only as success-
ful as the product." And he attributed
his success with Warners thus far to the
fact that he "fell heir" to some box-
office items like "Music Man", "What

LEFKO

Ever Happened to Baby Jane?", "The
Chapman Report" and "Gypsy".

He had words of praise for his com-
pany's advertising and publicity de-
partment, saying it had done a "tremen-
dous" job of selling the pictures. And
the industry press, too, came in for
plaudits from the Warner executive. "It
will always serve a useful purpose in
this industry", Goldstein declared. He
called on the industry to "pay a well-
deserved tribute to the trade press."

Turning to his company's future plans,
he announced that this year's program
will be comprised of 20 features, in-
cluding three reissues, "Giant", which
is getting a brand new campaign, and
a package of "Auntie Mame" and "Sum-
mer Place", set for May release. Head-
ing the array of new releases are "Days
of Wine and Roses", "The Catilian",
"Critic's Choice", "Spencer Mountain"
and "PT-109".

Levine Proves He
Doesn't Burn Money

Joe Levine literally lit up the opening
session of Embassy Pictures' first national
sales convention. Rising before the as-
sembled sales and promotion personnel
of his company and representatives of
the trade press, Embassy's president de-
clared: "They say that all I do is burn
up money. Well' that isn't so." With
that, he dropped a match into a silver

(Continued on Page 12)

u

lewpoints

FEBRUARY 18, 1963 / VOLUME 31. NO 4

VOLUME 31, NO. 4

Make the Oscar Shou? tin Entertainment

On the night of April 8 the Academy
Award Show will empty the streets
and keep people home from the movies
as an audience of from 60 to 80 million
Americans sit in front of their home
screens to watch what filmdom considers
its finest hour in the public eye.

The question is, is it?

It hasn't been.

As an image of the motion picture
industry, the great purveyor of enter-
tainment, the Awards show has, in past
years, left something to be desired, al-
though some improvement has been
noticed since Arthur Freed took over
production of the shows.

This year's show will represent a
basic and substantial departure from
earlier formats, Mr. Freed has stated,
and he has put together a package of
top-rank names to carry the ball for the
show's ninety minutes. But whether the
sturdy backfield of Frank Sinatra, Ethel
Merman and Eddie Fisher will be able
to overcome the slow pace of the seem-
ingly endless line that marches to the
rostrum is another question.

This is not intended, of course, to
minimize the importance of the deserv-
ing, if publicly unknown, recipients of
such awards as best art direction, best
editing or best sound. Everyone who
contributes to the success of a film is
entitled to his moment of glory and it
shouldn't be taken away from him. But
some way might be found to cut down
the television time now consumed in
presenting awards which, though they
are significant to the technical people of
the movie world, mean very little to the
millions of people watching the Oscar
show.

There are two purposes in presenting
the awards and a balance between them
is, perhaps, difficult to strike. The
avowed and central purpose is the rec-
ognition of outstanding contributions
to film making. But if the awards were
simply to recognize achievement, it
would be cheaper, simpler and more fit-

ting to hire a hall and make it a private
affair.

That millions are spent each year on
making the awards an extremely public
affair would indicate that the Academy
is desirous of making some kind of
statement to the millions of interested
people who stay home that night
to watch the show. If the whole thing
was only to let people know who got
what award, that could as well be left
to the newspapers. There must be some
other reason but, it seems to us, it has
not been adequately understood.

The projection of an image of the
industry is part of it, surely. That, and
to promote moviegoing. Why else keep
movie fans away from the boxoffice that
night? But it is a projection that gets a
little out of focus sometimes.

As an image of the entertainment in-
dustry the show has tended, in the past,
at least, to present songs, jokes and
other items as a means of getting
through the serious business of making
the presentations without losing the
home audience in the process. In the
past couple of years, since Mr. Freed's
appearance, there has been a noticeable
tightening up of the pace and conti-
nuity with the effect that the great an-
annual gala of the motion picture busi-
ness has become somewhat less self-
conscious about being entertaining.

As a promotion of the whole movie
industry in terms of an important inter-
national institution, and of moviegoing

BULLETIN

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published every other Monday by Wax Publi-
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Street, Philadelphia 7, Pa., LOcust 8-0950, 0951.
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Europe, $5.00. TWO YEARS. $5.00 in
the U. S.; Canada, Europe, $9.00.

as a desirable and rewarding recrea-
tional activity, the Awards show has
sometime suffered at the hands of m.c.'s
who have apparently felt the duty not
to say anything positive about motion
pictures for fear of sounding like sales-
men, and thus overcompensate by ques-
tionable gags about popcorn and sex in
films. Rather than exhibiting the heal-
thy capacity of the industry to laugh at
itself, which probably was the effect in-
tended, these tired barbs have come
across as fuel for those who might be
only too eager to denigrate our industry.

The Academy's concern to keep itself
and the Oscar voting processes above
commercial influences, studio intrigue
and vulgar ballyhoo is admirable and
essential to the maintenance of the re-
spected position it occupies. But once
the selections have been made and the
vast medium of television decided upon
to broadcast the choices, the presenta-
tion show itself should be designed for
maximum flair and showmanship.

In addition to making the live pro-
ceedings gay and original and as enter-
taining as possible, we again urge pro-
ducer Freed to exhibit key scenes from
the nominated pictures, or, at the very
least, from the winning picture and of
the winning performances. These clips
would not only provide entertainment,
but give people a visual impression of
the reasons for the award.

The point we're making is a simple
one — the Academy Award Show, as the
annual prize-giving event of the enter-
tainment industry, should be, above all
else, entertaining. Drama and excite-
ment is built into the very situation of
the show, the announcement and pres-
entation of awards in which the public
has a great interest. The pacing and pro-
duction of the show could, by building
on that inherent suspense and drama,
result in an entertaining program with-
out detracting from the dignity and pur-
pose of the Academy or of the Oscar
awards. It would, rather, enhance them.

Film BULLETIN February 18. 1963 Page 7

7ke Vieu> frw OutMde

by ROLAND PENDARIS

New Theatre Styles

Every now and then it is worthwhile to do a little thinking
about the technical aspects of the motion picture industry and
how they might be improved, if not revolutionized. Time and
again prosperity has been brought back to the film industry by
the emergence of a new technique, like talking pictures or the
wide screen. It would be nice to see that sort of thing happen
again. So let's talk about the engineering, scientific and techni-
cal horizons.

One recent development in related enterprises that interests
me is the sliding roof stadium, which is an open air amphi-
theatre when the weather permits and an indoor area when rain
or cold makes the roof necessary. If this kind of building is
possible for a football stadium, might it not also be feasible for
a year-round indoor-outdoor drive-in? Might it not be adapted
to the old-fashioned roof-top theatre as well? Couldn't it be a
means of eliminating the weather hazard? Isn't there even a
possibility that an all-plastic dome might lead to the develop-
ment of "theatres under the stars" on the tops of big city
skyscrapers? Take the basic idea of the sliding plastic roof and
play around with it yourself for a while. You'll be surprised
by the number of new ideas it sparks.

Not too long ago people scoffed at the idea of geodesic dome
theatres or shows put inside inflatable fabric buildings. But
these ideas are not quite so far-out now, and I have a sneaking
suspicion that the sliding plastic roof will prove equally reward-
ing to the motion picture industry.

While we are on the subject of technological improvements
for the theatre let's move from the roof right down to the seat-
ing floor. Many restaurants and classrooms have a flexible
capacity. Through the use of folding doors and sliding parti-
tions, they can increase or decrease the size of the basic room
to meet the immediate need. I'd like to apply that idea to the-
atres as well, but possibly with some modifications. For exam-
ple, I'd like to have a number of rooms right at the back of
the basic orchestra seating. These rooms would be separated
from the rest of the orchestra by folding or sliding doors, but
they would not just go unused while waiting for a bigger audi-
ence. They would be equipped, for example, with portable
lounge or game room materiel. Thus they would add to the
facilities of the theatre, either as extra luxuries or as extra
seats. They could also be used for special rentals or as mer-
chandise stalls. The main point is that they would be adaptable
to so many different uses.

Some time ago in this column I created absolutely no discern-
ible enthusiasm at all with the suggestion that the motion pic-
ture theatre of tomorrow be equipped with mechanisms which
could dress up the interior of the theatre in a different way for
each picture. I am stubborn enough to repeat that suggestion
here and now. If somehow the customer knew that every time
he went to his favorite theatre it would look different inside —
like a rocket ship for a science fiction film, like the Alps for a
mountain climbing epic, like Fifth Avenue for a bright Doris
Day comedy — I believe said customer would come more often
to said theatre. Equipment and designs to make these quick
interior changes possible at the theatre should not greatly chal-
lenge the ingenuity of the architects and the engineers. After
all, theatre stages are being changed all the time.

And now let us proceed to areas where the new technology
involves both theatre and film-maker. Let us look at the basic
commodity of the industry, 35mm film, and its more recent
cousin, 70mm film. To begin with, I still cling to the hope that
at some not too distant date big screen 3-D without glasses will
become a fact. This would certainly be the start of the new era
of film technology.

Having said that, what other ideas suggest themselves? First,
there is the matter of the 35mm film itself. I do not worship
35mm, much less 70mm. I think some of the industries prob-
lems would be a lot simpler with smaller size film. I believe
that improvements in the graininess of film and the intensity of
light projection, reflection and magnification will one day make
it possible for 8mm sound film to be used for theatre projec-
tion. That day may be distant. Television news still prefers to
work with larger sizes, and TV offers a much smaller picture
than the movie screen. But 8mm sound film of professional
standards is certainly worth seeking.

As to the advantage of 8mm, just think of what it would do
to the costs of film distribution and handling, the size of pro-
jection booths, the number of different prints which could be
stored in the average exchange or the individual theatre,
movies. I emphasize the word effectively.

->*►

Now let's get to the area of production itself. It seems to me
that after all these years photography for the motion picture
screen really hasn't progressed so far if we still have to build
million dollar sets to get the look of million dollar sets. Tele-
vision has developed matting and trick photography far beyond
the degree to which these processes are effectively used in the

Surely there must be ways of using stills, miniatures, stock
footage and the like to recreate realistic settings without having
to spend months building full-size sets. Surely there must be
ways — indeed, some have already been used sporadically — of
monitoring a scene as it is being shot, instead of waiting for
the rushes. And surely there must be a few other ideas around
for improving the methodology of film production.

And finally there are the miscellaneous bits and pieces of
modern technological ingenuity which the industry could profit-
ably employ. When I first started talking about the advan-
tages of modern science to the industry some years ago I men-
tioned the use of computers. There was derision then, but
it seems that the computers conquered it. Now there is a some-
what lesser degree of derision for modern business improve-
ments. The guys who said the candy machine would never re-
place the old fashioned counter are not quite so sure. The indi-
vidual seat refreshment service, via coin slots, push buttons and
pneumatic tubes, is not quite as blue sky as it used to be. Nor
is there yesterday's bland certainty that the motion picture busi-
ness is so different it cannot be automated at the box office.

Probably the most rewarding reaction to this column would
be not the proof that the ideas here expressed were practical,
but rather an outpouring of other and undoubtedly newer and
more imaginative ideas from the showmen in the field. The best
ideas often come not from the laboratory but from the grass
roots. The scientists know how to do things; but they have no
patent on knowing what needs doing. For my part, I'd be
delighted to provide a forum for the ideas — the wilder the
better — that showman want to throw at the technicians. Come
on in, the water's fine.

Pag« 8 Film BULLETIN February 18, 1943

SM1LLER, MORE INTIMATE THEATRES
REPLACING HUGE WHITE ELEPHANTS

The Vanishing
Movie
Palace

The vastness of the 5,000 seat Fox, San Francisco,
can be gathered from this view of the auditorium.

By CHARLES F. DAVIS
One of the grandest, biggest movie
palaces in the coutnry will rumble to
the ground when the wrecker's iron ball
goes crashing into the proud old walls
of the Fox Theatre in San Francisco this
month.

Built at the height of moviedom's
golden era as the pet project of theatre
magnate William Fox, the grandiose
Fox opened its heavy bronze doors to a
glittering gathering of local gentry and
Hollywood celebrities in June of 1929.
The ten-story structure contained a 90-
foot stage with elevating orchestra pit,
52 dressing rooms, an elaborate pipe
organ and an Italian marble floor com-
pletely hidden under a $35,000, 3,000
square foot carpet.

Hit by the depression, the S. F. Fox
closed for nearly a year in 1932, re-
opening under the direction of Nation-
al Theatres, but on much less grand a
scale. Admission prices dropped from
two and three dollars to 15 to 30 cents.

Now the Fox goes down, and a 25-
million dollar high rise commercial
complex will replace the 5,000-seat
movie palace with half a million square
feet of commercial and office space. The
venture is being jointly promoted by
National General Corporation offspring
of National Theatres, and Sunset In-
ternational Petroleum Corporation.

The skyline-changing development
program is part of National General's
ambitious policy of diversification of
activities centering around its basic
business of operating a theatre chain.
National General's activities range from
refreshment counters and gift shops at
theatre locations to a housing project,
community antenna systems, urban de-

velopment projects and even include a
popcorn popping plant to supply thea-
tre refreshment counters.

San Franciscans, who never com-
pletely filled the Fox, are likely to miss
it when it goes, miss it as one misses
a rather dotty and pretentious maiden
aunt whom one tends to ignore while
she is alive and reminisce fondly upon
once she is no longer, alas, among us.

The demise of the San Francisco Fox
is part of a broad change that is taking
place in the face and form of motion
picture theatres. Radio City Music Hall,
that unique national tourist attraction,
to the contrary notwithstanding, the
huge movie house is on the way out.
The Roxy in New York has gone. So
has Philadelphia's Mastbaum. Times
Square's Paramount is valiantly strug-
gling to remain active. Some theatres,
instead of being razed, have, by ingen-
ious architectural alterations, been cut
down to meet the size of the audience,
sometimes to accommodate Cinerama,
as in the case of Loew's Capital in New
York. But whether wrecked or reduced,
the outsized movie houses are vanishing.

Fewer Seats Needed

For one thing, there just isn't enough
business to keep them respectably filled.
With fewer people going to the movies,
fewer seats are needed. Since the advent
of TV the crowd of 80 to 90 million
people who used to line up at the box-
office each week has been cut in half,
the statisticians tell us, reduced to a still
loyal and fairly steady 40 to 45 million
weekly customers. So, this trend to-
wards smaller theatres is a realistic ad-
justment to the diminished movie audi-
ence, as well as other factors, including
the changing patterns of distribution.

The coming of hard-ticket releases,
for one thing, has meant a preference
for smaller, legitimate-type theatres.
The apparently successful innovation of
the premiere showcase plan and the sat-
uration scheme of marketing films are

having the effect of spreading the audi-
ence among a larger number of smaller
theatres rather than trying to gather
it into one huge downtown house. Also,
the steadily reduced output of U.S.
pictures in recent years necessitates
longer runs to gap the sparser releasing
schedules, and extended engagements
are more feasible in smaller theatres than
in the audience-hungry leviathans. These
distribution policies are adding another
problem to the big film houses, already
beset by the high cost of maintenance
and staffing.

But it is not only economics that is
putting the squeeze on the celluloid
coliseum. Audiences apparently find
greater enjoyment in seeing a film in a
smaller theatre. The giant movie palace
was often an exercise in bigness for the
sake of bigness, an attitude that has
undergone some changes since the
Twenties. People are less impressed by
sheer size and ornate atmosphere than
was once the case and are coming to
appreciate some of the advantages of
the proportionately sized cinema.

The success of the more intimate
theatre into which many less pretentious
class films have naturally gravitated and
the tendencey of some moviegoers to
wait for the neighborhood run of a film
have brought home to audiences the
advantages of the smaller theatre. The
subject matter of many of today's films
is better captured in more intimate sur-
roundings. Strangely enough, the visual
impact of even the spectacular produc-
tion comes over better in the closer
quarters of the smaller theatre. It has
been found, for example, that Cinerama,
the biggest screen of all, needs a theatre
of approximately 1,000-1500 seats to
be most effective. And, going to the
other extreme, imagine the lost impact
of a "David and Lisa", or some other
such delicately treated film in the huge
San Francisco Fox!

All emotional responses are contag-
ious, and much of the emotional impact
(Continued on Page 12)

Film BULLETIN February 18, 1943 Page 9

WHAT EVER HAPPENED TO THOSE STIMULATING SALES CONVENTIONS?

It is your scribbler's contention that
the profligacy manifested when national
sales conventions were an annual "must"
was a most important factor in keeping
any film company on the sunny side of
the street. And with the disappearance
of these organized rites which exuded
optimism that would make any Rotar-
ian look like a sad sack, the industry
lost a morale builder that in my opin-
ion can never be replaced with anything
short of off-track betting. For the very
nature of the national sales convention
was evocative of everything that was
real fun in the production, advertising
and marketing of motion pictures.

Their inordinate utilization of hyper-
bole combined with gaudy decor made
a delegate feel like he belonged to a
world of joy and inspiration and that
life after all need not be so gloomy and
sordid. The free drinks, cigars and the
entertainment, which was often high-
lighted by a few stars, never failed to
convince the boys that the films they
were about to peddle were the greatest
boon to the nation's, let alone the com-
pany's, welfare.

A good sales convention with all the
trimmings cost around $100,000, which,
of course, was tax deductible. But this
was nothing compared to the benefits
derived from the care and feeding of
personnel and to the benefits gained
in galvanizing an entire selling force
into singing the praises, not only for
its own wares, but for an industry
which could always use a little more
good-will and a lot more enthusiasm.

For some peculiar reason, the major
companies were always the first to re-
treat and retrench when they though a
crisis was just around the corner.
Strange to say, just when morale was
needed most was the time they picked
to cut down on advertising (particu-
larly in the trade press, to make sure
that exhibitors would know they were
depressed) and publicity personnel.

And that was also true in the case
of the national sales convention. Some
specialist in logarithms would ask what
good these expensive outings accom-
plished, and nobody had the right
answer. The answer could have been
stated quite simple merely by saying
bravely that these deluxe picnics epi-
tomized the spirit of the carnival,
which we, in an off moment, refer to
as a business. But, you might ask, why
do we need these conventions today,
especially when there are fewer pic-
tures? What would the general sales
manager have to talk about if he only
had a few pictures on the shelf and
hardly any others on the way?

My answer is that there does not

ADAM WEILER

have to be a reason beyond the sensible
one of letting a sales organization know
that the company expects to be in busi-
ness for a long time. And even though
things get a little tough, we can say
Amen to Adolph Zukor's firm belief
that we are still the number one answer
to the public's desire for entertainment.

But even more important in justify-
ing the sales convention is the need, at
least once a year, to indoctrinate per-
sonnel in the glorious traditions of the
morion picture business; and to let them
take their eyes off the dull bookkeeping
forms long enough to realize that there
is still some romance left in selling
movies, just as there is still plenty left
in the pictures entrusted to them.

On the subject of morale building, it
should be required viewing for every
one in this business to see the television
show, "The Fabulous Era", which should
convince the entire industry that while
we worry about the future, there is
much to cheer in the past. This "Fab-
ulous Era" probably is the best public
relations we ever had, and when we
think that we never had the initiative
to do it on our own, we might feel just
a wee bit silly.

For a number of years, I have heard
a show such as the "Fabulous Era" being
discussed, but there was always some
bigwig to say it could not be done.
Now that most of the producing com-
panies have cooperated in making it
possible for the smart lads who put it
together, maybe it's not too late for the
Academy to try to give some attention
to tradition in its forthcoming "Oscar"
show. It's good to know that Mr.
Arthur Freed has announced that he is
changing the format of the telecast.
If he really wants some first-rate assist-
ance, he should get authority to engage
David Wolper, who produced "The
Fabulous Era."

The frankness demonstrated by most
newspapers in reporting matters of sex
these days indicates that the public has
acquired a degree of sophistication. It
is surprising that some of our pro-
fessional do-gooders have not advocated
the classification of news, requiring

newspapers and magazines to print ban-
ners stating that only adult should see
today's issue because some naughty sex
story appears on page two.

This may seem absurd offhand, but
the way things are going in the enter-
prising "lilly white" fields, what may
seem absurd today could well be a
statute tomorrow.

I believe we should be alarmed to
read that the New York State G>uncil
of Churches "supports legislation which
encourages the use of mass media in a
responsible and reasonable manner and
which improves the content both
morally and intellectually of the infor-
mation disseminated." The Council is
"concerned with the influence of mass
media where it is used to excite prurient
interest, to offend decency and is ob-
scene or portrays brutality and crime
as desirable or acceptable."

I am unable to recollect any motion
picture that was so sordid as to do all
of this, it seems quite likely that the
Council must have motion pictures in
mind. Generally, when there is a men-
tion of mass media in these pronounce-
ments, media is used synonymously with
motion pictures.

Considering all the problems facing
the nation, I regret that the churches
and certain organizations are expending
so much time and energy worrying
about the deleterious influence of mass
media. For many years this has been
going on, mainly because the opposition
to any position taken by these guardians
of the public behaviour is scattered
and nearly negligible. At least someone
should ask why there is seldom a rebut-
tal to such pronouncements, or why
equivalent pressures are not generated
on behalf of the First and Fifth Amend-
ments.

It took the churches a long time to
get into the fight on segregation. Most
right-thinking folks believe that segre-
ation is morally and intellectually wrong
and certainly is un-Christian.

The churches must realize that classi-
fication is persuasive in the south in the
sense that Negroes are classified as un-
qualified to get seats other than in the
segregated section. It is to be hoped
that churchmen and other well mean-
ing groups who advocate classification
and/or censorship of movies will be
just as fervent to make sure that ad-
mission to theatres is granted to any
one regardless of color.

The same goes for Representative
Walter Rogers of Texas, who is push-
ing for a special subcommtitee to in-
vestigate the production, distribution
and exhibiton of "objectionable motion
pictures and related advertising."

Page 10 Film BULLETIN February 18, 1763

FINANCIAL REPORT

Wall Street, Investors Regard
Film Shares Too Speculative

By PHILIP R. WARD

The Dow- Jones industrial average last Friday (15th) rose
to its highest level since April, 1962. With the bulls in rather
steady control of the market during early '63, what has been
happening to movie shares since the new year arrived? A look
reveals that some of the lustre that attracted investors to the
industry last year has dimmed.

With three notable exceptions, stocks of the film companies
have failed to keep pace with the general market rise. More
and more of late, one hears Wall Street observers refer to the
speculative nature of movies shares, the lack of production
continuity and, instead, the preoccupation with occasional
"blockbuster'' attractions. This type of operation is viewed with
jaundiced eye by those seeking sound investments, since they
have learned from experience in recent years that there is no
guarantee of profit in the eight and ten million dollar produc-
tions. As a result, there is a lack of broad, long-range interest
in the industry, as such; rather, one finds sporadic buying in
individual companies as they show concrete signs of improving
their earnings over the short haul.

In its most recent analysis of the industry, Value Line Invest-
ment Survey made the pertinent point that the concentration on
blockbusters "has increased enormously the risk inherent in
investment in motion picture equities. With so much riding on
so few pictures, one or more film failures can result in greater
losses than would have been true, say, 10 years ago." While
Value Line also point out, conversely, that one or more big hits
can boost earnings sharply, important investors today seem to be
cool toward taking the gamble. There are indications, for in-
stance, that few of the large investment institutions have been
putting much of their substantial funds into film industry shares
in recent months.

The strongest industry shares from the first of the year
through Feb. 15 have been these: MCA, up 5l/2 continues a
steady rise that began from a low of 33 just before consumating
its deal to acquire control of Decca-Universal; 20th Century-Fox,
up 5%, riding the wings of its "Cleopatra" prospects and the
huge cash guarantees it is obtaining from theatres for exhibition
of this $38 million spectacle; Walt Disney, up 4%, on the
strength of its flashy financial statement for the past fiscal year
and the bright outlook for '63.

:orman Takes Over Cinerama Debt

Seeking "improved financing with interests more familiar
ith the motion picture industry", Cinerama has transferred a
lajor debt from the Prudential Insurance Company of America
o California theatre tycoon William Forman. The latter last

496 of the foremost

financial houses in the U.S.

read

BULLETIN

week took over from Prudential 15 million dollars in 6%
secured notes and warrants to purchase 300,000 capital common
stock of Cinerama at $4 per share.

The transfer was initiated by Cinerama president Nicolas
Reisini, who stated that he was able to get better terms from
Forman than from Prudential. Under the prior agreement, the
insurance company shared in the profits of Cinerama, which
Forman won't do.

Filmways Net Up; Sets Big Program

Filmways, Inc., which is making a strong push into theatrical
production this year, showed a net profit of $44,880, after
provision for taxes, for the quarter ended Nov. 30. This com-
pares with a net of $87 for the first quarter in the prior year.
Gross revenues increased to $2,990,185 from $2,547,634.

Filmways, headed by Martin Ransohoff, has embarked on a
program of five features for this year entailing a total outlay
of $10 million. The first production, "Wheeler Dealers ", is
currently shooting at M-G-M and will be distributed by that
company. Other Filmways' pictures will be released by United
Artists and Columbia.

WB Shows 1* Per Share Rise

Warner Bros. Pictures reported consolidated net income of
$2,010,000 (4l£ per share) for the three months ended Dec. 1,
1962, compared to $1,939,000 (400) for the same period in
1961. The board, in meeting on Feb. 6, reelected all incumbent
directors.

FILM & THEATRE STOCKS

Close Close

Film Companies 1/31/63 2/14/65 Change

ALLIED ARTISTS 3% 3% %

ALLIED ARTISTS (Pfd.) 9% 9%

CINERAMA 16 16% + %

COLUMBIA 23 24% + 13/,

COLUMBIA (Pfd.) 791/2 83 + 3%

DECCA 4514 453/8 - 1/3

DISNEY 321/2 31% 34

FILMWAYS 6% 6y8 - %

MCA 531/2 541/g + %

MCA (Pfd.) 35 351/4 +1/4

M-G-M 30 291/2 V2

PARAMOUNT 39% 403/8 -\ - iy4

SCREEN GEMS 17% 17% %

20TH-FOX 26% 25% -1%

UNITED ARTISTS 30% 30% + %

WARNER BROS 15 143/4 - %

* * *

Theatre Companies

AB-PT 36i/2 35% - %

LOEW'S 20 Va 19% 1%

NATIONAL GENERAL . .10% 11% +1%

STANLEY WARNER 22% 22%

TRANS-LUX 13 13

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, American

Exchange; all others on New York Stock Exchange.)

* * *

1/31/63 2/14/63

Over-the-counter Bid Asked Bid Asked

GENERAL DRIVE IN 10 11 10 11

MAGNA PICTURES 1% 1% 2% 2%

MEDALLION PICTURES 5 53/4 5% 5%

SEVEN ARTS 8% 9% 9 9%

UA THEATRES 5V2 6% 5% 6%

UNIVERSAL 58V2 62% No quotation

available

WALTER READE STERLING . 1% 2y4 1% 2%

WOMETCO I91/4 21 I91/2 21

(Quotations courtesy National Assn. Securities Dealers, Inc.)

Film BULLETIN February 18, 1963 Page 11

CAST AND CREDITS

LEVINE DOESN'T BURN MONEY

( Continued from Page 6 )
dish. Flames shot high, and when the
small inferno subsided, Levine reached
in and retrieved an unscorched ten
dollar bill.

The stunt was typical of this inde-
fatigable showman who knows the
value of ballyhoo. He told the conven-
tion that he is staking $25,000,000
in co-production deals this year, that
Embassy will release a minimum of 23
features during 1963. And at the closing
session, the one devoted to the story of
"the traditional Embassy pattern of
showmanship, unlimited", he said that
his company will spend $8 million to
promote the 23-picture program.

The distribution force also heard
about the forthcoming product from
v.p. and general sales manager Carl
Peppercorn, about the showmanship
campaigns from v.p. and world-wide
promotion chief Robert R. Weston and
director of exploitation Charles Cohen.

ARMSTRONG

Allied to T0A: We
Like Preview Idea

Allied States Association has no
pride of authorship when it comes to
alleviating the stagnant product situa-
tion. It likes TOA's Hollywood Pre-
view idea, and urges all theatremen
to give it the fullest possible support.

Last week Allied president Jack Arm-
strong dispatched this message to TOA
president John Stembler: "We are
happy to endorse the second Holly-
wood Preview Engagement picture,
MGM's 'Courtship of Eddie's Father'.
The success of this project, inaugurated
so profitably last fall for 'What Ever
Happened to Baby Jane?' is of tre-
mendous importance to every exhibitor
in the country . . . The committee, so
ably headed by Nat Fellman, is to be
commended for the development of
this effective plan to alleviate the irreg-
ular releasing plan which is deterimen-
tal to all segments of the industry."

LUDWIG

'63 Likely Disney's
Biggest Year— Ludwig

Walt Disney continues to provide
proof positive that the film maker who
knows his market and has the know-
how to supply what it wants can main-
tain and increase his share of the enter-
tainment dollar.

Irving H. Ludwig, president of Dis-
ney's distribution arm, Buena Vista, last
week told the trade press that with
eight definitely, and possibly nine, pro-
ductions set for release, 1963 could be
the company's "greatest" year. At a
gay "21" luncheon, he dropped these
choice financial tid-bits: "In Search of
the Castaways" is headed for $6 mil-
lion in domestic film rental; "Son of
Flubber" is running ahead of "Absent-
Minded Professor", may hit a record
S10 million gross.

Suit Hits 'Fail-Safe'

The first production project of the
new Entertainment Corp. of America,
"Fair-Safe ", ran afoul of a plagiarism
suit that likely will delay the sched-
uled May 1 start of the film. In one
action, Stanley Kubrick, produced-direc-
tor of "Dr. Strangelove, or How I
learned to Stop Worrying and Love the
Bomb", announced that he is seeking
an injunction to halt the filming of
"Fail-Safe". He also revealed that the
authors of a novel, "Red Alert", and
Columbia Pictures, which will release
"Dr. Strangelove, Etc.", have filed a
multi-million dollar damage suit against
the "Fail-Safe" authors, ECA and two
publishing firms.

Floersheimer Back

Albert Floersheimer, Jr., has returned
to his old stamping grounds, the Wal-
ter Reade organization, which he left
six years ago to serve TOA as p.r.
director. He has been appointed direc-
tor of advertising and publicity for
Walter Reade-Sterling, Inc., it was an-
nounced by vice president Sheldon
Gunsberg.

The Vanishing 3favie Palace

(Continued from Page 9)
of a film is lost when it has to jump
the empty seats between members of an
audience scattered throughout a huge
theatre. When a person leaves his tele-
vision screen to go to a movie he is
looking for an evening spent among
people. This the smaller theatre pro-
vides; it provides the spectator with
the desired sense of participation with
others in witnessing the film.

Following the move to the suburbs,
theatremen are settting up theatres in
every new shopping center on the out-
skirts of cities. Going to a movie at
the shopping center might lack some
of the glamor of an evening in town,
but many people will sacrifice that for
the convenience of less travel, ample
parking space and freshly-built, more
intimate theatres. This, naturally, effects
theatre business in the city and deter-
mines what kind of downtown theatres
are built, left standing or torn down.

The new theatres being constructed
and those most likely to prosper are
the houses of around 1,000 seats or
less. The hard facts of diminishing
ticket sales and rising real estate values
are closing in on the others.

In some instances dual theatres are

making an appearance: two auditoriums
side by side, or one atop the other.
Cinema I and Cinema II in New York
and the Elgin and the Little Elgin in
Ottawa are examples of this particular
use of space. Theatres are beginning to
form an integral part of center city real
estate development projects, even to the
extent of going underground, as with
Cinema Ville Marie, part of Place Ville
Marie, the recently-completed Webb
and Knapp office-plaza-shopping com-
plex in downtown Montreal. This first-
run class house is part of a below-stairs
shopping mall, an unthinkable location
not so long ago.

And so, the huge cavernous movie
palace is vanishing from the scene,
forced off by harsh economics. But some-
thing else, something perhaps even bet-
ter, is taking its place. Economic factors,
against which the artist is so often
pitted in his struggle to survive as an
artist, seem to have come to his aid in
determining, unwittingly perhaps, that
films will be shown in locations more
suitable for their presentation and
viewing than the pretentious amphi-
theatres designed to impress the folks
from the country, whether they visited,
or lived in, the city.

Page 12 Film BULLETIN February 18, 1963

74/6at toe S&otumm rfie 'Doinaf

MERCHANDISING * EXPLOITATION

DEPARTMENT f

IVOLI THEATRE

66

99

Tickets ©if Sale

A lady who needs no introduction is
getting none as she makes her appearance
before the American public. "Cleopatra"
s bowing in without benefit of title or
xedits in the pre-run advertising campaign
or the long-awaited 20th Fox epic which
vill debut nationally on June 12.

This unique bit of showmanship, made
easible by the extensive world-wide pub-
icity received by the film during its hectic
nd costly production era, consists of a
minting of Cleopatra and Antony, played
»y two well-known performers. The copy
nerely states such vital details as the
•pening date, the theatre, scale of admiss-
on prices and the fact that tickets are now
>n sale. Nowhere does the title "Cleo-
>atra" or the names of the celebrated stars
ppear in the ad. The merest hint is given
n the line: "20th Century-Fox Is Proud
"o Announce the Opening of the Motion
'icture the World Has Been Waiting
ror!"

i The campaign was announced recently
>y Seymour Poe, 20th-Fox vp in charge of
Vorld-wide distribution who noted that
his "could not have been done for any
•ther picture in the history of the film
•usiness."

In discussing the novel campaign Wil-
iam H. Schneider, advertising consultant
or the film, noted the current trend in
dvertising towards the return to a much
nore creative approach and added that
:he term "creative imagination" should be
pplied, not only to the people who make
ihe ads, but to "those people who are
esponsible for accepting a new advertis-
ng concept."

j|>< V>C

X >< x >r i f L

mm

Yes, Yes, UA Is Sending
'Dr. No' on 20-City Tour

Dr. No, the secretest secret agent of
them all, is coming to town and it's no
secret. In fact, if he were on a secret
mission he'd never make it. But secrets
don't sell movies, so he's going all out to
make his presence known.

The extent that the good gentleman of
the shadows is expected to step out of
character was revealed recently by United
Artists, distributors of the Harry Saltzman-
Albert Broccoli production, "Dr. No",
slated for May release.

The plans, outlined by UA vice presi-
dent Fred Goldberg and Gabe Sumner,
national director of advertising, publicity
and exploitation, call for the film's star,
Sean Connery, who plays the fictional
James Bond, daring British secret service
agent, to visit New York, Chicago and
Los Angeles, among other cities, accom-
panied by three beautiful models. Screen-
ing interviews will be conducted for the
press who will be assembled from the sur-
rounding area. First stop in Connery's
tour will be the Show-A-Rama convention
in Kansas City, where M. B. Smith, Com-
monwealth Theatre executive, will preside
over a "Dr. No" session.

A "Dr. No" kit, containing books by
Ian Fleming, creator of Bond, and pro-
motional photographs and other material,
plus a set of nine paperbacks is being sent
to 250 editors announcing Connery's tour.

$10,000 in Prizes Offered
SW Managers To Boost B.O.

Stanley Warner theatres is putting up
$10,000 in prize money and the circuit's
theatre managers are expected to put up
the effort to win their shares in a "Dol-
lar Drive" to boost boxoffice receipts and
miscellaneous income.

The drive, which launches the second
decade of S-W operation, was organized
at a meeting of Stanley Warner ad men,
with promotion chief Harry Goldberg at
the helm. Executive v. p. Samuel Rosen
told the circuitmen that the company was
organized at a time when the industry's
fortunes were at low ebb. "It is gratify-
ing", he said, "to mark our 10th anni-
versary when the tide appears to be turn-
ing in our favor."

APFEL EMBASSY AD DIRECTOR

Ed Apfel takes over
as director of advertis-
ing for Embassy Pic-
tures, effective March
1, it was announced by

„ vice president Robert

R. Weston, head of
Wftt world-wide promotion,
Wk. last week.

Apfel, formerly with M-G-M, will su-
pervise creation and implementation of
advertising on Ambassy's forthcoming
program of releases, including "The Car-
petbaggers", "Nevada Smith", "Landru"

'BABY JANE' WINNERS

Ten theatremen found that
showmanship pays off in dollars
when they received their cheeks
from $500 to $50 as winners in
the Managers Contest for pro-
motion of TOA's Hollywood
Preview Engagement of "What
Ever Happened to Baby Jane.-'"
The selection was composed of,
1. to r.: Ernie Grossman, promo-
tion manager of Warner Bros.;
Ed Feldman, v. p. of Seven Arts
Productions, and TOA's Joe
Alterman and Herman Silver.
First prize of $500 went to
Shelby Burne and Jack Kemp-
ton, of Commonwealth Colum-
bia Theatres, Columbia. Mo.

Film BULLETIN February 18. 1943 Page 13

"Lave and Larceny"

"Rati*? O O ©

Laugh-filled satire on crime. Italian import will score
heavily in art market, and is exploitable for general
market if dubbed version is made.

An exceptionally funny crime comedy reaches these shores
from Italy, somewhat in the vein of the successful "Big Deal on
Madonna Street." Vittorio Gassman is simply superb as a small-
time actor turned professional con man. Art house returns will
run above-average and the abundance of entertainment elements
could make this, with proper promotion support, a successful
attraction in the general market. Director Dino Risi plays the
broad comedy strictly for laughs and his fast-paced, imaginative
direction is a pleasure to behold. A splendid supporting cast
give the doings an added dimension of zaniness. The laughs be-
gin early when the now-retired Gassman and his anti-crime
wife, Anna Maria Ferrero, greet a stranger at their door with a
hard-luck story. His attempt to swindle them via a candle-stick
switch fails, and Gassman offers to recount the story of his bril-
liant career as a guide to the bumbling young crook. In flash-
back, Gassman's first swindle lands him in prison where he
meets Peppino De Filippo, an elegant crook who anoints his
hair with sardine oil. Released, the two of them con a shop-
keeper out of a pair of shoes, by as juicy a ruse as you've ever
seen, pose as Santa Claus and an angel to collect "orphanage
contributions", and extort money from a restaurant owner after
"doctor" Gassman threatens to report to the authorities that
De Filippo has been served poisoned food. Gassman branches
out on his own and rises to the top of his profession. Now he
teams up with sexy con woman Dorian Gray and pulls his most
spectacular job. Disguised as a general, he cons a noodle manu-
facturer into giving him a huge bribe in return for an army
contract. At this point Miss Ferrero tricks Gassman into mar-
riage, and thus a life of domestic boredom begins for him.
Returning to the present, the young "crook" reveals himself
as a detective and places Gassman under arrest. Gassman phil-
osophically bids farewell to his unhappy wife. In the "police
car," the driver turns out to be De Filippo and the three con
men set off in search of new adventures.

Major Film Distribution. 94 minutes. Vittorio Gassman, Anna Maria Ferrero, Pep-
pino DiFilippo. Produced by Mario Gori. Directed by Dino Risi.

"Monkey in Winter"

SccAutete Rati*? O O Plus

Well-acted, engrossing French import with sub-titles.
Gabin, Belmondo play to hilt. Strong art attraction.

From France comes this moving, sub-titled comedy-drama be-
ing released by M-G-M. It should garner a strong response in
the expanding art market. The title refers to an old Chinese
legend according to which the bitter, cold winter would bring
hundreds of monkeys from the wilderness to the towns. Be-
wildered by the strange environment, they would wander from
place to place until the kindly townfolk put them on a train,
returning them to the familiar forests. Splendidly acted by that
old pro, Jean Gabin, and Jean-Paul Belmondo ("Breathless,"
"Two Women"), the film revolves around "outsiders" of a
sort and their winter adventures in a small Normandy town.
Gabin is a reformed alcoholic who runs a hotel and who cher-
ishes the memory of his adventurous past in the Far East. Bel-
mondo is a drifter who envisions himself as a heroic bull-
fighter. He has come to Normandy to fetch his schoolgirl
daughter whom he has never met. Afraid of the meeting, Bel-
mondo builds up his courage with alcohol, while Gabin, sensing
they are birds of a feather, waits for the moment when he
knows he will go "off the wagon." Director Henri Verneuil has

adroitly merged the comic and serious aspects and effectively
played them off against the quiet, seaside town. There is an
exciting opening during a World War II bombing when a
drunken Gabin vows to give up drinking if he is allowed to
live, followed by many touching sequences where Gabin tries
to dissuade Belmondo from drinking so much, capped off by a
riotess climax where a drunken Gabin and Belmondo launch a
"military attack" on the daughter's school, Belmondo creates
a sensation by using the main street as an arena and pretending
the approaching autos are bulls, and the two of them set off a
fireworks display on the beach. Excellent support comes from
Suzanne Flon, Gabin's anti-alcohol wife, plus all of the colorful
townspeople. Dawn finds Gabin returning to his sober ways
after putting Belmondo and his daughter on the train.

M-G-M. 104 minutes. Jean Gabin, Jean-Paul Belmondo, Suzanne Flon. A Cipra-
Jacques Bar Production. Directed by Henri Verneuil.

"Love at Twenty"

SetdtHedd R<zti*u? O O Plus

Five short stories comprise this multilingual import. Two
are stand-outs. Good art market entry. OK for class spots.

Five vignettes illustrating young love around the globe are
on display in this sub-titled Embassy release. Shot in five coun-
tries by five youthful directors, audiences can explore: (1) the
growing emancipation of girls in France (Francois Truffaut),

(2) economic and class differences in Italy (Renzo Rossellini),

(3) the rigid separation of classes in Japan (Shintaro Ishihara),

(4) a new social mobility in Germany (Marcel Ophuls), and

(5) the Polish post-war generation's inability to communicate
with their heroic elders (Andrzej Wajda). The diverse cine-
matic styles, plus the current popularity of this type of film
("Boccaccio '70," "7 Capital Sins") augur good returns in art
houses and selected class situations. The French and Polish
sequences are the most effective. Truffaut, returning to the poig-
nant, tender mood of "The 400 Blows" and once again using
Jean-Pierre Leaud, creates a memorable tribute to the first stir-
rings of romance. Leaud, a young worker, falls deeply in love
with sophisticated student Marie-France Pisier, who, despite hi;
many overtures, treats him merely as a friend. Leaud is crushec
when Mile Pisier expresses interest in a more worldly boy
Wajda's cruel episode finds students Barbara Lass and W. Kow
alski at the zoo. When a little girl falls into the bear-pit
Kowalski doesn't move. An older man, Z. Cybulski, jumps ir
and saves the child. Miss Lass invites the shy, dull Cybulski t(
her apartment to clean up. Her student friends arrive and taun
him into recounting his heroic deeds against the nazis. He be
comes completely unnerved, and the students dismiss him as ;
dullard. Cybulski goes back to his humdrum life, while Mis
Lass picks up again with Kowalski. Rossellini's vignette see:
handsome Geronimo Meynier breaking off with wealthy Eleo
nora Rossi-Drago for poor Christina Gajoni. Miss Drago con'
vinces the latter that Meynier will never be able to stand i
poor life. Ishihara's sketch finds maladjusted factory-worke
K. Furuhata in love with a pretty, wealthy student. Since clas
differences make his love impossible, he kills her. Ophuls' tale
told against the background of a rebuilt Germany, finds success
ful reporter and high society darling Christian Doermer decid
ing to marry poor Barbara Frey after she has his baby. Whei
he sees her again, he realizes he is in love with her.

Embassy. 113 minutes. Eleanora Rossi-Drago, Jean-Pierre Leaud. Produced b
Pierre Roustang. Directed by Francois Truffaut, Renzo Rossellini, Shintaro Ishihar;
Marcel Ophuls, Andrzej Wajda.

• POOR • • FAIR

• • • GOOD • • • • TOPS

Page 14 Film BULLETIN February 18, 1943

"3D Years of Fun"

Another funny and fast'moving Youngson anthology.

The "belly laugh" is on display in this latest Robert Young-
son anthology of silent film reminiscences. Starring many screen
clown greats, this 20th Century-Fox release records the comedy,
excitement and glamour that was king from the Gay Nineties
through the Roaring Twenties. As with producer-scripter
Youngson's previous ventures, "30 Years of Fun" will prove a
solid supporting attraction in all situations; rewarding enter-
tainment for audiences of all ages. Opening turn-of-the-century
sequences show Lillian Russell posing in bejeweled splendor,
the coming of the automobile, a serious moment as San Fran-
:isco is stricken by earthquake and fire, and photoplays mass-
jroduced side-by-side on big outdoor stages. Charlie Chaplin
jasses in review performing his famous alarm clock routine
:rom "The Pawnshop," vanquishing the mammoth town bully
n "Easy Street," and displaying infinite agility on the skating
ink. Hollywood starts growing up after World War I, and
Stan Laurel appears for the first time with Oliver Hardy
'"Lucky Dog"), while Buster Keaton creates an up-in-the-air
:omedy classic called "The Balloonatic." The Jazz Age sees Mr.
ind Mrs. Carter De Haven hunting a free Christmas tree in the
vilds of Los Angeles and frozen-faced Keaton running fever-
shly inside a steamship's fast-moving paddlewheel. The height
>f the Twenties finds a single Navy plane laying a smoke screen
hat hides an entire battlefleet and a glittering Hollywood pre-
niere parading Tom Mix, Mabel Normand, Norma Shearer,
.nd Greta Garbo and John Gilbert. Three chases round out the
15 minutes of fun: Billy Bevan is best man to hapless groom
/ernon Dent; policeman Oliver Hardy falls victim to sheiks,
lappers and a very deep mud puddle; Charlie Chase, playing
Uimeo in tights, stuffs his stockings with sponges to pad his
lipestem legs, then finds himself hilariously waterlogged.

Oth Century-Fox. 85 minutes. Charlie Chaplin, Buster Keaton, Laurel and Hardy,
larry Langdon. Produced and written by Robert Youngson.

"Papa's Delicate Condition"

'8u4i*ie44 'Rati*? O O

ildly amusing period comedy given lift by adept Jackie
leason performance. Should draw family trade.

Jackie Gleason fans and the family trade should respond,
pecially in the hinterlands, to this early 1900's slice of Ameri-
ca based on silent screen star Corinne Griffith's book about
er childhood in Texas. This bit of fluff and frosting, dished
t in Technicolor by Paramount will get fair returns in the
eneral market. The plot centers around Papa (Gleason), a
arm-hearted railroad supervisor with a weakness for the bot-
e (his delicate condition); Mama (Glynis Johns), who ren-
ders Gleason more irresponsible than lovable; 17-year-old
aurel Goodwin, who feels that Gleason's escapades will drive
way her beau, the banker's son; 6-year-old Corrine (Linda
ruhl), who worships Gleason, with all his faults; and Charlie
luggles, Miss Johns' father-mayor of Texarkana, convinced
ileason is the state's worst scallywag. Gleason brings off Papa
a a stylish razzle-dazzle fashion, with the remainder of the cast
roviding competent homespun support. Under George Mar-
hall's direction, the first half, dealing with Gleason's various
•responsibilities, is mildly amusing. Gleason buys the town
rug store, partially to help out a young clerk and partially to
e able, with his cronies, to get a "nip" on Sundays; he buys a
frcus in order to get moppet Bruhl a pony and a cart, then
iiscovers he's been swindled; he uses the circus as a stunt to
elp re-elect Ruggles. But what has been light-hearted fun up
o this point now turns into gooey sentimentality. After Glea-
on accidentally runs the pony cart over Miss Johns' hand, he

packs his bag and disappears. Urged on by Miss Bruhl, Ruggles
finally locates a reformed Gleason in Louisiana.

Paramount. 98 minutes. Jackie Gleason, Glynis Johns, Charlie Ruggles. Produced
by Jack Rose. Directed by George Marshall.

"The Marriage of Figaro"

Gay, amusing French import color. Will delight art fans.

Thanks to the renowned Comedie Francaise, art film fans
and devotees of the classical theatre will now be able to see a
splendid film version of Beaumarchais' "The Marriage of
Figaro." This imaginative blending of cinema and stage has
been adroitly carried off by director Jean Meyer, resulting in a
gay, delightfully naughty and visually stimulating and fluid
Eastmancolor version of this complex conflict between self-
made Figaro and Count Almaviva, the man-to-the-manor-born.
Although limited to art house exhibition, this Pathe Cinema
release promises to show boxofAce power in its intended mar-
ket. Theatres operating near college campuses could also reap
a tidy profit. Mozart's delightful music provides a lilting back-
ground, and the entire cast performs with polish, style and mis-
chievous abandon. With "Figaro", the second of a definitive
series to be produced by Productions Cinematographique ("Le
Bourgeois Gentilhomme" met with critical acclaim several years
ago), both the Comedie Francaise and some of the world's
great plays will be around for a long time to come. The plot
finds Jean Piat (Figaro), major-domo to Georges Descrieres
(Almaviva), preparing to marry Micheline Boudet, head wait-
ing woman to Descrieres. But there are complications. Des-
crieres intends spending the first night with the bride of his
vassal, although he has voluntarily abolished this ancient law;
he has further employed the Countess' music master to create
trouble; a pretty housekeeper has a claim on Piat's hand because
of his inability to pay a debt. Complicating matters further is
the continual dalliance about the chateau of Descrieres young
page, in love with Mile Boudet and every lady in sight. Piat,
of course, wins out in the grand finale.

Pathe Cinema. 105 minutes. Georges Descrieres, Yvonne Gaudeau, Jean Piat.
Produced by Pierre Gerin. D'rected by Jean Meyer.

"Samson & the Seven Miracles of the World"

SututeAA Rating Q Q Plus

Another dubbed spectacle with all the anticipated ingre-
dients. In color. Will satisfy kids and action fans.

Designed to please non-discriminating, action-oriented audi-
ences, this dubbed Colorscope release from American Interna-
tional figures to register ok grosses in its intended market.
Directed by Riccardo Freda, with the emphasis on intrigues and
battles, "Samson" tells of Tartar tyranny in 13th Century China.
Miraculous feats of strength, snarling villains, bloody tortures
are the order of the day, and the youngsters should relish it all.
Gordon Scott is the chesty muscleman of the title and pretty
Yoko Tani is the Princess daughter of the murdered Fmperor.
A neat running time (80 minutes) will aid the film in filling
either end of an exploitation double-bill. Scott appears in
China, kills a tiger with his bare hands, then single-handedly
beats off Tartars attacking Miss Tani and her teen-age brother,
takes the wounded Prince to a convent, headquarters of the
rebel band, and decides to help the rebels overthrow wicked
Dante Di Paolo, now all-powerful ruler of the land. After vari-
ous intrigues, Miss Tani becomes Di Paolo's prisoner and Scott
is imprisoned in a tiny crypt. Scott uses his amazing strength to
escape, rings the Gong of Freedom, rescues Miss Tani, then
leads the rebels to victors .

AIP. 80 minutes. Gordon Scott, Yoko Tani. Produced by Ermanno Donati and
Luigi Carpentieri. Directed by Riccardo Freda.

Film BULLETIN February 18. 1963 Page 15

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

July

BRIDGE, THE Fritz Wepper, Volker Bohnet. Producer Dr.
Herman Schwerin. Director Bernhard Wicki. German
school boys pressed into defendinq a bridge in waninq
days of WWII. 104 min.

EL CID Color. Charlton Heston, Sophia Loren, Raf
Valine, Genevieve Page. Producer Samuel Bronston,
Director Anthony Mann. Story of the warrior-hero who
saved Spain from the Moors. 179 min. 12/11/61.

FRIGHTENED CITY. THE Herbert Lorn, John Gregson,
Sean Connery. Producers John Lemont, Leighton Vance.
Director Lemont. Extortion racketeers invade big busi-
ness. 97 min.

October

CONVICTS 4 Ben Gazzara. Ray Walston, Sugar Whit-
man, Sammy Davis. Jr., Vincent Price, Rod Steiger.
Producers Miller Kaufman, A. Ronald Lubin. Director
Kaufman. Prison drama. 110 min.

November

BILLY BUDD Peter Ustinov, Robert Ryan, Melvyn Doug
las, Terence Stamp. Producer-Director Ustinov. Pic-
turization of Herman Melville's sea classic. 123 min.
I 1/12/62.

February

BLACK ZOO Michael Gough, Jeanne Cooper, Rod
Loren, Virginia Grey. Producer Herman Cohen. Direc-
tor Robert Gordon. Horror story.

DAY OF THE TRIFFIDS, THE CinemaScope. Color.
Howard Keel, Nicole Maurey. Producer Philip Yordan.
Director Steve Sekely. Science-fiction thriller. 119 min.

March

GREAT GUNFIGHTERS, THE Color, Cinemascope. Dayid
Janssen. Producer Ben Schwalb. Private detective
breaks up outlaw gang that has terrified the Southwest.

April

55 DAYS AT PEKING Technirama, Technicolor. Charl-
ton Heston, David Niven, Ava Gardner, Flora Robson,
Harry Andrews, John Ireland. Producer Samuel Bron-
ston. Director Nicholas Ray. Story of the Boxer uprising.

Coming

CAPTAIN MUST DIE. THE Producer Monroe Sachson.
Director Allen Reisner. Suspense thriller.

LONG CORRIDOR, THE Producer-director Samuel Ful-
ler. A suspense thriller.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

RECKLESS PRIDE OF THE MARINES Producer Lester
Sansom. Andrew Geer's book about a horse which
served as an ammunition carrier in Korea.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen. Producer Martin Jurow. Army comedy.

STREETS OF MONTMARTRE Lana Turner, Louis Jour-
dan. Producer-director Douglas Sirk. Based on two
boots, "Man of Montmartre" and "The Valadon
Onma."

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

September

WHITE SLAVE SHIP (Formerly Wild Cargo) Cinema-
Scope, Color. Pier Angeli, Edmund Purdom. Director
Silvio Amadio. Mutiny of prisoners shipped from Eng-
land in the 18th century to America as slaves. 92 min.
I 1/12/62.

October

WARRIORS S Jack Palance, Jo Anna Ralli. Producer
Fulvio Lusciano. Director Mario Silvestra. Story of an
American G.I. who organized the underground resist-
ance in Italy. 82 min. 11/12/62.

November

REPTILICUS Color. Carl Ottosen, Ann Smyrner. Pro-
ducer-Director Sidney Pink. Giant sea monster's de-
struction of an entire city. 81 min.

December

SAMSON AND THE 7 MIRACLES OF THE WORLD

(Formerly Goliath and the Warriors of Genghis Kahn)
Color. CinemaScope. Gordon Scott, Yoko Tani. Samson
helps fight off the Mongol invaders.

January

RAVEN, THE Color. Panavision. Vincent Price, Peter
Lorre, Boris Karloff. Producer-director Roger Corman.
Edgar Allan Poe tale. 86 min. 2/4/63.

February

CATTLE BEYOND THE SUN IFilmgroup) Color & Vista-
scope — Ed Perry, Aria Powell.

NIGHT TIDE IFilmgroup) Dennis Hopper, Linda Law-
son. 84 min.

PIT, THE Dirk Bogarde, Mary Ure. Science fiction.

March

CALIFORNIANS. THE Jack Mahoney, Faith Domergus.

OPERATION BIKINI (Formerly Seafighters) Tab Hunter,
Frankie Avalon, Eva Six. Producer-director Anthony

C jrras.

April

DEMENTIA IFilmgroup) William Campbell, Luana An-
ders, Mary Mitchell. Suspense drama.

TERROR, THE IFilmgroup) Color, Vistascope. Boris Kar-
loff. Horror.

May

MIND BENDERS, THE Dick Bogard, Mary Ure.

YOUNG RACERS. THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

June

"X"— THE MAN WITH THE X-RAY EYES Ray Milland.

Science fiction.

July

BEACH PARTY Color, Panavision. Frankie Avalon.
Producer Lou Rusoff. Teenage comedy.

August

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

COMEDY OF TERROR Color, Panavision. Vincent Price,
Peter Lorre, Boris Karloff. Horror.

DUNWICH HORROR Color. Panavision. Science Fiction.

GENGHIS KHAN 70mm roadshow.

HAUNTED HOUSE, THE Color, Scope. Ray Milland.

IT'S ALIVE Color. Peter Lorre, Frankie Avalon. Teen,
horror, musical comedy.

NIGHTMARE HOUSE (Formerly Schizo) Leticia Roman,
John Saxon. Producer-director Mario Bava. Suspense
horror.

UNDER 21 Color, Panavision. Teen musical comedy.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Producers Julian
Wintle, Leslie Parkyn. H. G. Wells classic.

December

BLACK FOX Marlene Dietrich. Producer-director Louis
Clyde Stoumen. Narration of true story of Adolph
Hitler. 89 min.

OUT OF THE TIGER'S MOUTH Loretta Hwong, David
Fang Producer Wesley Ruggles, Jr. Director Tim
Whelan, Jr. 81 min.

OU ARE FELLOW, THE Patrick McGoohan, Sylvia Sims.
Walter Macken. Producer Anthony Havelock-Allan.
Director Arthur Dreifuss. 85 min. 11/26/62.

January

SWINDLE. THE Broderick Crawford, Giulietta Masina,
Richard Basehart. Director Federico Fellini. Melodrama.
92 min. I 1/12/62.

WORLD BEGINS AT 6 P.M. Jimmy Durante, Ernest Borq-

nine. Director Vittorio DeSica.

February

TRIAL, THE Anthony Perkins, Jeanne Moreau. Director

Orson Welles.

Coming

TOTO, PEPPINO and LA DOLCE VITA Tolo, Peppino.

October

ALMOST ANGELS Color. Peter Week, Sean Scully
Vincent Winter, Director Steven Previn. 93 min. 9/3/62

November

LEGEND OF LOBO. THE Producer Walt Disney. Live
action adventure. 67 min. 11/12/62.

December

IN SEARCH OF THE CASTAWAYS Technicolor. Maurict :i
Chevalier, Hayley Mills. George Sanders. Produce!
Walt Disney. Director Robert Stevenson. Based on th' \
Jules Verne story, "Captain Grant's Children." IK
min. 1/7/63.

February

SON OF FLUBBER Fred MacMurray, Nancy Olson
Keenan Wynn. Walt Disney Production. Director Rober
Stevenson. Comedy. 100 min. 1/21/63.

March

MHACLE OF THE WHITE STALLIONS Robert Taylor
Lili Palmer, Curt Jergens.

August

INTERNS, THE Cliff Robertson, Michael Callan, Su: ,
Parker, Nick Adams, James McArthur, Haya Harareet
Producer Robert Cohn. Director David Swift. Drama o :l
medical profession. 120 min. 6/11/62.

September

BEST OF ENEMIES, THE Technicolor, Technirama Davi |
Niven, Sordi. Michael Wilding. Producer Dino d
Laurentiis. Director Guy Hamilton. Satirical corned
on war. 104 min. 8/6/62.

DAMN THE DEFIANT (formerly H.M S DEFIANT) Color
Alec Guinness, Dirk Bogarde. Anthony Quayle. Pre
ducer John Brabourne. Director Lewis Gibert. Se
adventure. 101 min. 8/20/62.

R'NG-A-DING RHYTHM Chubby Checker, Dukes c
Dixieland, Gary [U.S.) Bonds, Dell Shannon. Produce

Milton iubotsky. Director Dick Lester. Teenage con
edy. 78 min. 9/17/62.

October

REQUIEM FOR A HEAVYWEIGHT Anthony Quin
Jackie Gleason, Mickey Rooney, Julie Harris. Produc'
David Susskind. Director Ralph Nelson. Award winnir
drama. 87 min. 9/17/62.

TWO TICKETS TO PARIS Joey Dee. Gary Crosby K.
Medford. Producer Harry Romm. Director Greg Ga

rison. Romantic comedy. 75 min. 11/26/62.

November

PIRATES OF BLOOD RIVER Color. Glenn Corbett, K«
win Mathews, Maria Landi. Producer Anthony Nels'
Keys. Director John Gilling. Swashbuckling adventur
87 min. 8/6/62.

WAR LOVER. THE Robert Wagner, Steve McQuee
Producer Arthur Hornblow. Director Philip Leacoc
Drama of World War II in the sky. 105 min. 10/29/6

WE'LL BURY YOUI Narrated by William Woodsc
Producers Jack Leewood, Jack W. Thomas. Documt
tary highlighting rise of Communism. 72 min. 10/15/1

December

BARABBAS Technicolor. Anthony Quinn, Silvana Mi
qano, Jack Palance, Ernest Borgnine, Katy Jurac
Douglas Fowley, Arthur Kennedy, Harry Andrev
Vittorio Gassman. Producer Dino de Laurentiis. Din
tor Richard Fleischer. Based on novel by Par Lag'
kvist. 134 min. 9/3/62.

Filrr. TULLETIN — THIS IS 1 O U R PRODUCT

February

DIAMOND HEAD Panavision, Eastman Color. Charlton
Heston, Yvettc Mimieux, George Chakiris, France
Nuyen, James Darren. Producer Jerry Bresler. Director
Guy Green. Based on Peter Gilman's novel. 107
min. 1/7/63.

March

IRON MAIDEN. THE Michael Craig, Anne Helm,
Jeff Donnell.

MAN FROM THE DINER'S CLUB, THE Danny Kaye. Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin.

OLD DARK HOUSE, THE Color. Tom Poston, Robert
Morley, Joyce Grenfell. Producer-director William
Castle.

Coming

ARGONAUTS, THE (Formerly Jason and the Golden
Fleecel. Color. Todd Armstrong, Nancy Novak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Fun.
version of Greek adventure classic.

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical.

LAWRENCE OF ARABIA Technicolor. Superpa navision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

WEEKEND WITH LULU. A Bob Monkhouse, Leslie
Philips, Shirley Eaton, Irene Handl. Producer Ted
Lloyd. Director John Paddy Garstairs. 91 min. 6/11/62.

EEEHEBSEH!

September

IMPERSONATOR, THE John Crawford, Jane Griffiths.
Director Alfred Shaughnessy. Producer Anthony Perry.
Murderer puts town on edge as he prowls for women.
64 min.

OPERATION SNATCH Terry-Thomas, George Sanders,
Lionel Jeffries, Jackie Lane. Producer Jules Buck'.
Director Robert Day. Story of attempt to perpetuate
a famous legend. 83 min. 10/15/62.

October

END OF DESIRE Color. Maria Schell, Christian Mar-
quand, Ivan Desny, Pascale Petit. Producer Agnes De-
Lahaie. Director Alexander Astrue. 91 min.

November

LONELINESS OF THE LONG DISTANCE RUNNER, THE

Michael Redgrave, Tom Courtenay, Avis Bunnage. Pro-
ducer-director Tony Richardson. Explores the attitudes
of a defiant young man sent to a reformatory for
robbery. 103 min. 10/1/62.

January

DAVID AND LISA Keir Dullea, Janet Margolin, How-
ard Da Silva, Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed young-
sters. 94 m'n. 1/7/63.

HANDS OF THE STRANGLER Mel Ferrer, Danny Carrol.
Producers Stevan Pallos, Donald Taylor. Director Ed-
mond T. Grenville. Drama about a man twisted by a
strange obsession. 86 min. 8/20/62.

GREAT

Keaton

CHASE, THE Douglas Fairbanks, Sr., Buster
, Lillian Gish. Producer Harvey Cort. Silent
chase sequences. 77 min. 1/7/63.

THIS SPORTING LIFE Richard Harris, Rachel Roberts.

March

WRONG ARM OF THE LAW, THE Peter Sellers
Lionel Jeffries.

YOUR SHADOW IS MINE Jill Haworth, Michael Ruhl.

April

BALCONY, THE Shelly Winters, Peter Falk.

February

September

DEVIL'S WANTON, THE Doris Svedlund, Birgir Malm-
>ten. Producer Lorens Marmstedt. Director Ingmar
Jergman. Bergman comments on life, death, immortal-
ty and the devil. 77 min. 6/1 1/62.

3IVORCE— ITALIAN STYLE Marcello Mastroianni, Dan-
ea Rocca, Stefania Sandrelli. Producer Franco Cris-
laldi. Director Pietro Germi. Satirical jabs at the
nores of our times. 104 min. 10/29/62.

.A VIACCIA Claudia Cardinale, Jean-Paul Belmondo
Pietro Germi. Producer Alfredo Bini. Director Mauro
Boloqnini. A drama of the tragic influences of the city
hpon a young farmer. 103 min. 11/12/62.

'JO PLACE LIKE HOMICIDE! [Formerly What a Carve
■ J ,Kennetn Connor, Shirley Eaton. Producers Robert
>. Baker, Monty Berman. Director Pat Jackson. British
kpoof on the traditional haunted house. 87 min 7/9/62

October

CRIME DOES NOT PAY Danielle Darrieux, Richard
Todd, Pierre Brasseur, Gino Cervi, Gabriele Fenetti,
Christian Marquand, Michelle Morgan, Jean Servais.
Producer Gilbert Bokanowski. Director Gerard Oury.
French object lesson based on classic crimes. 159 min.
10/29/62.

LONG DAY'S JOURNEY INTO NIGHT Katharine Hep-
burn, Jason Robards, Jr., Sir Ralph Richardson, Dean
Stockwell Producer Ely A. Landau. Director Sidney
Lumet. Film version of Eugene O'Neill's Pulitzer Prize-
winning stage drama. 174 min. 10/29/62.

November

NIGHT IS MY FUTURE Mai Zetterling, Birger Malmsten.
Director Ingmar Bergman. Bergman reflects on the
theme of man's search for human contact and love in
a "hostile universe.'' 87 min. 1/7/63.

December

CONSTANTINE AND THE CROSS Color. Cornel Wilde,
Christine Kaufman, Belinda Lee. Producer Ferdinado
Feliciori. Director Lionello De Felice. Story of early
Christians struggling against Roman persecution. 120
min. 11/26/62.

January

SEVEN CAPITAL SINS Jean-Pierre Aumont, Dany Saval.
Directors Claude Chabrol, Edouard Molinaro, Jean-Luc
Godard, Roger Vadim, Jaques Demy. Philippe De
Brora Sylvain Dhomme. A new treatment of the classic
sins with a Gallic flavor. 113 min. 11/26/62.

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,
Christian Doermer. Director Francois Truffaut, Andrez
Wajda, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French
Revolution. 104 min.

Current Releases

ANTIGONE ( Ellis Films) Irene Papas, Manos Katra-
kis. Producer Sperie Perakos. Director George Tza-
vellas. 88 min. 10/29/62.

ARMS AND THE MAN ICasino Films) Lilo Pulver,
O. W. Fischer, E'len Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
96 min.

BERNADETTE OF LOURDES IJanus Films) Daniele Ajoret
Nadine Alari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE ILopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 68 min.

BLOODY BROOD, THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR, A Pierre Fresnay, Michel
Auclair. 72 min.

CANDIDE (Union Films) Jean-Pierre Cassel, Pierre
Brausseur, Dahlia Lavi. Director Norbert Carbonnaux.
90 min. I 1/26/62.

CLEOPATRA'S DAUGHTER Color, Totalscope. Debra
Paget, Robert Alda. 93 min.

COMING OUT PARTY A. James Robertson Justice.
Producers Julian Wintle, Leslie Parkyn. Director Kenn
Annakin. 90 min. 9/17/62.

CONCRETE JUNGLE, THE (Fanfare Films) Stanley
Baker, Margit Saad, Sam Wanamaker, Greqoire Asian.
Producer Jack Greenwood. Director Joseph Losey. 86
min. 7/9/62.

CONNECTION, THE Warren Finnerty, Garry Good-
row, Jerome Raphel. Producer Lewis Allen. Director
Shirley Clarke. Off-beat film about dope addicts 93
min. 10/29/62.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

D^" TH E SKY FXPLODFD, TH? (Excelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR, THE Color, Totalscope. Ricardo
Montalban, Carmen Se villa . 87 mm.

DEVIL MADE A WOMAN, THE Color, Totalscope. Sarita
Montiel. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

ELECTRA ILopert) Irene Papas, Aleka Catselli. Pro-
ducer-director Michael Cacoyannis. Version of classic
Greek tragedy. 110 min. 1/7/63.

EVA (Times Films I Jeanne Moreau, Stanley Baker

FATAL DESIRE (Ultra Pictures) Anthony Quinn, Kerimo
May Britt Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

MARCH SUMMARY

An early analysis of the March prod-
uct chart shows a healthy 15 films ready
for release. Both M-G-M and Columbia
offer three features, followed closely by
United Artists and American-Interna-
tional with two each. Five companies —
20th-Fox, Universal, Allied Artists, Buena
Vista, and Paramount — all list one. Nei-
ther Warner Bros, nor Astor have any
new releases available for the month.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS Technicolor, Totalvision.
Yoko Tani. Oldrick Lukes. 81 min.

FIVE DAY LOVER, THE IKinasley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FLAME IN THE STREETS (Atlantic) John Mills, Sylvia
Syms, Brenda DeBanzie. Producer-director Roy Baker.
93 min. 10/29/62.

FORCE OF IMPULSE (Sutton Pictures) Tony Anthony
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

GIRL WITH THE GOLDEN EYES, THE IKingsley-lnter-
national) Marie LaForet. Paul Guers, Francoise Pre-
vost. Producer Gilbert De Goldschmidt. Director Jean-
Gabriel Albicocco. 90 min. 8/20/62.

IMPORTANT MAN, THE (Lopert) Toshiro Mi'une, Co-
lumba Dominquez. Producer Director Ismael Rodriguez.
99 min. 7/23/62.

JOSEPH AND HIS BRETHREN (Colorama) Geoffrey
Home, Belinda Lee. Producers Ermanno Donati, Luigi
Carpentieii. uirecror Irving Rapper. 103 min. 2/I2/6A

KIND OF LOVING. A (Governor Filmsl Alan Bates,
June Ritch'e, Thora Hird. Producer Joseph Janni.
Director John Schlesinger. 11/12/62.

14 MOTE IMi'l°r Prodii'ino Co' Els* Mar-

tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LONG ABSENCE, THE (Commercial Films) Alida Valli,
Georges Wilson. Director Henri Colp. French drama.
85 min. I 1/26/62

MATTER OF WHO, A (Herts-Lion International) Alex
Nicol, Sonja Ziemann. Producers Walter Shensoti,
Milton Holmes. Director Don Chaffey. 90 min. 8/20/62.

MONDO CANE (Times Films Eng.) Technicolor. Pro-
ducer R^zzoli, Cineriz. Director Gualtiero Jacopetti.
Film portrayal of real life. 115 min.

NIGHT OF EVIL (Sutton) Lisa Gaye, Bill Campbell.
88 min.

NIGHT, THE ILopert) Jeanne Moreau, Marcello
Mastroianni, Monica Vitti. Producer Emanuele Cassulo,
Director Michelangelo Antonioni. 120 min. 3/5/62.

NO EXIT (Zenith International) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.

PAGAN HELLCAT (Times Films Eng.) Tumsta Teuiau.
Producer-d'rector Umberto Bong:gnori. 59 min.

PARADISE ALLEY (Sutton) Hugo Haas, Corinne Griffith.

PASSION OF SLOW FIRE, THE (Trans-Lux) Jean
DeSaillcy, Monique Melinand. Producer Francois
Chavene. Director Edouard Molinaro. 91 min. 11/12/62.

PHAEDRA ILopert) Melina Mercouri, Anthony Perkins,
Rat Vallone. Producer-director Jules Dassin. 115 min.
10/29/62.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I 15 min.

R'CE GIRL I Ultra Pictures) Elsa Martinelli. Folco Lulli,
Michel Auclair. Producer Carlo Ponti. Director Raffa-
ePo Matarazzo. Dubbed Italian melodrama. 90 min.
2/4/63.

SATAN IN HIGH HEELS (Cosmic). Meg Myles Gray-
son Holl, Mike Keene. Producer Leonard M. Burton.
Director Jerald Intrator. 97 min. 5/14/62.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat
ten. 82 min.

SECRETS OF THE NAZI CRIMINALS (Trans-Lux). Pro-
ducer Tore Sioberq. Documentary recounting Nazi
crimes. 84 min. 10/15/62.

SLIME PEOPLE, THE (Hutton Robertson Prods ) Robert
Hutton, Les Tremayne. Susan Hart. Producer Joseph
F. Robertson. Director Robert Hut'on.

Film

BULLETIN— THIS IS YOUR PRODUCT

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

STAKEOUT Bing Russell. Bill Hale, Eve Brent. 81 min.

SUNDAYS AND CYBELE I Davis-Royal I Hardy Kruger,
Nicole Courcel, Patricia Gozzi. Producer Romain Pines.
Director Serge Bourguignon. 110 min. 11/26/62.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Ca hi II , Sid Clute. Producer-
Director Alex Nicol. 82 min.

THRONE OF BLOOD (Brandon Filmsl Toshino Mifone,
Isuzu Yamada. Director Akira Kurosawa 108 min.
1/8/42.

THROUGH A GLASS DARKLY IJanus) Harriet Ander-
son, Gunnar Bjornstrano, Max von Sydow, Lars Pass-
gard. Director Ingmar Bergman. 91 min. 3/19/42.

TROJAN HORSE. THE Colorama. Steve Reeves, John
Drew Barrymore, Edy Vessel. Director Giorgio Ferroni.
105 min. 7/23/62.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Times Films Eng.) Color. Pro-
ducer-director Marion Gering.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titles) Eastman-
color. Madeteine Robinson, Jean-Paul Belmondo,
Jacques Dacqm-ne. Director Claude Chabrol. 97 min.

WILD FCR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

WOZZECK (Brandon) Kurt Meisel, Helga Zulch, Rich-
ard Haussler. Producer Kurt Halme. Director George
Klaren. 81 min. 3/19/62.

YOJIMBO (Seneca-'n'ernat'onal) Toshiro M. Fune, Kyu
Sazanka, Nakadai. Director Akiro Kurosana. 101 min.
9/17/62.

METRO-GO LP WYN -MAYER

September

I THANK A FOOL Susan Hayward. Producer Anatole
de Grunwald. Director Robert Stevens. Screen version
of the dramatic best-seller novel by Audrey Erskine
Lindop. 100 min. 9/17/42.

October

VERY PRIVATE AFFAIR. A Brigitte Bardot Marcello
Mastriianni. Producer Christine Gouze-Renal. Director
Louis Malle. Story of the meteoric career of a young
screen star who becomes a sex symbol for the world.
94 min. 10/1/42.

November

ESCAPE FROM EAST BERLIN Don Murray, Christine

'~i-nn Prod,, -or Walter Wood D:roc*or Robert
Siodmak. Drama of the escape of 28 East Germans to
West Berlin under the wall via a tunnel. 93 min.
10/29/42.

KILL OR CURE Terry-Thomas, Eric Sykes, Dennis Price,
Molra Redmond Producer George Brown. Director
George Pollack. Detective tale. 88 min. 11/24/42.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GriffTTh. Pro-

d" A '^n Poconbero Director lewis Milestone.

Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/43.

PERIOD OF ADJUSTMENT Tony Franciosa, Jane Fonda,
Jim Hutton. Producer Lawrence Weingarten. Director
George Roy Hill. Screen version of Tennessee Williams'
Broadway play. 112 min. 10/29/42.

TRIAL AND ERROR Peter Sellers, Richard Attenbor-
ough. Producer Dimitri de Grunwald. Director James
Hill. Comedy about a henpecked murderer and his
ineffectual lawyer. 99 min. 11/24/42.

December

/io-i-RO'S "«'AND Reginald Kernan, Key Meersman,
Vanni De Maigret, Ornella Vanomi. Producer Carlo
Ponti. Director D. Damiani. Based on noted Italian

ni/vel. 9s> mm. 1/21/43.

BILLY ROSE'S JUMBO Doris Day, Stephen Boyd, Jimmy
Durante, Martha Raye. Producer Joe Pasternak. Direc-
rhflrle5 Walters Martin Melcher. B^ied on the
Broadway musical Tolialgo. 125 min. 10/12/42.

"»/ORD5M«N OF SIENA Eastman Color. Stewart
Granger, Christine Kaufmann. Producer Jacques Bar.
Director Etienne Pertier. Adventure drama. 92 min.
1 1/24/42.

January

CAIRO George Sanders, Richard Johnson. Producer
Ronald Kinnoch. Director Wolf Rilla. Drama of attempt
to rob the Cairo Museum. 91 min. 2/4/43.
PASSWORD IS COURAGE, THE Dirk Bogarde. Pro-
ducer-Director Andrew L. Stone. One man's war against
the Nazis during World War II. 114 min. 1/7/43.

February

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris

Sagal. Race track comedy. 94 min.

HOOK. THE Kirk Douglas. Nick Adams. Producer Wil-
liam Perlberg. Director George Seaton. Drama set

against Dacnground of the Korean War. V8 min.
1/21/43.

March

COURTSHIP OF EDDIE'S FATHER, THE Glenn Ford,
Shirley Jones. Producer Joe Pasternak. Director Vin-

cen.e Minnelli. Koiitanric comeoy revolving about a
young widower and his small son. 117 min.

FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
RandeM, Russ Tamblyn, J-=inis Paiqe Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate. Based on the life of Sir Francis Drake. 102 min.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatole de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.

IT HAPPENED AT THE WORLD'S FAIR Panavision,
Color. Elvis Presley. Producer Ted Richmond.

May

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,
Heidi Bruehl. Producer King Brothers. Director Byron
Haskin. Adventure Fantasy.

IN THE COOL OF THE DAY CinemaScooe, Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz.

June

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min.

Coming

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West.

COUNTERFEITERS D' PARIS Jean Gakin, Dany Carol.
Producer Jacques Bar. Director Gilles Grangier. 99
min.

DRUMS OF AFR'CA Fr^nkie Av^lon. P-od"-»r< A> Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

HOW THE WEST WAS WON Cinerama, Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/24/42.

MONKEY IN WINTER Jean Gakin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. 104
min.

MOON WALK Shirley Jones. Producer Joe Pasternak.
Director George Sidney. Romantic comedy based on
a story in the Ladies Home Journal.

MURDER AT THE GALLOP Margaret Rutherford, Paul
Robson. Agatha Christie mystery.

OF HUMAN BONDAGE IMGM-Seven Arts) Laurence
Harvey, Kim Novak. Producer James Woolf. Director
Henry Hathaway. Film version of classic novel.

RIFIFI IN TOKYO Karl Boehm, Barbara Lass, Charles
v*ne|. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo.

TAMAHINE Nancy Kwan, Dennis Price. Producer John
Bryan. Director Philip Leacock. Romantic comedy of
a Tahitian girl and her impact on an English public
school.

TARZAN FACES THREE CHALLENGES Jock Mahoney,
Woody Strode.

TODAY WE LIVE Simone Signoret, Stuart Whitman.
Producer Jacques Bar. Director Reng Clement. Drama
of temptation and infidelity in wartime.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

VERY IMPORTANT PERSONS Color. Elizabeth Taylor,
Richard Burton, Louis Jordan. Producer Anatole de
Grunwald. Director Anthony Asquith. Comedy drama.

WHEELER DEALERS, THE James Garner, Lee Remick.
Producer Martin Ransohoff. Director Arthur Hiller.
Story of a Texan who takes Wall Street by storm.

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy.

WB3EEBEB3M

October

PIGEON THAT TOOK ROME. THE Panavision. Charlton
Heston, Elsa Martinelli, Harry Guardino. Producer-
Director Melville Shavelson. Comedy-drama. 100 min.

9/3/42.

November

GIRLSI GIRLS! GIRLS! Panavision, Technicolor Elvii
Presley. Stella Stevens. Producer Hal Wallis. Director

Norman Taurog. 104 min.

December

IT'S ONLY MONEY Jerry Lewis, Joan O'Brien. Zachary
Scott, Jack Weston. Producer Paul Jones. Director
Frank Tashlin. Comedy. 84 min. 9/17/42.

January

WHERE THE TRUTH LIES Juliette Greco, Jean-Marc
Bory, Lisolette Pulver.

February

GIRL NAMED TAMIKO. A Technicolor. Laurence Har-
vey, France Nuyen. Producer Hal Wallis. Director John
Sturges. A Eurasian "man without a country" courts an
American girl in a bid to become a U.S. citizen.

WHO'S GOT THE ACTION Panavision. Technicolor.
Dean Martin, Lana Turner, Eddie Albert, Walter Mat-
hau, Nita Talbot. Producer Jack Rose. Director Daniel
Mann. A society matron becomes a "bookie" to cure
her horse-playing husband. 93 min. 10/1/42.

M arch

PAPA'S DELICATE CONDITION Color. Jackie Gleason,
Glynis Johns. Comedy-drama based on childhood of
silent screen star Corinne Griffith.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cliff
Robertson, David Jannsen. Producer Garet Gaithtr.
Director Grover Champion. Broadway star adopts six
abandoned children.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmoos.
Pat Hingle. Producer David Susskind. Director Alex
Segol. Film version of play and novel.

COME BLOW YOUR HORN Technicolor. Frank Sinatra,
Barbara Ruth, Lee J. Cobb. Producer Howard Koch. Di-
rector Bud Yorkin. A confirmed bachelor introduces his
young brother to the playboy's world.

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama In
the South Pacific.

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director Ritt.
Drama set in modern Texas.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

WONDERFUL TO BE YOUNG Cliff Richard, Robert

Morley. 92 min.

20TH CENTURY-FOX

September

I LIKE MONEY CinemaScope, De Luxe Color. Peter Sel-
lers, Nadia Gray, Herbert Lorn, Leo McKern. Producer
Pierre Rouve Director Peter Sellers. Rased on M^r<-»l
Pagnol's famous story of "Topaze". 81 min. 5/28/42.

300 SPARTANS, THE CinemaScope, DeLuxe Color.
Richard Egan, Ralph Richardson, Diane Baker, Barry
Coe, David Farrar. Producers Rudolph Mate, George
St. George. Director Mate. Story of the battle of
Thermopylae. 114 min. 8/20/42.

October

GIGOT DeLuxe Color. Jackie Gleason, Katherine Kath.
Gabrielle Dorziat, Diane Gardner. Producer Ken Hy-
man. Director Gene Kelly. Story of a mute and a little
girl he befriends. 104 min. 4/25/42.

LONGEST DAY. THE John Wayne, Richard Todd.
Peter Lawford, Robert Wagner, Tommy Sands, Fabian,
Paul Anka, Curt Jurgens, Red Buttons, Irina Demich,
Robert Mitchum, Jeffrey Hunter, Eddie Albert, Ray
Danton, Henry Fonda, Edmond O'Brien, Robert Ryan.
Producer Darryl Zanuck. Directors Gerd Oswald,
Andrew Marton, Elmo Williams, Bernard Wicki, Ken
Ajinakin. 180 min.

November

LOVES OF SALAMMBO Deluxe. Jeanne Valerie, Jacques
Sernas. Edmund Purdom. Director Sergio Grieco.
Adventure drama. 72 min. 11/12/42.

Film BULLETIN — THIS IS YOUR PRODUCT

January

SODOM AND GOMORRAH Stewart Granger, Pier An-
geli Stanley Baker, Rossana Podesta. Producer Got
fredo Lombardo. Director Robert Aldrich. Biblical tale.

I |5"4 min. 1/21/63.

February

LION, THE CinemaScope, De Luxe Color. William Hol-
den, Trevor Howard, Capucine. Producer Samuel
Engel. Director Jack Cardiff. Based on best-seller
about a g'rl's love for a wild lion. 93 min. 9/3/63.

M arch

NINE HOURS TO RAMA CinemaScope, DeLuxe Color.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi.

April

STRIPPER, THE (Formerly A Woman in July) Joanne
Woodward, Richard Beymer, Gypsy Rose Lee, Claire
Trevor.

Coming

CLEOPATRA Todd-AO Color. Elizabeth Taylor, Richard

Burton, Rex Harrison. Producer Walter Wanger.
Director Joseph Mankiewicz Story of famous queen.

LEOPARD, THE Burt Lancaster, Claudia Cardinale.

QUEEN'S GUARDS. THE CinemaScope, DeLuxe Color.
Daniel Massey, Raymond Massey, Robert Stephens.
Producer-Director Michael Powell. A tale of the
tradition and importance of being a Guard.

YOUNG GUNS OF TEXAS James Mitchum, Alana Ladd,
Jody McCrea. Producer-director Maury Dexter. West-
ern. 78 min. 11/12/62.

UNITED ARTISTS

September

SWORD OF THE CONQUEROR Jack Palance, Eleonora
Rossi Drago, Guy Madison. Producer Gilberto Carbone.
Director Carlo Campogallian. 95 min. 9/17/62.

VALIANT, THE John Mills, Ettore Manni.

October

HERO'S ISLAND James Mason. Neville Brand, Kate
Manx, Rip Torn. Producer-Director Leslie Stevens. Ad-
venture drama. 94 min. 9/17/62.

PRESSURE POINT Sidney Poitier, Bobby Darin, Peter
Falk. Producer Stanley Kramer. Director Hubert Corn-
field. Drama dealing with racial prejudice in U.S. 91
min. 9/17/62.

THREE ON A SPREE Jack Watling, Carole Lesley,
Colin Gordon. Producer George Fowler. Director Sid-
ney J. Furie. 83 min. 10/2/61.

November

MANCHURIAN CANDIDATE, THE Frank Sinatra, Laur-
ence Harvey, Janet Leigh, Angela Lansbury, Henry
Sllva. Producers George Axelrod, John Frankenheimer.
Director Frankenheimer. Suspense melodrama. 126 min.
10/29/62.

January

CHILD IS WAITING, A Burt Lancaster, Judy Garland,
Stephen Hill, Gena Rowland. Producer Stanley Kramer,
director John Cassavetes. Drama dealing with retarded
:hlldren. 102 min. 1/21/63.

IARAS BULBA Tony Curtis, Yul Brynner, Brad Dexter,
jam Wanamaker, Vladimir Sokoloff, Akim Tamiroff'
Christine Kaufmann. Producer Harold Hecht. Director
). Lee Thompson. Action spectacle. 122 min. 12/10/62.

February

rWO FOR THE SEESAW Robert Mitchum, Shirley Mac-
aine. Producer Walter Mirisch Director Robert Wise,
lased on the Brodaway hit. 119 min. 10/29/62.

March

•IVE MILES TO MIDNIGHT (Formerly The Third Dimen-
sion) Sophia Loren, Anthony Perkins, Gig Young,
eland Turner. Producer-Director Anatole Litvak.

.OVE IS A BALL (Formerly the Grand Duke and Mr.
■imm) Glenn Ford, Hope Lange, Charles Boyer. Pro-
lucer Martin H. Poll. Director David Swift. Comedy of
ex and the international set.

April

:ARETAKERS, THE Robert Stack, Joan Crawford.

Coming

IEAUTY AND THE BEAST Joyce Taylor, Mark Damon,
dward Franz, Merry Anders. 77 min.

)EAD TO THE WORLD Reedy Talton, Jana Pearce Ford
Sainey, Casey Peyson. Producer F. William Hart. Direc-
|or Nicholas Webster. 87 min.

GLADIATORS, THE Yul Brynner. Director Martin Ritt.

'LOftlOUS BROTHERS. MY Producer-director Stanley
rimer. From Howard Fast's best-seller

VREAT WAR, THE Vittorio Gassman, Silvana Mangano,
\lberto Sordi. Producer Dino De Laurentis. Director
-fario Monicelli. 118 min. 9/18/61.

Film

HAWAII Producer-director Fred Zinneman. Film ver-
sion of James Michenar's epic novel.

INVITATION TO A GUNFIGHTER Producer Stanley
Kramer. Director Paul Stanley.

LAND WE LOVE, THE Color. James Mason, Kate Manx,
Neville Brand, Rip Torn, Brendan Dillon. Producer-
Director Leslie Stevens.

WAY WEST. THE James Stewart, Kirk Douglas. Burt
Lancaster. Producer Harold Hecht.

September

PHANTOM OF THE OPERA. THE Color. Herbert Lorn,
Heather Sears, Edward de Souza, Ian Wilson, Michael
Gough, Thorley Walters, Patrick Troughton. Producer
Anthony Hinds. Director Terence Fisher. Tale of a
"monster" who terrorizes a theatre. 84 min. 6/25/62.

October

NO MAN IS AN ISLAND Color. Jeffrey Hunter. Pro-
ducer-Directors Richard Goldstone, John Monk, Jr.
War melodrama. I 14 min. 8/6/62.

November

IF A MAN ANSWERS Color. Sandra Dee, Bobby Darin.
Producer Ross Hunter. Director Henry Levin. Romantic
comedy. IU2 mm. 9/3/62.

STAGE COACH TO DANCERS' ROCK Warren Stevens,
Martin Landau, Jody Lawrance, Don Wilbanks, Del
Morre, Bob Anderson, Judy Dan. Producer-Director
Earl Bellamy Western. 72 min. 10/15/62.

January

FREUD Montgomery Clift, Susannah York, Larry Parks.
Producer Wolfgang Reinhardt. Director John Huston.
Story of Freud's initial conception of psychoanalysis.
139 min. 12/24/62.

February

40 POUNDS OF TROUBLE Color, Panavision. Tony Cur-
tis, Phil Silvers, Suzanne Pleshette. Producer Stan Mar-
O' a.recror Norman Jewison. Comedy. 105 min.

12/24/62.

MYSTERY SUBMARINE Edward Judd. Laurence Payne,
James Robertson Justice. 90 min.

March

TO KILL A MOCKINGBIRD Gregory Peck. Producer
Alan Pakula. Director Robert Mulligan. Based on
Harper Lee's novel. 129 min. 1/7/63.

April

BIRDS, THE Technicolor Rod Taylor, Jessica Tandy,
Suzanne Pleshette. Producer-Director Alfred Hitchcock.

UGLY AMERICAN, THE Color. Marlon Brando. Sandra
Church, Yee Tak Yip. Producer-Director George Eng-
lund.

Coming

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives.
Producer Robert Arthur. Director Harry Keller.

CAPTAIN NEWMAN, M D. Gregory Peck. Producer
Robert Arthur. Director David Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills. Producer Ross Hunter. Direc-
tor Ronald Neame.

CHARADE Color P=>nav:<ion. Carv Grant, Audrey Hep-
burn. Producer-Director Stanley Donen.

FOR LOVE OR MONEY (Formerly Three Way Match)
Color. Kirk Douglas, Mirzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon.

GATHERING OF EAGLES A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann.

KISS OF THE VAMPIRE Clifford Evans Jennifer Daniel,
Edward De Souza, Noel Willman. Producer Anthony
Hinds. Director Don Sharpe.

LANCELOT AMD GUINEVERE Color. Panavision. Cornel
Wilde. Jean Wallace. Producers Cornel Wilde. Bernard
Luber. Director Wilde.

LIST OF ADRIAN MESSENGER. THE Georq, C. Scott.
Dana Wynter. Producer Edward Lewis. Director John
Huston.

MAN'S FAVORITE SPORT Color. Rock Hudson, Maria
Perschey. Producer-director Howard Hawks.

MYSTERY SUT MARINE Edward Judd, Laurence Payne,
James Robertson Justice. Producer Bertram Oster. Di-
rector C. Pennington Richards, 92 min. 1/21/63.

PARANOIC Janette Scott, Oliver Reed. Producer An-
thony Hinds. Director Freddie Francis.

SHOWDOWN (Formerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen.

TAMMY ANO THF DOC""<">R Col— Sandra Dee Peter
Fonda. Producer Ross Hunter. Director Harry Keller.

THRILL OF IT ALL. THE Color. Doris Day. James Gar-
ner Arlene Francis. Producers Ross Hunter, Martin
Melcher. Director Norman Jewison.

WARNER BROTHERS

September

STORY OF THE COUNT OF MONTE CRISTO. THE

Technicolor. Louis Jourdan. Yyvonne Furneaux. Pro-
^"rers Joan-Jacques Vital. Rene Modiano. Director
Claude Autant-Lara. Drama from the novel. 132 min.
6/1 1/62.

October

CHAPMAN REPORT. THE Technicolor. Shelley Winters,
Efrem Zimbalist, Jr., Jane Fonda, Claire Bloom, Glynis
Johns. Producer Richard Zanuck. Director George Cu-
kor. Based on Irving Wallace's best-seller of a sex
survey in an American suburb. 125 min. 9/3/62.

November

GAY PURR-EE Technicolor. Voices of Judy Garland,
Robert Goulet, Red Buttons, Hermione Gingold. Pro-
ducer Henry G. Saperstein. Director, Abe Levitow.
Animated comedy feature of Parisian cats. 86 min.
10/29/62.

WHAT EVER HAPPENED TO BABY JANE? Bette Davis,
Joan Crawford. Producer-Director Robert Aldrich.
Shock thriller. 132 min. 10/29/62.

January

GYPSY Technicolor, Technirama. Rosalind Russell, Nat-
alie Wood, Karl Maiden. Producer-Director, Mervyn
LeRoy. From Broadway musical hit based on Gypsy
Rose Lee's career. 149 min. 10/1/62.

February

DAYS OF WINE AND ROSES Jack Lemmon, Lee
Remick. Producer Martin Manulis. Director Blake
Edwards. A drama of the effects of alcoholism in a
modern marriage. 117 min. 12/10/62.

TERM OF TRIAL Laurence Olivier, Simone ^ignoret. Pro-
ducer James Woolf. Director Peter Glenville. Drama of
young girl's assault charge against teacher. 113 min.
1/21/63.

A pril

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min.

Coming

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom.

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Eoic story of the battles of the Span-
iards against the Moors.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

ISLAND OF LOVE (Formerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall.
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece.

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

PALM SPRINGS WEEK-END Troy Donrhue, Connie Ste-
vens. Ty Hardin Producer. Michael Hoey. Director,
Norman Taurog. Drama of riotous holiday weekend.

PANIC BUTTON Maurice Chevalier, Eleanor Parker,
Jayne Mansfield. Producer Ron Gorton. Director
George Sherman. Comedy set in Rome.

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II.

RAMPAGE. Technicolor. Robert Mitchum. Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda.
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama.

YOUNG BLOOD HAWKE Technicolor. Warren Beatty
Suzanne Plechette. Producer-director, Delmer Daves.
From Herman Wouk's best-selling novel.

DEPENDABLE SERVICE!

CLARK
TRANSFER

Member Rational Film Carriers
Philadelphia, Pa.: LOcust 4-3450
Washington, D. C: DUpont 7-7200

BULLETIN — THIS IS YOUR PRODUCT

THIS
PAGE
RESERVED

for a film company
that has a release
worth advertising

to the owners, the buyers,
the bookers of over 12,000 of
the most important theatres
in the U.S. and Canada

. . . and 517 financial
and brokerage houses

BULLETIN

Opinion of the Industry

MARCH 4, 1963

Paramount Rides
fThe Birds' Coattails

viewpoint

Whal They'te Talking About

3 □ □ In the Movia Business □ □ C •

HOW GOOD IS 'CLEOPATRA'?

An Eye-Witness First Report

O^Brien to ShureiuoUIcrs,
M-G-M Has a Program

e views

LOVE IS A BALL
SPENCER'S MOUNTAIN
NINE HOURS TO RAMA
MADAME
FOLLOW THE BOYS
HUD
THE TRIAL
FIVE MILES TO MIDNIGHT
DIARY OF A MADMAN

A matter of FAIR PL A Y!

Theatres- lNC

905

NATKJNM BANKERS UFE

BLDG.. DALLAS LtEXAS

RWerside 1-3136

19 1962

December 1*.

. „ President
v Bobbins, r * .^ration
Mr. Burton E-^ Service Corpor

Motional
Sew VorK is.

Dear Mr. of Decker 10,sl^s

eived your registered jailer and/or
Receivea s rease iu y«

regarding yoU cai

service.

regarding mcr you „

service, understandable ng th

your request x

service to tn* Indu^^U
■ otp vour sery assist
« f fhe°xeaet .«£J»£x operation.
SfcontVng V°" esee
Kindest personal sinoerelV.

president

E? ap T a Lewandos

CC Mr. J- J' Brassell

Mr. J* rpvinson
Mr. Norm Levm

In an industry in which
"negotiation" is the
"rule," rather than
the exception . . .
the heartwarming
response to our
announcement of
a rate increase
demonstrates the
fairness and
understanding of
representative
exhibitors.

An outstanding
example is this
letter from EARL
PODOLNICK,
enterprising
President of
TRANS-TEXAS
THEATRES;
INC.

Thanks, Earl

for your fine demonstration of business integrity.

President

National Screen Service

• I

What They'te Talking About

□ □ □ In the Movie Business □ □ n

HOW GOOD IS 4CLEO'? Now that Joe
Mankiewicz has wound up shooting in London
of additional scenes for "Cleopatra" and
editing proceeds toward a final print,
curiosity about the ultimate factor — the film's
merit — is mounting through the industry, and
beyond. Will it live up, on the screen, to the vast
publicity attendant to its production?
Several weeks ago, the publisher of Film
BULLETIN received a call from a prominent
circuit operator far removed from our home
base inquiring if we could render any reliable
information about the quality of "Cleopatra",
information by which he could judge if he
should gamble the huge advance guarantee
being asked by 20th-Fox for his area. He was
told that we had received a critical assessment
from someone who had seen about four and
one-half hours of a rough cut. He is a
knowledgeable and discriminating judge of
movies, and he is not associated with Fox.
This eye- and ear-witness described it in these
terms: " 'Cleopatra' is no mere spectacle in
the accepted sense. For all its bigness — and
it is that, despite a lack of big crowd scenes
— the viewer will be far more impressed by
the highly literate quality of the story and the
dialogue, by the sheer brilliance of the acting.
"I feared," this informant said, "that thirty-five
million bucks might have gone to create
something just BIG — and it chilled me to
contemplate what Crowther and his fellow
critics might do to a 'Cleopatra' that was
spectacle for spectacle's sake. What I saw of
'Cleopatra' should delight the critics. It is far
more than visually rewarding. It will satisfy the
mind and the heart, as well as the eyes. The
one factor about which I have no opinion is
the continuity. That's in the hands of

Mankiewicz and Zanuck. But the elements are
there to make this the outstanding motion
picture of all time."

■

LOSS FOR AA. Is was learned from a reliable
source that Allied Artists is likely to report
a loss for the second quarter, ended Dec. 28,
of the current fiscal year. It is not known,
however, whether the deficit will wipe out
entirely the net profit of $163,000 shown for
first quarter (July-September). The major
factor in the switch from black to red ink was
"El Cid". In the first quarter, this Samuel
Bronston blockbuster boosted AA's gross
income more than $5 million above the gross
for the same quarter of the prior year, but the
picture was virtually withdrawn from circulation
during the fall and winter. It will be given a
fresh sales push in the spring.

■

ATOMIC PUBLICITY. The big blow-up
involving those two movies about accidental
atomic war. Stanley Kubrick's "Dr. Strangelove,
or How I Learned to Stop Worrying and Love
the Bomb" and Max Youngstein's "Fail-Safe",
could well turn out to be the most exciting
publicity battle of the century. The March 8
issue of "Life" will carry a two-page text and
picture story on the conflict sparked by the
plagiarism lawsuit filed by Kubrick, his
distributor, Columbia Pictures, and the author
of "Dr. Strangelove, Etc." against Youngstein,
his new Entertainment Corporation of
America and the authors of "Fail-Safe". Despite
the angry postures adopted by both sides in
the controversy, it is doubtful that anyone is
really angry; both films figure to profit from all
the publicity. Columbia and Kubrick can
afford to be relaxed because their picture,
nearing completion in London, will reach the
market first. Youngstein is a bit peeved
because the injunction phase of the attack
on "Fail-Safe" might delay his scheduled April
15 start of production, ECA's initial project.
But the two films, despite some similarities, are
vastly different. "Dr. Strangelove" is being
treated as a kind of "nightmare comedy", while
"Fail-Safe" will be a serious suspense
melodrama.

CAST &

O'Brien to M-G-M
'Holders: We Have
Program for Future

It was a stormy initiation for M-G-M's
new president, Robert H. O'Brien. Even
before he rose to face the more than
400 shareholders gathered for the an-
nual meeting in the Astor Hotel last
Thursday (Feb. 28), it was evident from
the restlessness and the murmurs of the
crowd that the problems he inherited —
temporary as they appear to be — would
plague him and would have to be
borne by him, and him alone.

With patience and aplomb that attest
to his executive talents, O'Brien faced
stockholders who were irate because
earnings had plunged far down from
the lush "Ben Hur" years and prospects
were for a cut in the 500 quarterly divi-
dend. He coped with the unusual expe-
rience of hearing his company publicly
charged by exhibitors with having dam-
aged itself and its customers by certain
distribution policies. He listened to
labor's plea to avoid "runaway" produc-
tion. And he knew that in the back-
ground the important financial com-
munity was waiting to hear if he had
a program to shore up the weak points
in the M-G-M structure. He weathered
the badgering, answered legitimate
questions and complaints with logic,
detailed a program that should win
confidence in Wall Street. He was ap-
plauded.

Promising to "free ourselves from the
dead hand of outworn tradition and
practices", M-G-M's new helmsman
spread before the meeting a four-point
program designed to get the company
back on the black side of the ledger
before the current fiscal year is out. He
would institute: 1 — new standards in
the production of film to assure im-
proved quality and cost control; 2 — new
policies to produce revenue through
more effective utilization of all assets;
3 — a policy of placing the best available
manpower in key positions; 4 — further
growth and expansion in related opera-
tions such as music, recording, TV pro-
duction, and "even in areas of diversi-
fication, when deemed advantageous,
unrelated to entertainment projects."

A notable exchange took place be-
tween O'Brien and Marshall Fine, board
chairman and former president of Na-
tional Allied. In line with the organiza-
tion's plan to purchase stock in all pub-

CREDITS
■

Report on the Industry's
PEOPLE and EVENTS

O'BRIEN

licly owned film companies so that ex-
hibition's voice can be heard at the
annual meetings, Fine was present, to-
gether with Allied president Jack Arm-
strong, executive director Milton H.
London and Wilbur Snaper of the New
Jersey unit. Blaming Metro's present
depressed condition, in part, on "many
management mistakes during the past
several years", Fine pointed particularly
to "gross mismanagement" in the dis-
tribution of "King of Kings". He said
the picture never realized its potential
distribution (only 4,000 to 5,000 play-
dates out of a potential 17,000), because
it was "sold on onerous terms" and
exhibitors were denied promised ad-
justments. He further declared that
"Mutiny on the Bounty" would suffer
the same fate unless exhibitors "were
assured a fair profit or at least against
loss".

Citing M-G-M's old reputation as
"the friendly company", Fine asked,
"what steps the company is taking to
rebuild its customer goodwill and to
live up to its word."

While insisting that a stockholders
meeting is not the proper forum for dis-
cussion of sales terms, O'Brien told the
exhibition leader that his company
could not guarantee exhibitors a profit
on any picture. "We put $19 million
into 'Mutiny' ... In the interest of the
company and its stockholders, we think
we should get the best terms."

Fine declared that he was asking only
for "a return to reasonableness" and
O'Brien responded that "We are sym-
pathetic to theatre interests, but we nat-
urally do our best for the company."

He promised a re-evaluation of distri-
bution policies.

O'Brien told the shareholders that in
the future "a picture's budget must be
geared to a careful evaluation of its film
rental possibilities and, once set, the
costs must be carefully controlled."
Market research is getting a new empha-
sis at M-G-M and the results used to
determine the best means of advertising
and selling any given product. Opinion
and information of sales people through-
out the world will be taken into ac-
count in marketing campaigns.

The use of present holdings is com-
ing in for careful scrutiny and implica-
tions are that unprofitable real estate
will be sold. M-G-M's 173-acres at Cul-
ver City, Calif., is getting the cold stare
and much of it might be sold or devel-
oped as real estate. Real estate holdings
in 44 countries are receiving similar
study. The purpose is to make it pos-
sible to operate from fewer assets, in
other words, not to have to carry so
much physical weight on the ledgers.

The president also revealed that
M-G-M feature production will go on a
two to three a month basis in April,
meaning a total of 18 to 20 pictures will
be turned out between now and the
end of the year. M-G-M expects to re-
lease 36 pictures this year, all told.

O'Brien also told the meeting of
plans for increased production at the
company's Culver City studios. Three
pictures, originally scheduled for over-
seas shooting, will be made on the west
coast, O'Brien promised in reply to a
petition from the Committee to Pro-
mote American-made Pictures, a union
group. He promised he would "not
forget" labor's plea for more domestic
production.

Revenues from television are expected
to be stepped up. Some 700 pre- 1949
features will be relicensed to TV and
30 newer films have been leased to
NBC, it was revealed. Plans are to
double TV production in the next year,
a step which could result in a $20,000,-
000 revenue from this source alone.

O'Brien's determination to staff key
positions with bold and imaginative
personnel was accented by the appoint-
ment of two new vice presidents. Mor-
ris Lefko, new general sales manager,
and Maurice Silverstein, recently named
president of M-G-M International, have
both been tagged v.p.'s of the parent
company. Jason Rabinovitz, general
manager of M-G-M since 1958, was ap-
( Continued on Page 14)

Page 4 Film BULLETIN March 4, 1963

MARCH 4, 1963

A. Case of
CautitMil Hiding

Coattail riding, like brain-picking, is
a practice of followers, not leaders, of
imitators, not creators. There always
seems to be someone waiting in the
background, ready to jump on a band-
wagon, imitate a talent, copy a product,
reap part of another's effort or expendi-
ture.

We have in our industry a goodly
share of coattail riders and imitators.
No sooner does some producer ring the
boxoffice bell with a different type of
picture than the rush is on to imitate it.
Talent can lie undiscovered for years,
but let someone reveal it and the copy-
ists, like ferrets, descend to claim it for
their own.

The least imaginative and least astute
kind of coattail riding, however, is that
in which Paramount is presently en-
gaged with its re-issue of a couple old —
and not too successful — Alfred Hitch-
cock productions, apparently in the
hope of capitalizing on the vast promo-
tion build-up being accorded his new
picture, "The Birds".

Universal, which is releasing, "The
Birds", has created an ingenious cam-
paign that is stirring an enormous
amount of pre-release word-of-mouth.
In addition to the clever catchline, "The
Birds Is Coming", Hitchcock, himself, is
the focal point of the Universal promo-
tion. Paramount obviously assumed that
it would be shrewd business to pick up
the crumbs from "The Birds" by hitch-
ing its new campaign to the Hitchcock
name for the revival of its two oldies.

This is the kind of coattail riding one
expects from fly-by-night operators, not
from an established, reputable firm.

Currnj o#i iit€*
i i>t>v*><> i itf hi

Philip F. Harling, the indefatigable
foe of feevee, had the following to say,

in part, to the Texas Drive-In Theatre
Association at its recent convention:

"There has been no subject mater in
the entire world of entertainment which,
during the last several years, has been
more controversial, more complex and
more distorted than the subject of Pay
Television. Fact and fiction have become
hopelessly confused. Logic has been
tempered with hypocrisy. The plain truth
has been perverted. These are strong
assertions — I will admit — particularly
when originating with a motion picture
exhibitor, like myself, with an admit-
tedly selfish interest. But I tell you that
not only the motion picture exhibitors
but the public at large have been tarred
and feathered with fairy-tales and dis-
tortions of fact.

"Before turning to the significant
facets of the Pay Television controversy,
let me speak for just a moment as an
exhibitor. Exhibitors, who have in-
vested some two and one quarter bil-
lion dollars in the motion picture in-
dustry, have been characterized as a
greedy pack of antiquated showmen
seeking to deprive the American public
of its God-given and constitutional right
to seek its entertainment how and
where it wants it and with the right
to pay for it. We have been told that
Pay TV is destined to bring to the
American public entertainment not avail-
able to it now: entertainment of great
cultural and aesthetic value like the

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 1239 vine
Street, Philadelphia 7. Pa.. LOcust 8-0950 0951
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manager; Max Garelick,
Business Manager- Robert Heath Circulation
Manager. BUSINESS OFFICE: 550 Fifth Ave-
nue New York 36 N. Y., Circle 5-0124;
Ernest Shapiro N Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR.
S3. 00 in the U S ; Canada. $4.00;
Europe. J5.00. TWO YEARS. $5 .00 in
the U S.; Canada. Europe. $9.00.

opera, chamber music, the ballet, and
Shakespeare recited in old world Eng-
lish.

"What hypocrisy to suggest that we
motion picture exhibitors are trying to
deprive the public of some great right
that the proponents of Pay TV want
to bestow upon it. A right to what?
The first serious attempt to establish
Pay Television on the West Coast was
geared from its inception to the sale of
baseball games to the public. Yes, we
are attempting to take away from the
people the right to pay for the baseball
games which they are witnessing free
right now.

"Gentlemen, Pay Television is not
in the hands of the great educators in
the United States. It is not in the hands
of philanthropists. It is in the hands of
men who, intentionally or otherwise,
would destroy our motion picture indus-
try, many of whom have already amassed
great fortunes either in the motion pic-
ture industry, as in the case of Para-
mount, or in other great enterprises such
as the oil and rubber industries.

"As long as you are dealing with
people who supply your films, you have
a right for the protection of your busi-
ness, to demand reasonable safeguards
insofar as others are concerned. If you
do not like the way or the manner in
which the distributors attempt to sell
their product to Pay TV, because it may
injure you in your business, you, indi-
vidually, have a right not to buy his
product. On this point we need no fur-
ther elaboration.

"We have tried with every legal
means to stop Pay TV. We have been
successful for 10 years in keeping it out
of the American home. During this 10
year period many exhibitors would have
long since folded had we not been en-
gaged in opposing Pay TV as we did.
Now that almost all other remedies have
have been exhausted, we still have the
one remedy which, we feel, will be suc-
cessful in barring Paj TV. That remedy
is national legislation."

Film BULLETIN March 4, 1963 Page 5

SOME RANDOM THOUGHTS ON PROMOTION AND OTHER MATTERS

In the primitive days when exhibitors
created exploitation just for the hell of
it, news events were the basis of crazy,
if not weird, stunts. When a mass hys-
teria such as the fifty-mile hike became
front page news, no alert publicity man
would fail to capitalize on it.

If you were working for Publix The-
atres, as I was, there would immediately
be a tie-up with a shoe store to sponsor
a walking marathon to the theatre and
the walk would terminate in the lobby
of the theatre where new shoes would
be contributed to the foot-sore partici-
pants.

I have no knowledge of such bally-
hoo being conducted in this day of
pessimism. Recently your chronologist
has been viewing the New England
scene and has been amazed to observe
not only lack of stunt-minded theatre-
men but to note that in a certain Sun-
day newspaper there was no advertising
of a movie, nor was there any space de-
voted to local theatre attractions. How-
ever, there were two entire pages given
over to television news and to television
programs.

During this excursion to the milieu
of Thoreau and Emerson, it was inter-
esting to discover that nobody (we
made interviews in the manner of Dr.
Gallup) seemed to give a damn about
motion pictures except to wonder
whether Liz would marry Dick. At
least, this spoke well for the New Eng-
land libido.

It was, however, encouraging to see
how the kids were flocking to the Walt
Disney picture, but rather melancholy
to hear from their parents that they
considered it quite a chore to drive the
offspring to the theatre.

And good news for Phil Harling. No
one we met has the slightest interest in
paying for television. In talking with a
cross-section of over one hundred con-
gregants of Ben Casey, I was told that
they saw no sense to putting coins in
the slot to see programs "that could not
be better than 'Naked City' or 'The De-
fenders'." This survey which included
the barrooms proved, among other
things, that very few persons had any
idea about pay-TV and hadn't heard
about the treason in Hartford, only a
little distance away from the scene of
our interrogations.

As your man here in this slot re-
viewed his samplings, several questions
popped up in his mind. If, as indicated,
sitting in front of television is the ma-
jor competitor, and if the free movies
on the home screen are the menace to
the boxoffice, why don't the theatres
conduct some good advertising on the

ADAM WEILER

television pages. They could point up
the demoralizing effect of living in the
past when movies were in short breeches
with out-of-date fashions in story and
wardrobe.

It seems ridiculous that the gregarious
American should degenerate into a
tochus warmer and confine his peram-
bulations to going to and fro to the
ice-box for added calories and to give
his tired eyes some relief from the snow
on the old pictures. If the American
public, which used to go to movies just
to get out of the house, are habituated
to the limitations of television, then
something should be done to show
them that this is the way to ennui and
premature aging.

Nothing worries Mr. and Mrs. Citi-
zen more than getting old before their
day. Any amateur psychologist can at-
test to this and it is not difficult to dis-
cern the constant fads created to keep
mama and papa young. This is surely
the age of the safflower addict who had
frightening reaction every time he takes
to a piece of butter.

I say in all seriousness that people
can be worried into going to the pic-
ture show (as they say out west). Sev-
eral times in this verbal edifice of socio-
logical meanderings, we have suggested
that it is not television alone that is
cutting into boxoffice receipts, but our
own desultory inclination to cry about
it rather than attack it.

This industry, which seems deter-
mined to stick to the false theory that
only special pictures can do big busi-
ness, has lost its volition to yell and
yell and yell that going to the movies
keeps a person young.

So what should be done! Again your
correspondent says that lots of money
has to be spent to create or recreate the
widespread attitude that attending a
theatre is a pleasure. This money has to
be used in a long range campaign for
two or three years.

I can visualize a number of advertis-
ing campaigns to get the ball rolling.
My first thought suggests that the place
to advertise is on the television pages.
Can you see some point to running ads
like this:

Do you like running an old auto-
mobile?

How strange you spend so much
time looking at old movies.

It would be my intention to run ads
of this nature every day in the week. A
war chest of $5,000,000 would do the
job. If anyone asks the silly question if
all this money would bring people back
to movie theatres, I merely answer it
will bring them back sooner than all
the weeping that is being done about
the lost audience. Is there a lost audi-
ence, or, are there lost advertisers?

I am pleased to note that Universal
is having a national sales convention.
In our last appearance on this page, we
lamented the decline of these rites. Now
that Universal is taking a dip into these
therapeutic springs, let us suggest that
there should be an all-industry conven-
tion that would have all the glamour of
Joe Levine's psyche and all the trim-
mings of Cleopatra.

This convention might be a resurrec-
tion, or, at the least, a revival meeting
to demonstrate that we know how to
put on a show. The public must be re-
minded that our house is built not
alone of steel and concrete, but with all
the ingredients of a bacchanal and that
we are the harbingers of fun, amuse-
ment and the spice of life.

For once, let's drop our guards en
masse and act like showmen, rather
than perform and dance with tears in
our eyes. Let us conduct business in a
major key and with the accent on the
scherzo, and throw Chopin's funeral
march to the professional mourners.

As the April 8 date of the Oscar tele-
cast draws nearer and nearer, the Acad-
emy has discovered that the show is in
conflict with the Jewish Passover. All
effort to switch dates has failed. The
Academy must be admired for taking
note of the parochial, but I wonder if
it realizes that the Passover is a feast of
rejoicing and that in most parts of the
country the Seder will be completed be-
fore the first trumpet sounds in Santa
Monica.

It seems that the Academy should be
more concerned with the entertainment
value of the Telecast and it is our hope
that some modification will be made in
the dull practise involving technical
awards, unless some exposition is given
to what these mean to the production
of a motion picture. The public is not
really interested in behind-the-scenes
awards.

(Continued on Page 12)

Page 6 Film BULLETIN March 4, 1963

'LAWRENCE' COPS LEAD IN NOMINATIONS, BUT . . .

Arab troops, led by their inspira-
tional British hero astride a camel,
charge across the desert in "Law-
rence of Arabia", leader in Academy
Award nominations with ten.

By CHARLES F. DAVIS

The Oscar nominations are in, and
a wide range of film fare and cinema
talent they represent. Everything from
the multi-million dollar spectacle to the
shoestring "sleeper", from subjects deal-
ing with the sweep of vast armies in
combat to the loneliness of a lifer in
isolation have made the list of contend-
ers for the coveted gold-plated stat-
uettes that symbolize the ultimate in
honor that filmdom can bestow.

The choices made this year by the
2500-odd members of the Academy of
Motion Picture Arts and Sciences to
compete for the top honors not only
cover a broad spectrum of cinematic
achievement, but also give rise to a
strong suspicion that no single picture
will run away with the bulk of the
awards, as has happened in recent years
with such wholesale honor-stealers as
"West Side Story", "Ben Hur" and
"The Bridge on the River Kwai".

True, there are some front-runners,
like "Lawrence of Arabia" with ten
nominations, "To Kill a Mockingbird"
with eight, and "Mutiny on the
Bounty", which took down seven, and
with which M-G-M hopes to take a
repeat Oscar. The original "Mutiny"
won the award in 1935. But running
close behind these leaders are "The
Music Man", with six nominations, and
the remaining contender for the best
picture award, "The Longest Day",
with five. And three other films that
could not edge their way into best pic-
ture contention also walked off with
nominations in no less than five cate-
gories. They are "Days of Wine and
Roses", "The Miracle Worker" and
"What Ever Happened to Baby Jane?".

A perusal of this imposing list of
films, and of the nominations for
achievement in all the other categories

OSCAR RACE
LOOKS TIGHT

is bound to stir a wide difference of
opinion among Academy members and
filmgoers alike. There is certain to be
much excitement afoot in the land on
the night of April 8, when, at 7 p.m.
Pacific Coast Time, the tabulations of
the secret ballots counted by Price
Waterhouse are revealed via television
and radio to a breathless audience of
countless millions.

While some of the high-honor win-
ners were anticipated, this year's nomi-
nations has its share of surprises. One
(though not to those who have seen
it) is the low-budget "David and Lisa",
the first effort of director Frank Perry
and his script writer wife Eleanor,
each of whom have been nominated
for an Oscar, he for direction, she for
the screenplay. The emergence of
"David and Lisa", shot for about $180,-
000 in suburban Philadelphia by com-
parative unknowns, as one of the super-
ior efforts of the year, is an obscurity-
to-fame story in itself, which adds
drama and human interest to the Oscar
proceedings. Another human interest
story is the nomination of nine-year-
old Mary Badham for her first movie
role in "To Kill a Mockingbird". Proof,
surely, that big budgets and big names
aren't everything, at least not to the

professionals of the Academy. And, we
suspect, not to the movie-going public,
either.

As in the case of the best pictures,
diversity marks the list of contenders
for best actor. The wide range of roles
to win nominations includes: Burt Lan-
caster's bird-loving prisoner in Alca-
traz; Jack Lemmon's tortured alcoholic,

Katherine Hepburn's portrayal of
Eugene O'Neill's tragic mother
in "Long Day's Journey into
Night" won her nomination for
Best Actress award.

whose days of wine and roses have run
out; the swaggering sneering plotter,
Marcello Mastroianni, whose one road
to divorce — Italian style — is murder;
Peter O'Toole's flamboyant combina-
tion man and myth as "Lawrence", and
Gregory Peck's gentle southern lawyer,
who taught his children never to kill a
mockingbird.

The most notable feature of the best
actress nominations, one that will warm
the cockles of many a veteran movie-
goer's heart, is the comeback achieved
by Bette Davis, who last won an Oscar
in 1935 for "Jezebel". Just a few
months ago she is reported to have in-
serted an ad in the "Situations Wanted"
( Continued on Page 12)

Darryl Zanuck's overpow-
ering dramatization of
Cornelius Ryan's book
about "The Longest Day"
— D-Day, June 6, 1944,
when Allied forces swept
over the beach of Nor-
mandy— is a contender
for Best Picture honors.

Film BULLETIN March 4, 1963

Page 7

Tke Vieu> frw OuUiafe

■HHHHi by ROLAND PENDARIS MHMM^HHBM

The Moral Atmosphere

This started out to be a column about family films. It was
triggered by the remark of a film friend of mine that a family
film had to be good to do business, but a sexy film could attract
customers even if it were a piece of junk. I was going to do a
piece about what ingredients good family films should have; but
as I started thinking about my friend's remark, which I do not
dispute, another observation seemed more to the point.

What is the basic function of the theatrical motion picture
today? Is it to reflect the standards of the public or to lead those
standards? Is it to appeal to a broad common denominator or
an intelligently selective public? These are not abstract philo-
sophical inquiries. They strike at the very root of what, like it
or not, we must call the film problem today. The problem, as I
see it, is that the quicker and easier buck to be made with the
lowest standards. And the exhibitor who prefers a straighter
and narrower path has to beat the bushes for product.

Movies are not unique. The book publishing industry has
gone this way. There are books on recent best-seller lists that I
have literally thrown out of my house, because the language and
the situations in them weren't fit for a decent bookshelf. I abhor
censorship, but I also abhor filth; and in literature filth wraps
itself in the mantle of artistic freedom. On the other hand, many
of the so-called committees for decent literature use the anti-
filth campaign as an excuse to censor political ideas and even
genuine artistic experimentation.

What is the answer? I believe the answer lies with us, as indi-
viduals and as families. We are all too lax, both in defending
our freedoms and in earning them. The other day I read several
stories about the problems Maryland theatres were having with
juvenile delinquents and rowdy youths. The theatres had posted
reward offers for information leading to the arrest of trouble
makers. In Baltimore, it was reported, there had been more than
30 serious disturbances at neighborhood theatres in three months
alone.

All of us are familiar with similar problems. The menace of
juvenile delinquency is not confined to slum areas. The fancy
suburbs are just as troubled. Why?

No matter how you slice it, the main reason is that we have
grown soft in our outlook. Nobody gets thrown out of school
any more; instead the problem adolescent is coaxed back. No-
body fears being thrown out of school either; most of the hard
menial jobs of yesterday are gone or improved with mechani-
cal assistance today. There is no need in most instances to worry
over where the next meal money is coming from. All the major
advances in social security, so needed in our modern civilization,
have made it easier for the loafers to impose on the rest of us.
But the loafers' lot has been eased mainly by our own com-
placency.

■< ►

The rowdies in Baltimore, for example, had not been caught
at the time this column was written. I venture the guess that if
they are caught they will escape with light sentences. One rea-
son for light sentences is decent man's natural instinct for mercy.
Another and often far more compelling reason is that we don't
have enough jails. In 1940 there were 173,000 prisoners in state
and federal prisons and reformatories; in 1961, there were 220,-
000, an increase of slightly less than 30%. The general popula-

tion increased almost 40% in the same period. Proportionately,
we have less people in jail now than we did 23 years ago — and
the crime problem is worse. Speak to the police in the big cities
and they will tell you the judges are not severe enough. Speak
to the judges and they will tell you they have no place to send
the prisoners for any lengthy sentence.

And look at the jails. There are bad ones and good ones, of
course. Just look at the good ones. For many of the hoodlums,
jail is no hardship at all. It is like a six-month tour of duty in
the Army — decent food, decent lodging, better medical care
than they get outside, congenial companionship. Whoever said
a felon's life was not a happy one? This isn't true of every pris-
oner or every jail, by any means. It is true for too many, how-
ever. I am not urging a beat-the-prisoners campaign, or the
re-establishment of chain gangs. I am suggesting that we should
all face up to the fact that unless we build more of the right
kind of jails, staff them right and see that every lawbreaker ends
up inside we are asking for more trouble.

Years ago I can recall listening to the manager of a Broadway
theatre talking about the trouble he was having with hoodlums
in the balcony. In my innocence I asked him whether he had
called the police. "What," he said in shocked tones, "and get
the whole thing in the papers?'' Or consider the case of several
people I know whose boys were held up by hoodlum kids right
near their home. The police brought in a suspect. Two of the
kids came with their parents to look at the suspect; the third
boy and his folks said they were afraid. Too many of us are like
that third family. We are afraid. We don't holler for the cops;
we don't help the cops. We just try to stay out of more trouble.

This is what I meant at the beginning of this column when I
said that the answer, in terms of better pictures, better respect
for law and order, better people, lies with us. We can't sit back
and let George do it because George is sitting back too and
waiting for us.

M ►

As a moviegoer I don't want anybody else telling the man-
ager of my local theatre what is proper for me to see, but I am
doing the manager a favor, I think, if I let him know that I as
an individual disapprove of a particular kind of film, or if I
tell him why I won't let my children go to his theatre. And that
brings me to another prime example of the moral looseness of
our times. On several occasions in recent months one or another
of my teen-agers has come to me with a request for permission
to do something about which I am not enthusiastic. I am assured
in every instance that all the other kids are being allowed to do
whatever it is. When I say no, firmly and positively, I find that
some of the other parents agree with me, but they didn't want
to be spoilsport. The moment I put my foot down some of the
others find their courage and do likewise; but I am the villain.
I don't like the casting, but I would rather be the villain than
the permissive pal-of-a-papa who gives his child a distorted
sense of values by saying yes to everything.

There are magazines published which may or may not be per-
mitted through the mails; I know they will not be permitted in
my house. A friend of mine who expresses shock at some of
these publications keeps them in his house, where young chil-
dren are growing up, because he has a client connected remotely
with one of them. He's worried about the girls his boy runs

(Continued on Page 18).

Page 8 Film BULLETIN March 4, 1963

Tint TV in Theatres

National General, General Electric
Harness Pay-TV for Theatre Network

If pay-television is coming, as some say, then it is heading
for theatres, not homes, as exhibitors have feared it might.
This important news broke when National General Cor-
poration and the General Electric Company announced the
establishment of the nation's first full-scale theatre TV net-
work, based on development of a unique color television
projector — the Talaria.

Eugene V. Klein, president of N.G., summed everything
up, as far as exhibitors are concerned, when he stated:
"Talaria means that pay television is here! It's here to stay
and where it belongs, in the superior exhibiting facilities of
the nation's motion picture theatres.

The creation of this new TV projection system, developed
by G-E, now makes it possible for the first time to show,
in high-fidelity color, a televised image on a full-sized
theatre screen. According to R. L. Casselberry, general
manager of G-E's Technical Products Operation, the new
Talaria projector produces a full-screen color image that is
comparable to movie film picture brightness, uniformity,
color quality. Thus, a live televised broadcast of a Broadway play could be seen
in a motion picture theatre anywhere in the country just as it's happening on the
stage. Sports and cultural events, likewise, could be brought to millions of viewers
in the theatres.

National General has placed a multi-million dollar order with G-E for equipment
and service contracts. The projectors will be placed early next February in key
i theatres throughout N.G.'s 220-theatre circuit. The projectors also will be franchisee!,
I leased and sold by National General to other qualified entertainment exhibitors
in main cities through the United States.

"With the means of exhibition located in movie houses the length and breadth
of the country," Klein declared, "we are creating a new network to service America
with top-flight entertainment on a 52-week-a-year basis. This new network puts

KLEIN

View of the Talaria image on a theatre-size n r< < n

Talaria theatre television projec-
tor produces three primary colors
( red, green, blue) from only two
tight beams.

major entertainment events where they
belong and can achieve their greatest
effect — in the theatre. It will certainly
help fill the product shortage void.

"Our present theatre operations show
that the American public wants to get
out of their home to be entertained.
Multiplied by the seating capacity of
key houses among the country's 15,000
motion picture theatres, our audience
will reach never before equalled pro-
portions. Literally a national boxoffice
of millions of theatregoers."

A theatre demonstration of the pro-
jector will be held in approximately 90-
120 days; definitely on the Coast, and,
probably, also in New York City. "A
year from now," Klein concluded,
"about 100 theatres will be equipped
with the Talaria projector."

The projector is similar to a standard
movie projector in that both use a high-
power light source and a system of
lenses to direct the light beam through
the film and produce a picture on the
screen. For practical purposes, the Tala-
ria light valve projector works in the
same way, except that the printed motion
picture film is replaced by a G-E de-
veloped transparent thin layer of viscous
control fluid. An electron gun operating
as it does in a TV picture tube scans the
surface of the control layer. Instead of
producing a picture directly on the
layer, as it does on the phosphor face
of a TV picture tube, the electron beam
causes the fluid layer to control the light
so that the picture is projected onto
the screen.

Film BULLETIN March 4, 1943 Page 9

Page 8 Film BULLETIN March 4, 1963

DAY A WAR STOOD STILL

for a daring rnana devoted woman,
a handful o heroes and a
housand magificent stallions!

WALT DISNEY

MIRACLE OF THE

White Stallions

Staffing ROBERT

TAYLOR PALMER JURGENS

Co .Miring EDDIE

ALBERT FRANCISCUS larch abbot

Screenplay by A. J. CAR01HERS ■ Associate Producer PETER V HERALD • Directed by ARTHUR HILLER - TECHNICOLOR

R«le««rl by BUI N» VISfA Dislribulion Cn Inc • ©1962 Walt Ounty Pioduelions

Osvur Race Months Tig It I

IN FOCUS

(Continued from Page 7)
columns of a Hollywood paper. The
casting offices had bypassed her for so
long she needed work. Then she got
the role in "Whatever Happened to
Baby Jane?" which has put her right
back where she desrves to be, on the
list of nominees for an Oscar.

Other best actress nominations are:
Anne Bancroft, for her portrayal of
Helen Keller's dedicated teacher in
"Miracle Worker", Katherine Hepburn,
whose drug addict mother contributes
so much to the stark drama of Eugene
O'Neill's journey into night, Geraldine
Page's fading actress whose sweet bird
of youth has flown, and Lee Remick,
the sodden wife in "Days of Wine and
Roses".

Best performances seemingly have a
tendency to inspire best supporting per-
formances, as can be seen by the dupli-
cation of nominations in the same
films. Only one supporting actor nomi-
nation, Terrence Stamp in "Billy Budd ",
is for a picture that received no best
recognition. Supporting actor nomina-
tions are: Ed Begley in "Sweet Bird of
Youth", Victor Buono in "Baby Jane",
Teddy Savalas in "Birdman of Alca-
traz", and Omar Sharif, the flashy
Egyptian newcomer, in "Lawrence."

In nominations for best supporting
actress, again only one is named for a
film in which there is also no best per-
formance nomination, that isolated in-
stance is Angela Lansbury for her role
in "The Manchurian Candidate ". Other
nominations are: Mary Badham in
"Mockingbird", Patty Duke in "The

Gregory Peck, Best Performance nominee, holds his
daughter in "Mockingbird", 9 year-old Mary Bad
ham, who is a contender for the Best Supporting
actress statuette.

Lee Remick and Jack Lemmon are hot con-
tenders for Best Performance honors for their
roles of the alcoholic couple in "Days of
Wine and Roses", Warner Bros. Picture.

Miracle Worker", Shirley Knight in
"Sweet Bird of Youth" and Thelma
Ritter in "Birdman of Alcatraz".

Five poles-apart films are contending
for the award for best achievement in
directing. Frank Perry for the poetic
tenderness of "David and Lisa", David
Lean for the sweeping grandeur of
"Lawrence of Arabia", Robert Mulli-
gan for the gentle awakening of child-
hood in "To Kill a Mockingbird",
Arthur Penn for the tortured path to
a similar awakening in "The Miracle
Worker", and, at the opposite extreme,
Pietro Germi for the sly, slightly cynical
comedy of "Divorce — Italian Style".

All in all, the competition for 1962 s
Oscars shapes up as the keenest race in
years. We would not undertake to make
the odds on the favorites in any cate-
gory. Who knows if the Academy mem-
bers will cast their ballots for the sweep
and grandeur of "Lawrence", for the
documentary-like "Longest Day", the
tranquil tale of "Mockingbird", the
nostalgia of "The Music Man", or for
"Mutiny" the second time around?

But let this be said: the broad range
of choices that have found their way
into the five-best lists in every depart-
ment adds much persuasive force to the
view that the art of the motion picture
is as broad as life itself, and that there
is an Oscar — and a market — available
for every type of movie that is a prod-
uct of artistic endeavor, and which ap-
peals to the eye, the mind, or the heart.

( Continued from Page 6 )

Now is the time of year to prepare
for the advent of spring, We can al-
ready hear Ernest Emerling's mind click-
ing on plans for Loew's Theatres'
Spring festivals. Our friend Ernie has
not lost sight of these fundamental
touches, and if we were to have the op-
portunity to nominate an ambassador to
an industry clinic on the best methods
to combat spring fever at the box-office
we would back Mr. Emerling.

But what brings up the person of
Emerling is our recollection of his
breezy news letters to movie editors
throughout the country, in which he re-
ported not only no Loew's theatres but
on the general state of the industry.
And we pause to wonder how many
theatremen visit the editors in their
communities, not in relation to special
events but merely to say hello.

Now that the New York newspapers
have failed to publish for three months,
it is my hope that the vast sums of
money that distributors previously spent
for a New York opening (generally to
appease the producer) will be put into
a special fund and diverted to local
situations for the benefit of out-of-
Manhattan runs. With more and more
evidence that the folks are waiting till
the show comes to the nice theatres in
the neighborhoods, it seems that both
distributor and exhibitor would be
helped if the picture were rejuvenated
when it opens in these houses.

It was never quite clear to me why
the first-runs should get all of the ad-
vertising dough. In my own experience
I generally wait to see the attraction
nearest to my wigwam, but I never
know what's playing unless I spend a
telephone fee in calling the theatre.

To pull a cliche out of my lounging
robe (you poor working people) there
is nothing deader than yesterday's news-
paper, unless it is a good movie which
is kept in the vault until that relic of
yesteryear known as clearance is accom-
modated. It seems to me that clearance
means that nothing matters except the
first-run, whereas we all know that
plenty of dough is left in the sub-
sequent engagement, if the distributors
revised some of their promotion think-
ing.

David Lipton, an astute merchandiser,
once made a considerable point of this
on behalf of Universal Pictures.
Whether or not he is able to continue
this wise policy is not known to me. If
he is, more power to him. In any event,
exhibitors should press the point, and
at the same time should lead the way
by putting in an extra ante of their own.

P.jgp 12 Film BULLETIN March 4, 1963

FINANCIAL REPORT

four points since the beginning of the year, continued to be
heavily traded (317,800 shares), but sold off one point.

Columbia, Disney Recommended
For Investment by Analysts

Columbia Pictures and Walt Disney Productions were pointed
out as worthy investment prospects by two prominent brokerage
firms in recent weeks.

While stating that "of late the movie industry has been in the
doldrums" and film company shares "have lost some of their
glamour", D. H. Blair & Company finds that Columbia can be
regarded as an "intelligent speculation". Pointing out that this
company now derives 40% of its revenue from its Screen Gems
subsidiary, 33% from foreign rentals, 25% from the domestic
movie market and 2% from other activities, the Blair report
suggests that Columbia's common has "a high degree of lever-
age". Note is made of the vast earnings potential in "Lawrence
of Arabia", which could gross, the Blair analyst indicates, as
much as $50 million. Also cited as potentially strong grossers
are "Bye, Bye Birdie", "The Victors", "The Cardinal" and
"Lord Jim." On the basis of all factors, the Blair point of view
is that "Columbia common may be purchased by semi-specula-
tive accounts for near and intermediate term appreciation possi-
bilities."

The report on Disney emanates from W. E. Hutton & Co.,
whose analyst R. E. Buchsbaum likewise makes reference to
"financial problems which confront a few of the motion picture
companies", but recommends that Disney's values "should not
be obscured by problems that exist elsewhere in the industry."
The "timeless quality" of Disney films, Buchsbaum states, makes
them valuable for re-release every few years in theatres, while
not diminishing their ultimate value for sale to television. He
points out that Disney has developed a remarkable production
formula of successful and profitable cartoon features and family-
type comedies and science-fiction films "that meet present tastes
in imaginative entertainment. The hours which children spend
today in front of the 'small screen' have not dulled their appetite
for going to a movie, as the constant queues in front of theatres
showing Disney films will attest."

"Gross income has increased almost ten-fold in the past
decade", Buchsbaum notes, as the result of new activities (Dis-
neyland and television), as well as via the larger number of
feature releases per year. Only in fiscal I960 did the company's
net income fail to keep pace with the rapid growth of the gross.

Only Disney Resists Bear Raid;
All Other Industry Stocks Drop

The month of February closed out with the bears in tight
control of the stock market. From Feb. 18, when the Dow- Jones
industrial average reached its highest point since spring of 1962,
through to the end of the month the average dropped over 26
points — and, with one solitary exception, film and theatre
company stocks listed in the Film BULLETIN chart followed
the downbeat trend.

The only movie industry issue to resist the decline in the Feb.
14-28 period was Disney, which continued to ride the crest of its
recent earnings report and continued strong returns on current
product with a two point rise. Every other industry issue was
down, many fractionally, although MCA and Paramount, in the
film division, and American Broadcasting-Paramount Theatres,
in the theatre branch, showed drops of over 3 points.

National General Corp., which had gone up approximately

AA Shows Loss for 26 Weeks

Allied Artists showed a loss of $497,000 for the second
quarter, ended Dec. 29, of the current fiscal year. This was
revealed by the statement of president S. Broidy that the com-
pany had a net loss of $334,000 for the 26 weeks up to that date,
wiping out the first quarter profit of $163,000. The half-year
loss compares with a loss of $1,041,000 shown for the same
period in the prior year.

Broidy reported that gross income for the first 26 weeks
amounted to $11,009,000 compared to $5,412,000 for that
period in the preceding year.

FILM & THEATRE STOCKS

Close Close

Film Companies 2/14/63 2/28/63 Change

ALLIED ARTISTS 3% 3% -

ALLIED ARTISTS (Pfd.) 9% 9%4 %

CINERAMA 16y8 14% -iy4

COLUMBIA 243/4 24% - %

COLUMBIA (Pfd.) 83 82 -1

DECCA 45% 451/4 - %

DISNEY 31% 333/4 +2

FILMWAYS 6% 6% %

MCA 541/g 50 V2 -3%

MCA (Pfd.) 35i/4 351/3 - i/g

M-G-M 291/2 28 14 1V4

PARAMOUNT 40% 37% -3%

SCREEN GEMS 17% 16% -1

20TH-FOX 25% 24% -1%

UNITED ARTISTS 30% 30 - %

WARNER BROS U% 14 %

* * *

* # *

Theatre Companies

AB-PT 35% 31% -33/4

LOEWS 19% 18 1/4 - %

NATIONAL GENERAL 11% 10% -1

STANLEY WARNER 22% 2P/4 -1%

TRANS-LUX 13 12% - %

* * *

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, American
Exchange; all others on New York Stock Exchange.)

* * *

2/14/63 2/28/63

Over-the-counter Bid Asked Bid Asked

GENERAL DRIVE-IN 10 11 9% 10%

MAGNA PICTURES 2% 2% 2% 23/4

MEDALLION PICTURES 5% 5% 5% 6%

SEVEN ARTS 9 9% 8% 9%

UA THEATRES 5% 6% 5% 5%

UNIVERSAL No quotation No quotation

WALTER READE STERLING .... 1% 2% 1% 2%

WOMETCO 19% 21 19% 20%

( Quotations courtesy National Assn. Securities Dealers, Inc.)

517 °' the foremost
financial houses in the U.S.

read

BULLETIN

Film BULLETIN March 4. 1963 Page 13

CAST AND CREDITS
O'BRIEN TO SHAREHOLDERS

( Continued from Page 4)
pointed treasurer of the company. Presi-
dent O'Brien and other vice presidents
were re-elected. The chairmanship of
the board, held by Joseph Vogel, since
O'Brien's elevation to the presidency,
was declared vacant. Vogel, who is
abroad on company business, remains a
board member.

Facing the realities of the company's
present situation; but encouraged by the
outlook for the latter part of the fiscal
year, the board of directors cut the
quarterly dividend from 500 to 37l/20
or $1.50 annually. As the stockholders'
meeting was hearing O'Brien's revitali-
zation plans, M-G-M stock continued to
hold its ground firmly on the New
York Exchange, apparently unaffected
by the changes taking place within the
company.

Tonight's the Night
To Go Out to a Movie

Respiration, hopefully not artificial,
is being applied to the long-dormant
idea of an industry-wide campaign to
promote moviegoing. TOA president
John H. Stembler last week announced

r

A £

STEMBLER

that the exhibitor organization has
launched a full-scale institutional cam-
paign to be based on the slogan "To-
night's the night to go to a movie!-'

The slogan is designed to get maxi-
mum play in newspapers, on radio spot
announcements, television trailers, post-
ers and displays. Newspapers will be
urged to make use of the slogan as a
head for movie pages. MPAA member
film companies are being asked to pick
up the slogan and incorporate it into
their ads.

One of the first specific uses to which
the slogan will be put is in the wide-
spread campaign for the Hollywood
Preview Engagement of "The Courtship
of Eddie's Father". Hooking the slogan
to a well-planned campaign already roll-
ing will serve to boost it into promi-
nence and give it circulation which can

Page 14 Film BULLETIN March 4, 1963

then be tied into subsequent promotion.

Proofs and mats will be furnished by
TOA and co-operative exhibitor use of
all available display space on posters
and transit display cards is being urged.

The publicity coordinating group of
the MPAA met last week to lend its sup-
port to the TOA campaign. Declaring
that this is not the time to choose up
sides but, rather, to "get behind the
single objective of registering the new
slogan with as many potential theatre
patrons as possible," the committee
chaired by Paul Kamey, emphasized
that for the slogan campaign to succeed
it must have the support of all exhibitor
groups, national and regional.

More Prime Pictures
For Prime TV Time

Exhibitors had something to cheer
about when it was revealed that the
ABC network was dropping its Sunday
night prime time telecasts of movies
next season. But hard on the heels of
that good word came the news that
NBC-TV had concluded deals with
M-G-M and 20th Century-Fox for 30
choice features from the 1955-'60 librar-
ies of each of the companies for home
showings on Saturday and Monday
evenings.

How seriously will boxoffice grosses
be affected by the living room competi-
tion? Read what Time Magazine had to
say in the March 1 issue:

"Designing to appeal most to the
most, NBC has discovered a somewhat
ultimate weapon. Ram a Hollywood
movie into prime time; fire one, fire
two, and pom — the nearest enemy net-
work goes down without a bubble.

DIAL-A-DECISION

Since that enterprising chap in
Chicago came up with the gim-
mick of canned conscience called
Dial-a-Movie (dial a phone num-
ber and get a moral evaluation of
any film playing in the area),
ideas for expanding the ten-cent
advice scheme appear limitless.

For instance: Dial-a-Diagnosis
could put medicare right out of
the picture; Dial-a-Decision could
iolve financial needs, marital prob-
lems, party menus, etc.; Dial-a
Vote could save the trip to the
polls; Dial-a-Nalysis could soothe
the freudian anxieties. The possi-
bilities are staggering.

LONDON

"CBS for example, has been cruising
along in the early part of Monday eve-
nings, comfortably ahead of all opposi-
tion with To Tell the Truth, I've Got a
Secret, The Lucy Show and The Danny
Thomas Show. NBC was running a poor
third with It's a Man's World and
Saints and Sinners. It was TV show
against TV show, and CBS was tops.

"So NBC rolled in the big cannon: a
new series called Monday Night at the
Movies. The first show, with Robert
Mitchum, was The Enemy Below ( 1957).

"With that one movie, NBC blew
CBS out of the water, and of course
ABC too, which had been doing fairly
well in the same hours with The Dako-
tas, The Rifleman and Stouey Burke.
The following week, as Gregory Peck
went out manhunting in 20th Century-
Fox's The Bravados (1958), CBS lost
again. Then the next week Mitchum
was back in Heaven Knows, Mr. Allison
(1957). NBC's Hollywood movies were
obviously as superior to CBS's TV shows
as the old ironclads were to the wooden
gunboats."

Now theatremen are wondering what
kind of a battering their boxoffices will
take during the 1963-64 season when
NBC will be feeding home TV on
Saturday and Monday evenings such
top-drawer films as these: from M-G-M,
"Adams Rib" (Spencer Tracy, Katherine
Hepburn, Judy Holliday), "Annie Get
Your Gun", "The Brothers Karamazov"
(Yul Brynner), "Battleground" and
from Fox, "Seven-Year Itch" (Marilyn
Monroe), "The Tall Man" (Clark
Gable)), "Daddy Long Legs" (Fred
Astaire), "The Rains of Ranchipur"
(Lana Turner, Richard Burton).

Levine Abroad

Peripatetic Joe Levine has started
another company, this time in England.
Anglo Embassy Productions Ltd., Em-
bassy Pictures new British offshoot, will
act as liaison with 20th Century-Fox on
the 13 Embassy pictures the latter will
be releasing in Britain and will organize
production deals for other pictures. The
first British production to come under
Embassy's financing is Stanley Baker's
"Zulu", which starts shooting in South
Africa next month. Kenneth Hargreaves
has been named managing director of
the new company.

iMSON" "RAVEN" Top Grossers From American International !

'Welcome to the hit
parade, MR. RAVEN,
congratulations on
your BLOCKBUSTING
BUSINESS in NewYork
and Los Angeles!"

"Samson" Records
"Miracle" Crosses
Despite Snow, Ice

American International's adven-
ture spectacle, "Samson and the
Seven Miracles of the World," de-
spite the current cold wave and
snowy weather sweeping the na-
tion, is racking up record and
near-record weekly grosses in all
of its key opening engagements,
according to AIP sales chief Leon
P. Blender.

Biggest opening was in the Chi-
cago multiple engagement where
"Samson" grossed over $140,000
with below - zero temperatures
plaguing the Windy City. In Bos-
ton, San Francisco, Oakland, Buf-
falo and Denver, single house
weekly grosses surpassed the
$10,000 mark to best previous AIP
highs for the same theaters — all
in the face of cold and bad
weather.

In Jacksonville, Florida and
Madison, Wisconsin, AIP house
records were broken by the Gor-
don Scott-starrer, while Norfolk,
Virginia, and two San Jose, Cali-
fornia, nouses exceeded .$9,000 for
the color spectacle, according to
Blender.

Some of the individual house
figures for "Samson" follow:

Pilgrim Theatre, Boston, Massa-
chusetts (1st week), $9,059.

Paramount Theatre, Buffalo,
New York (1st week), $9,072.

Denver Theatre, Denver, Colo-
rado (1st week), $9,247.

Fox Theatre, San Francisco,
California (1st week), $9,746.

Paramount Theatre, Oakland,
California (1st week), $8,858.

Smash LA., N.Y. Bows
Zoom AIP's "Raven" To
Flying Start at B.O..

American International's newest
Edgar Allan Poe thriller, "The
Raven,'' looms as the company's
all-time boxoffice attraction as the
Vincent Price — Peter Lorre — Boris
Karloff starrer opens today in the
San Francisco area on the heels
of sensational opening grosses in
the New York City and Los An-
geles markets.

All the more impressive because
of coincident record bad weather
in both New York and L. A. were
the following smash figures for
these key situations:

In a 80-theater New York City
multiple, "The Raven" chalked up
over $325,0000.00 at the boxoffice,
while the Poe thriller's Los An-
geles gross neared $200,000 on the
basis of incomplete preliminary re-
turns as this paper went to press
last night.

The New York opening "The
Raven," the first engagement of
the color and Panavision film, was
given an extra boost by a flying
two-day personal appearance tour
of top Gotham houses by two of
the pictures three top stars — Peter
Lorre and Boris Karloff. Despite
freezing weather and snow, the
two veteran thespians completed
their grueling p. a. schedule to the
acclaim of cheering capacity
throngs both inside and outside
the New York theaters.

"The Raven" received an addi-
tional boost in both key spots and
for all ensuing engagements
through a record-breaking nation-
wide promotional-exploitation cam-
paign highlighted by spectacular
free plugs on more than half dozen
of the top networK TV shows.

"Thank you,
MR. SAMSON,
it's delightful to
follow in your
GIANT BOXOFFICE

footsteps!"

. »

"ROGER C0RMAN ' ""SRICHAROMAIHISON .".V." JAMISH NICHOLSON SAMUEl I ARKOFf "-SlESBttlSR

I

"Love is a Ball"

SUJZHCJJ O O O

Frothy romantic comedy-farce should amuse all types of
audience. Backed by big campaign should gross strongly.

Producer Martin Poll proves that love is a ball in this spirited,
sophisticated comedy about the French Riviera rich and their play-
boy friends. With the glamorous Cote d'Azure as the setting, this
glittering bauble of fun and romance turns its sparkling spot-
light on wacky, impulsive Hope Lange, richest girl in the world,
addicted to fast cars, suave lovers and always getting her own
way; Glenn Ford, a poor but proud American adventurer, and
Charles Boyer, a suave, crafty matchmaker who plots to marry
Miss Lange off to a nice but socially inept Grand Duke. Over-
flowing with humor ranging from the sophisticated to mad,
farcical horseplay, glistening with costumes, sets and scenery
lushly captured in Technicolor and Panavision, dizzily and
imaginatively directed by David Swift and delightfully scored
by Michel Legrand, this frothy United Artists release will prove
a solid boxoffice attraction in all situations. Recently kicked-off
via a much publiciized Las Vegas World Preview, to be backed
by a super-promotion campaign and certain to generate plenty
of seat-selling word-of-mouth, the end result will be profits
with a capital P because here is entertainment with a capital E.
Ford brings a winning light-hearted touch to his role of secret
agent for Boyer and Miss Lange's chauffeur. Miss Lange, a
definite beauty, emerges a talented light comedy personality as
the spoiled millionairess who cannot impress Ford with her
riches. Boyer is Gallic sophistication at its highest level as the
matchmaker who finds his plans going haywire when Miss Lange
falls for Ford. Richardo Montalban is extremely charming as the
awkward, unschooled-in-social-graces Grand Duke, Telly Savalas
proves he's also at home with comedy as Miss Lange's fastidious,
fussy uncle, who schemes with Boyer to find his niece a hus-
band, Ruth McDevitt is fine as Miss Lange's I-want-a-grandchild-
in-the-family grandmother and Swedish actress Ulla Jacobsson
makes an impressive debut as Boyer's efficient secretary. The
Swift-Tom and Frank Waldman screenplay finds Boyer hiring
Ford to teach Montalban how to drive (Ford is a Grand Prix
champ), ride and play polo, then sets him up in Miss Lange's
household. He prevents her from driving in the Grand Prix,
gives her the scariest car ride of her lifetime, then accidentally
ends up with Miss Lange at Boyer's Swiss Lake retreat, an
amour plot originally hatched by Boyer to encourage Montal-
ban's affair with Miss Lange. Additional complications develop
before Montalban ends up with Miss Jacobsson (with Boyer's
blessings) and Ford ends up with Miss Lange. As for Boyer,
there will always be another client waiting around the corner.

United Artists. Ill minutes. Glenn Ford, Hope Lange, Charles Boyer, Produced by
Martin Poll. Directed by David Swift.

"Madame"

Handsome, highly amusing costumer. Satire will appeal
to class trade; sex and laughs to masses. Sophia Loren
lends name power.

This dubbed Embassy release, adapted from the famous play
"Madame Sans Gene" by Emile Moreau and Victorien Sardou,
emerges a lavish romantic comedy costume spectacular unfolded
against the exciting days of the French Revolution and the
Napoleonic Wars. With Joe Levine providing one of his block-
buster promotional send-offs, "Madame" figures to amass sock
gross in class houses and above-average returns in the general
market. Sophia Loren stars as the beautiful, carefree and out-
spoken laundress who rises almost to royalty, and she plays it

| More REVIEWS

Page 16 Film BULLETIN March 4. 1763

strictly for sex and laughs. Additional assets include handsome
sets and action-filled battle scenes filmed in glowing Technicolor
and Technirama 70 mm. Director Christian-Jaque keeps every-
thing galloping at a loud and merry pace, reaching every so
often high degrees of satirical mirth. Robert Hossein co-stars as
Miss Loren's husband who rises from a rugged, young army
sergeant to captain to colonel to Duke and almost to King of
Westphalia. The meteoric rise is due to Napoleon Bonaparte,
amusingly portrayed by Julien-Bertheau, a friendly patron of
Miss Loren's laundry in the days before he became Emperor.
A large international cast represent the citizenry of Paris, French
soldiers and ladies and gentlemen of the court. Bertheau, now
Emperor, invites Miss Loren and Hossein to a palace ball where
he intends making them King and Queen. Miss Loren, who has
taken lessons in courtly manners, makes an impressive entrance
until she "tells off" the Emperor's sisters. The latter warn Ber-
theau that granting the title to Miss Loren would make him the
laughing-stock of Europe. Bertheau agrees and orders Hossein
to divorce Miss Loren and wed a princess worthy of his new
rank. Miss Loren goes to Bertheau's private chambers and lashes
him with her razor-sharp tongue. Bertheau decides it's better not
to make Hossein a king than to separate the couple.

Embassy. 104 minutes. Sophia Loren, Robert Hossein. A Maleno Malenotti Produc-
duction. Directed by Christian-Jaque.

"The Trial"

Suducedd ^atutq O O Plus

Weird, sometimes brilliant, sometimes confused, Welles
version of Kafka novel. For art, class trade. Problem for
mass market.

Actor-director-scripter Orson Welles has merged his un-
orthodox talents with the nightmarish world of Franz Kafka and
the outcome, while not Kafka, is a sometimes brilliant, oft-times
confused, but generally fascinating screen achievement. Destined
to become one of the more controversial films of the year (some
will praise it, others will damn it), the film will require special-
ized handling. Best suited for art house patrons and devotees of
the "unusual", it will have tough going in the general market.
Because of its symbolic, abstract, surrealistic approach, it is
reminiscent, in part, of "Last Year at Marienbad" and the films
of Antonioni. But in all fairness to Welles, "The Trial" emerges
an original, if bizarre, undertaking. The baroque interiors of
Paris' la Gare d'Orsay, the eerie exteriors shot in Yugoslavia
and the haunting strains of Albinoni's Adagio form a chilling
frame for this disturbing tale. Off-beat camera angles, inanimate
objects dwarfing humans, plus the never-ending aspect of people
and places not being what they should or what they appear to
be all bear the trademark of the gifted Welles. The performances
are first-rate, with Anthony Perkins, as the confused K. The
international cast includes Welles himself, Jeanne Moreau, Elsa
Martinelli, Romy Schneider and Akim Tamiroff. In bold, imag-
inative strokes, Welles sends his young hero — accused of an
unnamed crime to which he swears his innocence — stumbling
through offices staffed with robot-like workers, small rooms
where "police" (the state) torture exists, the labyrinth of judi-
cial examination and the corridors and offices of an enormous
dilapidated building peopled with a multitude of terrified hu-
mans. On the negative side, Welles' screenplay lacks a coherent
point of view. Totalitarianism, the shortcomings of the law,
man's selfishness are touched upon, but never solidified into an
intelligent whole. Everyone Perkins knows turns away from him
for fear of getting involved in his "crime." Gradually Perkins
begins to feel he is guilty and he finally allows himself to be
executed.

Astor Productions. 118 minutes. Anthony Perkins, Jeanne Moreau, Romy Schneider,
Orson Welles. Produced by Yves Laplanche. Directed by Welles.

on Page 18 ]

7V6at t&e Stuwmm /lie 0Doi*ta!

MERCHANDISING

EXPLOITATION DEPARTMENT

T M E N T f

Caras, Kahn Appointed to
New Columbia Promotion Posts

In line with Columbia's expanding world-
wide promotion activities, two new ap-
pointments to the company's showmanship
department were announced by Robert S.
Ferguson, executive in charge of global
advertising, publicity & exploitation within
the past fortnight.

Roger Caras was named national exploi-
tation manager, bringing to the post a
broad experience in various phases of
movie operations. He has served in the
company's story and talent departments,
prior to which he had been assistant to
former vice president Paul N. Lazarus, Jr.

Richard Kahn, who had occupied the
national exploitation post for the past five
years, will now serve as manager of ad-
vertising, publicity and exploitation for
"Lawrence of Arabia". He has been with
Columbia since 1955.

Davis Upped by Paramount

Martin Davis, Paramount advertising
manager, was named a vice president of the
distribution company, it was announced by
George Weltner, executive vice president
of Paramount Pictures.

Peim SElkERS GEORGE G. SOoTf
STeRUNGHAYoEJV KEEfNJAM WVlsJfM

Smi^MII.'ChS

DR. STRANGElQVE

OH;

h'OW I l?AT?\EI)ToSTnP W0W1NE

"'LOVE
THE BOMB

FILMING

mmuMMfH mm t*k< rjnuMtw curies ~—

This unusual advertisement on Stanley Kubrick's
"DR. STRANGELOVE, or How I Learned to
Stop Worrying and Love the Bomb" is being
placed in publications throughout the world to
capitalize on the international interest in the
film, Columbia Pictures, which will distribute
the "nightmare comedy" , reports.

Nothing Cheep about U's
Campaign for 'The Birds'

Cheep. Cheep. They is coming!

What is? The birds is coming. Through
the doors, through the windows and the
cracks in the wall, they is.

"The Birds is Coming", the tricky, catchy
phrase concocted for the all-out campaign
for "The Birds" and is beginning to be
seen in magazines and newspapers, on bill-
boards and television screens and heard by
radio. Universal's Hitchcock thriller pre-
mieres in New York March 28 and by then
the birds will have cawed, whistled and
cheeped their message through the land.
The massive promotion drive, said Univer-
sal vice president David A. Lipton, will be
one of the "most all-encompassing adver-
tising and promotional campaigns ever
put behind a motion picture." And it's all
cued to that cute 4-word phrase, "The
Birds Is Coming".

The campaign will include a large mag-
azine campaign, coast-to-coast billboards
and what is described as the longest con-
tinuous advance radio spot campaign ever
given a motion picture. The latter phase
will include 38 spot announcements local-
ized for specific area use, which will be
followed up by a new series of spots tying
in with local playdates. Also being made
available to disc jockeys is a series of taped
interviews with Hitchcock and the princi-
ple performers, Rod Taylor, Jessica Tandy,
Suzanne Pleshette and "Tippi" Hedren.

A 10-minute short featuring Universal
president Milton Rackmil and Hitchcock
has been prepared for special exhibitor
screenings at the company's exchanges
throughout the world.

Showman Joe Levine's Valentine Day offering
to New Yorkers was an orchid, pinned on by
Marie-France Pisier, star of "Love at Twenty",
at the Murray Hill Theatre, where the film is
having its premiere engagement .

Producer Harry Saltzman (r) talks over the
advertising campaign on his "Dr. No" with
United Artists promotion executive Gabe Sum-
ner and David Chasman. The lan Fleming
thriller is due for May release.

Brotman Gives TONE His
10 Points for Exhibition

The tone was set for better and more
profitable exhibitor operation by Chi-
cago theatreman Oscar Brotman at the
recent TONE (Theatre Owners of New
England) showmanship workshop.

The next ten years, Brotman says, will
separate the showmen from the boys
and he's developed a 10-point program:

"1 — Don't alienate the public in any
way. It's the only one you have. 2 —
Make each performance perfect. 3 —
Maintain immaculate theatres. 4 — Check
your entire operation from hour to
hour. 5 — Hire and keep the right per-
sonnel. The right manager can add 25%
to theatre gross. 6 — Don't clip captive
audiences in quality or prices of food
and drink. Offer a money-back guaran-
tee with every item sold. 7 — Find the
audience to fit the movie. Adopt the
attitude that there are no bad pictures,
that an audience exists for every type
of film. 8 — Do something different in
advertising and promotion. 9 — Don't
buy a new picture if you think it won't
go. You're better off with an older one
that's new to your patrons. 10 — Remem-
ber that your theatre and every picture
you play are sold bv a series of impres-
sions. Be sure you make the right ones
through constant effort and supervision,
checked by personal contacts with your
patrons."

Film BULLETIN March 4, 1963 Page 17

"Follow the Boys"

to the room and destroys the demon, but Price also perishes in
the inferno.

SuiuteM &<tiiK? O O Plus

Fluffy, amusing romatic Comedy embellished with songs
by Connie Francis. Should do well with youthful trade.

This M-G-M release is a lightweight romantic comedy about
the sailors of the U.S. 6th Fleet and the wives and sweethearts
("seagulls") who follow them from port to port. The bright,
youthful cast, a package of lilting songs (delivered with zest by
popular Connie Francis) and handsome on-the-Riviera Metro-
color-Panavision backgrounds should make "Follow the Boys"
a popular attraction with the youth element, despite the rather
thinly stretched plot. Richard Thorpe's frothy direction makes
the most of the various plot complications. Miss Francis is seen
as a sailor's bride of two hours, who follows the fleet to France
to make her marriage something more than a name. Roger
Perry is the husband who finds himself in plenty of Navy dutch
while trying to spend a few hours with her. Fast-rising star
Paula Prentiss portrays a "hip" young heiress to a canning
business and the fiancee of meat company heir Richard Long, a
wolf in officer's clothing. Janis Paige is cast as a "seagull" for
thirteen years who intends placing husband Ron Randell on dry
land, where they can start a home and babies. French star Dany
Robin is the fourth boy-chaser, a debt collector secretly commis-
sioned to get Long to make some bad checks good. Russ
Tamblyn is also on hand as a young lieutenant who has a girl
in every port. Numerous complications unfold before Miss
Francis and Perry finally manage some time together, Miss
Prentiss lands Tamblyn, Miss Paige gives in forever to Randell's
waterlust, and Long decides he wants to change his roving ways
for Miss Robin.

M-G-M. 95 minutes. Connie Francis, Paula Prentiss, Ron Randell, Janis Paige, Russ
Tamblyn. Produced by Lawrence P. Bachmann. Directed by Richard Thorpe.

"Diary of a Madman"

3ct4iKC44 7£<Zt£tt$ O O PIUS

Expoitable horror entry with Vincent Price raising plenty
of of goosepimples. In color. OK dualler for ballyhoo
market.

That horror hambone, Vincent Price, has another eye-rolling
field day in this United Artists shocker based on stories by Guy
de Maupassant, and handsomely mounted in Technicolor. If
backed by imaginative promotion, "Madman" will prove a
profitable dual bill item for the action-ballyhoo market. Di-
rected by Reginald Le Borg in a manner certain to satisfy
devotees of goosepimple fare, and aided by grotesque murders
and special effects, the film traces the downfall of 19th Century
French magistrate Price, who finds himhelf possessed of a
demon (the Horla) who forces him to kill. Nancy Kovack co-
stars as a sensual model who agress to give up her struggling
artist husband, Chris Warfield, and run away with the wealthy
Price. Producer-scripter Robert E. Kent's plot finds the invisible
Horla convincing Price that he is evil and responsible for his
wife's suicide. Then the Horla sends knife-wielding Price to
murder Miss Kovack. The next morning, remembering nothing
of the previous night, Price is horrified to find Miss Kovack's
severed head on a bust he has sculptured. The police arrest
Warfield, and Price denies knowing Miss Kovack. Now com-
pletely possessed by the Horla, Price is ordered to kill pretty
Elaine Devry, an art gallery owner's daughter in love with
Warfield. About to knife her on a dark street, the shadow of
a cross comes into Price's view. He awakens from his trance
and throws the knife away. Price writes everything down in a
diary, gives it to Miss Devry with orders not to open it until
after his death, then locks the Horla in his study. He sets fire

United Artists. 96 minutes. Vincent Price, Nancy Kovack. Produced by Robert E.
Kent. Directed by Reginald Le Borg.

"Five Miles to Midnight"

S«4tHC4d IZctiUy O O PIUS

Moderately suspenseful melodrama about husband's
involvement of wife in insurance fraud. B.O. depends on
Lor en, Perkins drawing power, promotion.

This suspense melodrama concerning an attempted insurance
fraud, produced and directed by Anatole Litvak, will find box-
office returns leaning heavily on the drawing power of stars
Sophia Loren and Anthony Perkins, plus the aggressive show-
manship put behind it by United Artists. It should receive its
most satisfying response from action and adventure fans. Al-
though Litvak's knowing directorial hand is in evidence, in-
cluding the effective Parisian backgrounds he employs, the
Peter Viertel-Hugh Wheeler screenplay doesn't quite ring true.
Tighter editing would help produce the heightening of tensions
obviously intended. The plot finds Miss Loren fed up with her
immature American husband, Perkins. The latter departs on a
Casablanca business trip, the plane crashes, and all aboard are
presumed dead, but Perkins turns up alive (having been thrown
clear during the crash) and decides to play dead and collect
$120,000 worth of insurance. There is a certain degree of sus-
pense— Perkins passing tedious days hiding out in their apart-
ment; an unwilling Miss Loren nervously going through the
formalities to collect the insurance (just to be rid of Perkins);
Perkins discovered by a curious youngster; drunken friends
dropping in unexpectedly on Miss Loren. Unfortunately, Perkins
is too unsympathetic as the sniveling weakling and Miss Loren
is wasted in a far-fetched characterization. Gig Young has a
small part as a newspaper correspondent with whom Miss Loren
falls in love, and Jean-Pierre Aumont appears briefly as another
newspaperman with whom Miss Loren is having an affair. Miss
Loren collects the money and Perkins, refusing to give her up,
threatens to involve her in the swindle if she leaves him. Driven
to the point of madness, Miss Loren runs Perkins down on a
deserted road. Young learns the truth and convinces Miss Loren
to turn herself in.

United Artis's. 110 minutes. Sophia Loren, Anthony Perkins, Gig Young. Produced
and Directed by Anatole Litvak.

The Vieu from OuUiJe

( Continued from Page 8)

around with; but it has never occurred to him to do anything
about the trashy girlie magazines in his home, or the elastic
moral standards they imply. v

Don't get me wrong. Sex is a wonderful thing — and a clean
thing — when you grow up into it the right way. But lax parents
are a perversion of nature, and their children don't grow up the
right way. We live in the idea that we no longer have to work
for local law and order. Law and order are regarded as a stand-
ard municipal service like water supply or garbage collection.
They aren't quite the same. If we want to stamp out rowdyism,
we've got to be good tough parents and citizens willing to stand
up for our rights. We've got to be willing to back up our law
enforcement agencies with the facilities, the laws and the coop-
eration they need.

And those in the movie business at the creative end of the
line might remember that if suggestive costuming and sensation-
mongering don't cause riots they certainly don't bring out the
best in people, either.

Page 18 Film BULLETIN March 4, 1963

"Spencer's Mountain"

ScuiteM IZctiU? O O O

Has all the elements of popular mass audience fare.
Good cast, handsome production. Will draw fern trade,
teenagers.

Delmer Daves, whose mass-appeal films ("Summer Place",
"Parrish") have rolled up impressive returns at the boxoffice,
now applies his knowing commercial hand to Earl Hamner, Jr.'s
novel about life among mountain people. Unfolded with the
accent on selflessness, heartbreak, sacrifice and personal triumph,
bolstered by a capable cast headed by Henry Fonda, Maureen
O'Hara and James MacArthur, and magnificently photographed
in Technicolor and Panavision against the craggy, snow-capped
mountains of Wyoming, this Warner Bros, release promises
theatremen another good mass-supported moneymaker. The
ferns definitely will buy it, and the teen-agers should also find
it to their taste. A generous serving of sex has been stirred in
with plenty of homespun humor and a dash of tragedy. Fonda
and Miss O'Hara are the proud parents of nine youngsters, the
eldest of which is the studious MacArthur, about to become
the first Spencer male to ever graduate from high school. Fonda,
for 20 years, has been vowing to Miss O'Hara he will one day
build her a Dream House atop Spencer's Mountain. But poverty
has always stood in the way, even though Fonda is considered
the best quarry-man at the plant. How the family faces the
problems of everyday living, now doubled by the desire to send
MacArthur to college, provides the meat of producer-director
Daves' sentimental screenplay. The three leads carry off their
roles with charm and credibility. Good support is provided by
Donald Crisp, Fonda's father who homesteaded Spencer's years
ago, Wally Cox, the local preacher, and newcomer Mimsy
Farmer, the quarry manager's pretty daughter, in love with
MacArthur, and now semi-sophisticated after a year of city
college. The University agrees to enroll MacArthur if he learns
Latin. Cox offers to instruct the boy on the condition that non-
churchgoer Fonda come to church every Sunday. Tragedy strikes
when, in felling a huge tree, Fonda is badly hurt and Crisp is
killed. MacArthur passes his Latin requirements and Fonda
goes to the Valley's richest man to borrow the money. The
latter's spiteful young wife, herself in love with MacArthur,
blocks the loan. Fonda burns down the half-finished Dream
House and sells the land for the tuition money.

Warner Bros. 119 minutes. Henry Fonda, Maureen O'Hara, James MacArthur. Pro-
duced and Directed by Delmer Daves.

"Hud"

^Zu&utew, fccttuty O O O

Lye soap-opera dealing with problems raised by dif-
fering standards of three generations of Texas family.
Paul Newman heads good cast. Will be well received
in all markets.

The three generations of this Texas family are Granddad, old
and principled, Hud, wild, reckless and pushing forty, and
Lonny, adolescent and caught between the values of the two
others. Foot and mouth disease hits the cattle herd, getting Hud
out of the bed of somebodys wife at six in the morning to
appraise the situation. The threatened liquidation of the herd
brings to the open the quarrel between Hud and his father that
has smoldered beneath the surface for years. Lonny, at seven-
teen, is caught between love and respect for his grandfather
and a boyish admiration for the he-manliness of Uncle Hud. In
the end granddad wins, though he dies, Lonny strikes out on
his own and Hud is left alone to survey the empty vastness of
the range from which disease has removed the cattle, and to
appraise the emptiness of his own life. As Hud, Paul Newman

lunges and lurches his way through the role of a rebel who
never grew up with a conviction equal to the requirements of
the script. Grandfather Melvyn Douglas clings with dignity to
the values of honesty, hard work and love of the land by which
he has lived and built his ranch. Patricia Neal, the housekeeper
who has learned from past hardships to look after herself with-
out becoming cynical, emerges as an attractive, tender woman
who has little left in life but the deep humanity which keeps
her going from one miserable situation to the next. But young
Brandon de Wilde steals the show. He rises above the limita-
tions of the script and gives Lonny a portrayal at once adoles-
cent and full of potential maturity. The lye soap-opera, firmly
directed by Martin Ritt, has a verbal virility to go with its
rugged backgrounds, but suffers from too much consciousness
of intent. The psychology (Well, as least my ma loved me and
she's dead.) is hackneyed, while the philosophy (It don't take
time to kill things, not like growin' 'em.) too homespun. It's no
"Giant" by a long shot, but "Hud" has enough of the popular
story elements and characterizations to attract strong grosses in
all markets.

Paramount. 122 minutes. Paul Newman, Patricia Neal, Melvyn Douglas, Brandon
de Wilde. Produced by Irving Ravetch, Martin Ritt. Directed by Martin Ritt.

"Nine Hours to Rama"

SuAiHCte &ctti«t$ O O O

Fairly suspenseful, colorful, but overlong, dramatization
of Gandhi's assassination. Needs strong promotion back-
ing in general market.

The story of the assassination of Mahatma Gandhi, one of
the great men of this century, provides the framework for this
unusual but overlong, 20th Century-Fox release. Filmed in
India in CinemaScope and DeLuxe Color by producer-director
Mark Robson, "Rama" recreates the nine torturous hours lead-
ing up to Gandhi's murder by a young political fanatic who is
intensely opposed to the old man's policy of non-violence. Despite
some slow-moving sequences, the film emerges a fascinating can-
vas of political intrigues, suspense and exotic sights and sounds.
Boxoffice returns will depend a great deal on the promotion
campaign with which the picture is supported. It will appeal
most to serious-minded class audiences, but selling is urgent in
the general market. Astute scissoring of the flashback sequences
(tracing the young fanatic's personal life) would tighten the
overall mood considerably, but the opening scenes (the police
learning of the assassination plot at a prayer meeting that
evening), plus the hair-raising climax are outstanding examples
of thrilling film making. Horst Buchholz portrays the assassin,
bitter over being rejected by the British army and the deaths of
his father and young wife during pre-independence riots. He is
capably supported by Jose Ferrer, the superintendent of police,
Valerie Gearon, the married woman he loves, but cannot marry
because of the policy of his secret society, Diane Baker, the
prostitute in whose room he hides out while eluding Ferrer,
Robert Morley, an opportunistic Indian political leader, and
Don Borisenko, Buchholz's life-long friend and assassin part-
ner. J. S. Casshyap creates a striking resemblance to Gandhi.
Malcolm Arnold's haunting score and Arthur Ibbetson's stun-
ning camerawork are notable assets. Nelson Gidding's screen-
play, based on Stanley Wolpert's novel, finds Miss Baker appre-
hended by Ferrer and the police rushing to her apartment.
Buchholz escapes and runs to Miss Gearon's apartment. He begs
her to run away with him at once. Her hesitancy to leave her
husband sends the frustrated Buchholz out to carry out his
pledge. Gandhi refuses to listen to Ferrer's warning, walks out
into the swelling crowd and is shot by Buchholz. The dying
Gandhi forgives Buchholz, and the police carry off the stunned
and sobbing assassin.

20th Century-Fox. 125 minutes. Horst Buchholz. Jose Ferrer, Valerie Gearon, Diane
Baker, Robert Morley. Produced and Directed by Mark Robson.

Film BULLETIN March 4, 1943 Page 1?

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

October

CONVICTS 4 Ben Gazzara, Ray Walston, Sugar Whit-
man. Sammy Davis, Jr., Vincent Price, Rod Steiger.
Producers Miller Kaufman, A. Konald Lubin. Director
Kaufman. Prison drama. 110 min.

November

■ILLY BUDD Peter Ustinov, Robert Ryan. Melvyn Doug-
las, Terence Stamp. Producer-Director Ustinov. Pic-
tunzation of Herman Melville's sea classic. 123 min
1 1/12/62.

February

DAY OF THE TRIFFIDS. THE CinemaScope. Color.
Howard Keel, Nicole Maurey. Producer Philip Yordan.
Director Steve Sekely. Science-fiction thriller. II? min.

May

BLACK ZOO Michael Gough, Jeanne Cooper, Rod
Loren. Virginia Grey. Producer Herman Cohen. Direc-
tor Robert Gordon. Horror story.

55 DAYS AT PEKING Technirama, Technicolor. Charl-
ton Heston, David Niven, Ava Gardner, Flora Robson,
Harry Andrews, John Ireland. Producer Samuel Bron-
ston. Director Nicholas Ray. Story of the Boxer uprising.

Coming

CAPTAIN MUST DIE, THE Producer Monroe Sachson.
Director Allen Reisner. Suspense thriller.

GUNFIGHV AT COMANCHE CREEK Color Cinema-
scope. Audie Murphy. Producer Ben Schwalb. Private
detective breaks up outlaw gang.

GUNHAWK, THE Color. Rory Calhoun, Rod Cameron,
Ruta Lee, Rod Lauren. Producer Richard Bernstein.'
Director Edward Ludwig. Outlaws govern peaceful town
of Sanctuary.

LONG CORRIDOR, THE Peter Breck, Constance Tower.
Producer-director Samuel Fuller. A suspense drama.

MAHARAJAH Color. George Marshall. Polan Banks.
Romantic drama.

RECKLESS PRIDE OF THE MARINES Producer Lester
Sansom. Andrew Geer's book about a horse which
served as an ammunition carrier in Korea.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen. Producer Martin Jurow. Army comedy.

STREETS OF MONTMARTRE Lana Turner, Louis Jour-
dan. Producer-director Douglas Sirk. Based on two
books, "Man of Montmartre" and "The Valadon
Drama."

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

September

WHITE SLAVE SHIP (Formerly Wild Cargo! Cinema-
Scope, Color. Pier Angeli, Edmund Purdom. Director
Silvio Amadio. Mutiny of prisoners shipped from Eng-
land in the 18th century to America as slaves 92 min
I 1/12/62.

October

WARRIORS 5 Jack Palance, Jo Anna Ralli. Producer
Fulvio Lusciano. Director Mario Silvestra. Story of an
American G.I. who organized the underground resist-
ance in Italy. 82 min. 11/12/62.

November

REPTILICUS Color. Carl Ottosen, Ann Smyrner. Pro-
ducer-Director Sidney Pink. Giant sea monster's de-
struction of an entire city. 81 min.

December

SAMSON AND THE 7 MIRACLES OF THE WORLD

(Formerly Goliath and the Warriors of Genghis Kahnl
Color. CinemaScope. Gordon Scott, Yoko Tani. Samson
helps fight off the Mongol invaders. 80 min. 2/18/63.

January

RAVEN, THE Color. Panavision. Vincent Price. Peter
Lorre, Boris Karloff. Producer-director Roger Corman.
Edgar Allan Poe tale. 86 min. 2/4/63.

Film

February

BATTLE BEYOND THE SUN IFilmgroup) Color & Vista-
scope — Ed Perry, Aria Powell.

NIGHT TIDE IFilmgroup) Dennis Hopper, Linda Law-
son. 84 min.

PIT, THE Dirk Bogarde, Mary Ure. Science fiction.

March

CALIFORMIANS, THE Jack Mahoney, Faith Domergus.
Western.

OPERATION BIKINI (Formerly Seafighters) Tab Hunter,
Frankie Avalon, Eva Six. Producer-director Anthony
Carras.

QUESTION OF CONSENT Frederick O'Neil, Annalena
Lund. Drama.

April

DEMENTIA (Filmgroupl William Campbell, Luana An-
ders, Mary Mitchell. Suspense drama.

MIRACLE OF THE VIKINGS Color, Cinemascope. Cam-
eron Mitchell. Action drama.

TERROR, THE (Filmgroupl Color, Vistascope. Boris Kar-
loff. Horror.

May

MIND BENDERS. THE Dick Bogard, Mary Ure. Science
fiction.

YOUNG RACERS. THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama.

June

"X"— THE MAN WITH THE X-RAY EYES Ray Milland.

Science fiction.

July

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

August

BEACH PARTY Color, Panavision. Frankie Avalon.
Producer Lou Rusoff. Teenage comedy.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

COMEDY OF TERROR Color, Panavision. Vincent Price,
Peter Lorre, Boris Karloff. Horror.

DUNWICH HORROR Color. Panavision. Science Fiction.

GENGHIS KHAN 70mm roadshow.

HAUNTED HOUSE, THE Color, Scope. Ray Milland.

IT'S ALIVE Color. Peter Lorre, Frankie Avalon. Teen,
horror, musical comedy.

NIGHTMARE HOUSE (Formerly Schizo) Leticia Roman,
John Saxon. Producer-director Mario Bava. Suspense
horror.

UNDER 21 Color, Panavision. Teen musical comedy.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Producers Julian
Wintle, Leslie Parkyn. H. G. Wells classic.

December

BLACK FOX Marlene Dietrich. Producer-director Louis
Clyde Stoumen. Narration of true story of Adolph
Hitler. 89 min.

OUT OF THE TIGER'S MOUTH Loretta Hwong, David
Fang. Producer Wesley Ruggles, Jr. Director Tim
Whelan, Jr. 81 min.

OU ARE FELLOW, THE Patrick McGoohan, Sylvia Sims.
Walter Macken. Producer Anthony Havelock-Allan.

Director Arthur Dreifuss. 85 min. 11/26/62.

January

SWINDLE, THE Broderick Crawford, Giulietta Masina,
Richard Basehart. Director Federico Fellini. Melodrama.
92 min. I 1/12/62.

WORLD BEGINS AT 6 P.M. Jimmy Durante, Ernest Borg-
nine. Director Vittorio DeSica.

February

TRIAL, THE Anthony Perkins, Jeanne Moreau. Director
Orson Welles.

rULLETIN — THIS IS YOUR PRO

Coming

TOTO, PEPPINO and LA DOLCE VITA Toto, Peppino.

October

ALMOST ANGELS Color. Peter Week, Sean Scully,
Vincent Winter, Director Steven Previn. 93 min. 9/3/62.

November

LEGEND OF LOBO, THE Producer Walt Disney. Live-
action adventure. 67 min. 11/12/62.

December

IN SEARCH OF THE CASTAWAYS Technicolor. Maurice
Chevalier, Hayley Mills, George Sanders. Producer
Walt Disney. Director Robert Stevenson. Based on the
Jules Verne story, "Captain Grant's Children." 110
min. 1/7/63.

February

SON OF FLUBBER Fred MacMurray, Nancy Olson.
Keenan Wynn. Walt Disney Production. Director Robert
Stevenson. Comedy. 100 min. 1/21/63.

March

MIRACLE OF THE WHITE STALLIONS Color. Robert
Taylor, Lili Palmer, Curt Jergens. Director Arthur
Hiller.

September

BEST OF ENEMIES, THE Technicolor, Technirama. David
Niven, Sordi, Michael Wilding. Producer Dino de
Laurentiis. Director Guy Hamilton. Satirical comedy
on war. 104 min. 8/6/62.

DAMN THE DEFIANT (formerly H.M.S. DEFIANTI Color.
Alec Guinness, Dirk Bogarde, Anthony Quayle. Pro-
ducer John Brabourne. Director Lewis Gilbert. Sea
adventure. 101 min. 8/20/62.

RING-A-DING RHYTHM Chubby Checker, Dukes of
Dixieland, Gary (U.S.) Bonds, Dell Shannon. Producer

Milton Subotsky. Director Dick Lester. Teenage com-
edy. 78 min. 9/17/62.

October

REQUIEM FOR A HEAVYWEIGHT Anthony Quinn,
Jackie Gleason, Mickey Rooney, Julie Harris. Producer
David Susskind. Director Ralph Nelson. Award winning
drama. 87 min. 9/17/62.

TWO TICKETS TO PARIS Joey Dee, Gary Crosby, Kay
Medford. Producer Harry Romm. Director Greg Gar-
rison. Romantic comedy. 75 min. 11/26/62.

November

PIRATES OF BLOOD RIVER Color. Glenn Corbett. Ker-
win Mathews, Maria Landi. Producer Anthony Nelson
Keys. Director John Gilling. Swashbuckling adventure.
87 min. 8/6/62.

WAR LOVER. THE Robert Wagner, Steve McQueen.
Producer Arthur Hornblow. Director Philip Leacock.
Drama of World War II in the sky. 105 min. 10/29/62.

WE'LL BURY YOUI Narrated by William Woodson.
Producers Jack Leewood, Jack W. Thomas. Documen-
tary highlighting rise of Communism. 72 min. 10/15/62.

December

BARABBAS Technicolor. Anthony Quinn, Silvana Man-
gano, Jack Palance, Ernest Borgnine, Katy Jurado,
Douglas Fowley, Arthur Kennedy, Harry Andrews,
Vittorio Gassman. Producer Dino de Laurentiis. Direc-
tor Richard Fleischer. Based on novel by Par Lager-
kvist. 134 min. 9/3/62.

February

DIAMOND HEAD Panavision, Eastman Color. Charlton
Heston, Yvette Mimieux, George Chakiris, France
Nuyen, James Darren. Producer Jerry Bresler. Director
Guy Green. Based on Peter Gilman's novel. 107
min. 1/7/63.

March

IRON MAIDEN, THE Michael Craig, Anne Helm,
Jeff Donnell.

U C T

MARCH SUMMARY

At this tabulation the March release
chart has picked up 4 listings to bring
the total number to 19. M-G-M and
Columbia have been joined by Ameri-
can-International in offering three re-
leases to exhibitors this month. United
Artists, 20th-Fox and Continental each
have two features forthcoming. Uni-
versal, Warner Bros., Buena Vista and
Paramount all have one film set. There
are no listings from either Embassy or
Allied Artists.

MAN FROM THE DINER'S CLUB, THE Danny Kaye, Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin.

OLD DARK HOUSE, THE Color. Tom Poston, Robert
Morley, Joyce Grenfell. Producer-director William
Castle.

Coming

ARGONAUTS, THE (Formerly Jason and the Golden
Fleecel. Color. Todd Armstrong, Nancy Novak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic.

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

WEEKEND WITH LULU, A Bob Monkhouse, Leslie
Philips, Shirley Eaton, Irene Handl. Producer Ted
Lloyd. Director John Paddy Garstairs. 91 min. 6/11/62.

j»K»i:fcai:i3i:fc#_iqM>

September

IMPERSONATOR. THE John Crawford, Jane Griffiths.
Director Alfred Shaughnessy. Producer Anthony Perry.
Murderer puts town on edge as he prowls for women.
64 min.

OPERATION SNATCH Terry-Thomas, George Sanders,
Lionel Jeffries, Jackie Lane. Producer Jules Buck.

Director Robert Day. Story of attempt to perpetuate
a famous legend. 83 min. 10/15/42.

October

END OF DESIRE Color. Maria Schell, Christian Mar-
quand, Ivan Desny, Pascale Petit. Producer Agnes De-
Lahaie. Director Alexander Astruc. 91 min.

November

LONELINESS OF THE LONG DISTANCE RUNNER, THE

Michael Redgrave, Tom Courtenay, Avis Bunnage. Pro-
ducer-director Tony Richardson. Explores the attitudes
of a defiant young man sent to a reformatory for
robbery. 103 min. 10/1/62.

January

DAVID AND LISA Keir Dullea, Janet Margolin, How-
ard Da Silva. Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed young-
sters. 94 min. 1/7/63.

HANDS OF THE STRANGLER Mel Ferrer, Danny Carrol.
Producers Stevan Patios, Donald Taylor. Director Ed-

mond T. Grenville. Drama about a man twisted by a
strange obsession. 86 min. 8/20/62.

February

GREAT CHASE, THE Douglas Fairbanks, Sr., Buster
Keaton, Lillian Gish. Producer Harvey Cort. Silent
chase sequences. 77 min. 1/7/63.

THIS SPORTING LIFE Richard Harris, Rachel Roberts.

March

WRONG ARM OF THE LAW. THE Peter Sellers,
Lionel Jeffries.

YOUR SHADOW IS MINE Jill Haworth, Michael Ruhl.

April

BALCONY, THE Shelly Winters, Peter Falk.

September

DIVORCE— ITALIAN STYLE Marcello Mastroianni, Dan-
iela Rocca, Stefania Sandrelli. Producer Franco Cris-
taldi. Director Pietro Germi. Satirical jabs at the
mores of our times. 104 min. 10/29/62.

LA VIACCIA Claudia Cardinale, Jean-Paul Belmondo,
Pietro Germi. Producer Alfredo Bini. Director Mauro
Bolognlni. A drama of the tragic influences of the city
upon a young farmer. 103 min. 11/12/62.

October

CRIME DOES NOT PAY Danielle Darrieux, Richard
Todd Pierre Brasseur, Gino Cervi, Gabriele Fenetti,
Christian Marquand, Michelle Morgan, Jean Servais.
Producer Gilbert Bokanowski. Director Gerard Oury.
French object lesson based on classic crimes. 159 min.
10/29/62.

LONG DAY'S JOURNEY INTO NIGHT Katharine Hep-
burn, Jason Robards, Jr., Sir Ralph Richardson, Dean
Stockwell. Producer Ely A. Landau. Direcotr Sidney
Lumet. Film version of Eugene O'Neill's Pulitzer Prize-
winning stage drama. 174 min. 10/29/62.

November

NIGHT IS MY FUTURE Mai Zetterling, Birger Malmsten.
Director Ingmar Bergman. Bergman reflects on the
theme of man's search for human contact and love in
a "hostile universe.'' 87 min. 1/7/63.

December

CONSTANTINE AND THE CROSS Color. Cornel Wilde,
Christine Kaufman, Belinda Lee. Producer Ferdinando
Felicior.i. Director Lionello De Felice. Story of early
Christians struggling against Roman persecution. 120
min. 11/26/62.

January

SEVEN CAPITAL SINS Jean-Pierre Aumont, Dany Saval.
Directors Claude Chabrol, Edouard Molinaro, Jean-Luc
Godard, Roger Vadim, Jaques Demy, Philippe De
Broca, Sylvain Dhomme. A new treatment of the classic
sins with a Gallic flavor. 113 min. 11/26/62.

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,
Christian Doermer. Directors Francois Truffaut, Andrez
Wajda, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world. 113
min. 2/18/63.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French
Revolution. 104 min.

Current Releases

ANTIGONE (Ellis Films! Irene Papas, Manos Katra-
kis. Producer Sperie Perakos. Director George Tza-
vellas. 88 min. 10/29/62.

ARMS AND THE MAN (Casino Filmsl Lilo Pulver,
O. W. Fischer, Ellen Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
96 min.

BERNADETTE OF LOURDES (Janus Films] Daniele Ajoret
Nadine Atari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE (Lopertl Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 68 min.

BLOODY BROOD, THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR. A Pierre Fresnay, Michel
Auclair. 72 min.

CANDIDE (Union Films) Jean-Pierre Cassel, Pierre
Brausseur, Dahlia Lavi. Director Norbert Carbonnaux.
90 min. I 1/26/62.

CLEOPATRA'S DAUGHTER Color, Totalscope. Debra
Paget, Robert Alda. 93 min.

COMING OUT PARTY A. James Robertson Justice.
Producers Julian Wintle, Leslie Parkyn. Director Kenn
Annakin. 90 min. 9/17/62.

CONCRETE JUNGLE, THE (Fanfare Films) Stanley
Baker, Margit Saad, Sam Wanamaker, Gregoire Asian.
Producer Jack Greenwood. Director Joseph Losey. 86
min. 7/9/62.

CONNECTION, THE Warren Finnerty, Garry Good-
row, Jerome Raphel. Producer Lewis Allen. Director
Shirley Clarke. Off-beat film about dope addicts. 93
min. 10/29/62.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

DAv THE SKV PXPLODED, THE (Excelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR, THE Color, Totalscope. Rlcardo
Montalban, Carmen Sevilla. 87 mm.

DEVIL MADE A WOMAN, THE Color, Totalscope. Sarita
Montiel. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

ELECTRA (Lopert) Irene Papas, Aleka Catselli. Pro-
ducer-director Michael Cacoyannis. Version of classic
Greek tragedy. 110 min. 1/7/63.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE lUltra Pictures) Anthony Quinn, Kerima,
May Britt, Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS Technicolor, Totalvision.
Yoko Tani, Oldrick Lukes. 81 min.

FIV* DAY I OVER, THE IKinqsley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FLAME IN THE STREETS I Atlantic) John Mills, Sylvia
Syms, Brenda DeBanzie. Producer-director Roy Baker.
93 min. 10/29/62.

FORCE OF IMPULSE ISutton Pictures) Tony Anthony
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

GIRL WITH THE GOLDEN EYES, THE I Kingsley-lnter-
national| Marie LaForet, Paul Guers, Francoise Pre-
vost. Producer Gilbert De Goldschmidt. Director Jean-
Gabriel Albicocco. 90 min. 8/20/62.

IMPORTANT MAN, THE (Lopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

JOSEPH AND HIS BRETHREN IColorama) Geoffrey
Home, Belinda Lee. Producers Ermanno Donati, Luigi

Carpentieri. Director Irving Rapper. 103 min. 2/12/62.

KIND OF LOVING, A (Governor Filmsl Alan Bates,
June Ritchie, Thora Hird. Producer Joseph Janni.
Director John Schlesinger. 11/12/62.

LA NOTTE BRAVA (Miller Producing Co.) Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LONG ABSENCE, THE (Commercial Films) Alida Valli,
Georges Wilson. Director Henri Colp. French drama.
85 min. 1 1/26/62

LOVE AND LARCENY (Major Film Distribution) VI t-
torio Gassman. Anna Maria Ferrero, Peppino DiFilippo.
Producer Mario Gori Director Dino Risi. Satire on
crime. 94 min. 2/18/63.

MARRIAGE OF FIGARO, THE IPathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Plat. Producer
Pierre Gerin. Director Jean Meyer. French import.
105 min. 2/18/63.

MATTER OF WHO. A (Herts-Lion International) Alex
Nicol, Sonja Ziemann. Producers Walter Shenson,
Milton Holmes. Director Don Chaffey. 90 min. 8/20/62.

MONDO CANE (Times Films Eng.) Technicolor. Pro-
ducer Rizzoli, Cineriz. Director Gualtiero Jacopetti.
Film portrayal of real life. 115 min.

NIGHT OF EVIL ISutton) Lisa Gaye, Bill Campbell.
88 min.

NIGHT, THE (Lopert) Jeanne Moreau, Marcello
Mastroianni, Monica Vitti. Producer Emanuele Cassulo,
Director Michelangelo Antonioni. 120 min. 3/5/62.

NO EXIT (Zenith-International) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.

PAGAN HELLCAT (Times Films Eng.) Tumata Teuiau.
Producer-d:rector Umberto Bongignori. 59 min.

PARADISE ALLEY ISutton) Hugo Haas, Corinne Griffith.

PASSION OF SLOW FIRE, THE (Trans-Lux) Jean
DeSailley, Monique Melinand. Producer Francois
Chavene. Director Edouard Molinaro. 91 min. 11/12/62.

PHAEDRA (Lopert) Melina Mercouri, Anthony Perkins,
Raf Vallone. Producer-director Jules Dassin. 115 min.
10/29/62.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I 15 min.

RICE GIRL I Ultra Pictures) Elsa Martinelli, Folco Lulli,
Michel Auclair. Producer Carlo Ponti. Director Raffa-
eilo Matarazzo. Dubbed Italian melodrama. 90 min.
2/4/63.

SATAN IN HIGH HEELS (Cosmic). Meg Myles Gray-
son Hall, Mike Keene. Producer Leonard M. Burton.
Director Jerald Intrator. 97 min. 5/14/62.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

SECRETS OF THE NAZI CRIMINALS (Trans-Lux). Pro-
ducer Tore Sjoberg. Documentary recounting Nazi
crimes. 84 min. 10/15/62.

SLIME PEOPLE, THE I Hutton-Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

STAKEOUT Ping Russell. Bill Hale, Eve Brent. 81 min.

SUNDAYS AND CYBELE I Davis-Royal I Hardy Kruger,
Nicole Courcel, Patricia Gozzi. Producer Romain Pines.
Director Serge Bourguignon. 110 min. 11/26/62.

Film

BULLETIN — THIS IS YO»R PtODIIT

THEN THERE WERE THREE (Alexander Films] Prank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THRONE OF BLOOD (Brandon Pilmsl Toshino Mifone,
Isuiu Yamada. Director Akira Kurosawa 108 min.
1/8/42.

TROJAN HORSE, THE Colorama. Steve Reeves, John
Drew Barrymore, Edy Vessel. Director Giorgio Ferroni.
105 min. 7/23/62.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE ITimes Films Eng. I Color. Pro-
ducer-director Marion Gering.

VIOLENT MIDNIGHT ITimes Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION ITimes Films sub-titlesl Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FOR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

YOJIMBO ( Seneca-International I Toshiro M. Fune, Kyu
S^zanka, Nakadal. Director Akiro Kurosana. 101 min.
9/17/62.

MET RO-GOLDWYN -MAYER

October

VERY PRIVATE AFFAIR, A Brigitte Bardot, Marcello
Mastriiannl. Producer Christine Gouie-Renal. Director
Louis Malle. Story of the meteoric career of a young
screen star who becomes a sex symbol for the world.
94 min. 10/1/62.

November

ESCAPE FROM EAST BERLIN Don Murray, Christine
K^ufmann. Producer Walter Wood Oirer+or Robert
Siodmak. Drama of the escape of 2B East Germans to
West Berlin under the wall via a tunnel. 93 min.
10/29/62.

KILL OR CURE Terry-Thomas, Eric Sykes, Dennis Price,
Moira Redmond Producer George Brown. Director
George Pollack. Detective tale. 88 min. 11/26/62.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GriffTfh. Pro-
ducer Aflron Rosenbe-q. Director Lewis Mil-*<tone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/63.

PERIOD OF ADJUSTMENT Tony Franciosa, Jane Fonda,
Jim Hutton. Producer Lawrence Weingarten. Director
George Roy Hill. Screen version of Tennessee Williams'
Broadway play. 112 min. 10/29/62.

TRIAL AND ERROR Peter Sellers, Richard Attenbor-
ough. Producer Dimitri de Grunwald. Director James
Hill. Comedy about a henpecked murderer and his
ineffectual lawyer. 99 min. 11/26/62.

December

ARTI'RA'S ISLAND Reginald Kernan, Key Meersman,
Vanni De Maigret, Ornella Vanomi. Producer Carlo
Ponti. Director D. Damiani. Based on noted Italian
novel. 95 min. 1/21/63.

BILLY ROSE'S JUMBO Doris Day, Stephen Boyd, Jimmy
Durante, Martha Raye. Producer Joe Pasternak. Direc-
tor Charles Walters Martin Melcher. Based on the
Broadway musical Tolialgo. 125 min. 10/12/62.

SWORDSMAN OF SIENA Eastman Color. Stewart
Granger, Christine Kaufmann. Producer Jacques Bar.
Director Etienne Pertier. Adventure drama. 92 min.
1 1/26/62.

January

CAIRO George Sanders, Richard Johnson. Producer
Ronald Kinnoch. Director Wolf Rilla. Drama of attempt

to rob the Cairo Museum. 91 min. 2/4/63.

PASSWORD IS COURAGE. THE Dirk Bogarde. Pro-
ducer-Director Andrew L. Stone. One man's war against

the Nazis during World War II. 116 min. 1/7/63.

February

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris

Sagal. Race track comedy. 94 min.

HOOK, THE Kirk Douglas, Nick Adams. Producer Wil-
liam Perlberg. Director George Seaton. Drama sat

against background of the Korean War. 98 min.
1/21/63.

March

COURTSHIP OF EDDIE'S FATHER, THE Glenn Ford,
Shirley Jones. Producer Joe Pasternak. Director Vin-

cenre Minnelli. Romantic comedy revolving about a
young widower and his small son. 117 min.

FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
Randell, Russ Tamblyn, Janis Paige. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate. Based on the life of Sir Francis Drake. 102 min.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer AnatoU de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.

IT HAPPENED AT THE WORLD'S FAIR Panavision,

Color. tlv.s Kresley. Producer led Richmond. Komantic
comedy.

M ay

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,
Heidi Bruehl. Producer King Brothers. Director Byron
Haskin. Adventure Fantasy.

IN THE COOL OF THE DAY CinemaScope. Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz.

June

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min.

Coming

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West.

COUNTERFEITERS D ' PARIS Jean Gakin, Dany Carol.
Producer Jacques Bar. Director Gilles Grangier. 99
min.

DRUMS OF AFRICA Fr*nkie Av*lon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HAUNTING, THE Julie Harris. Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

HOW THE WEST WAS WON Cinerama, Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

MONKEY IN WINTER Jean Gakin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/63.

MOON WALK Shirley Jones. Producer Joe Pasternak.
Director George Sidney. Romantic comedy based on
a story in the Ladies Home Journal.

MURDER AT THE GALLOP Margaret Rutherford, Paul
Robson. Agatha Christie mystery.

OF HUMAN BONDAGE IMGM-Seven Arts) Laurence
Harvey, Kim Novak. Producer James Woolf. Director
Henry Hathaway. Film version of classic novel.

RIFIFI IN TOKYO Karl Boehm, Barbara Lass, Chariot
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo.

TAMAHINE Nancy Kwan, Dennis Price. Producer John
Bryan. Director Philip Leacock. Romantic comedy of
a Tahitian girl and her impact on an English public
school.

TARZAN FACES THREE CHALLENGES Jock Mahoney,
Woody Strode.

TODAY WE LIVE Simone Signoret, Stuart Whitman.
Producer Jacques Bar. Director Reng Clement. Drama
of temptation and infidelity in wartime.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

VERY IMPORTANT PERSONS Color. Elizabeth Taylor,
Richard Burton, Louis Jordan. Producer Anatole de
Grunwald. Director Anthony Asqulth. Comedy drama.

WHEELER DEALERS, THE James Garner, Lee Remick.
Producer Martin Ransohoff. Director Arthur Hiller.
Story of a Texan who takes Wall Street by storm.

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy.

October

PIGEON THAT TOOK ROME, THE Panavision. Charlton
Heston, Elsa Martinelli, Harry Guardino. Producer-
Director Melville Shavelson. Comedy-drama. 100 min.
9/3/62.

November

GIRLSI GIRLS! GIRLSI Panavision, Technicolor. Elvis
Presley, Stella Stevens. Producer Hal Wallis. Director
Norman Taurog. Romantic comedy. 106 min.

December

IT'S ONLY MONEY Jerry Lewis, Joan O'Brien, Zachary
Scott, Jack Weston. Producer Paul Jones. Director
Frank Tashlin. Comedy. 84 min. 9/17/62.

January

WHERE THE TRUTH LIES Juliette Greco, Jean-Marc
Bory, Lisolette Pulver.

February

GIRL NAMED TAMIKO, A Technicolor. Laurence Har-
vey, France Nuyen. Producer Hal Wallis. Director John
Sturges. A Eurasian "man without a country" courts an
American girl in a bid to become a U.S. citizen.

WHO'S GOT THE ACTION Panavision. Technicolor.
Dean Martin, Lana Turner, Eddie Albert, Walter Mat-
hau, Nita Talbot. Producer Jack Rose. Director Daniel
Mann. A society matron becomes a "bookie" to cure
her horse-playing husband. 93 min. 10/1/62.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleason,
Glynis Johns. Producer Jack Rose. Director George
Marshall. Comedy-drama based on childhood of silent
screen star Corinne Griffith. 98 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cliff
Robertson, David Jannsen. Producer Garet Gaither.

Director Gouer Champion. Broadway star adopts six
abandoned children.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmons,
Pat Hingle. Producer David Susskind. Director Alex
Segol. Film version of play and novel.

COME BLOW YOUR HORN Technicolor. Frank Sinatra,
Barbara Ruth, Lee J. Cobb. Producer Howard Koch. Di-
rector Bud Yorkin. A confirmed bachelor introduces his
young brother to the playboy's world.

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific.

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director Ritt.
Drama set in modern Texas.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

WONDERFUL TO BE YOUNG Cliff Richard, Robert
Morley. 92 min.

20TH CENTURY-FOX

October

LONGEST DAY. THE John Wayna, Richard Todd,
Peter Lawford, Robert Wagner, Tommy Sands, Fabian,
Paul Anka, Curt Jurgens, Red Buttons, Irina Demich,
Robert Mitchum, Jeffrey Hunter, Eddie Albert, Ray
Danton, Henry Fonda, Edmond O'Brien, Robert Ryan.
Producer Darryl Zanuck. Directors Gerd Oswald,
Andrew Marton, Elmo Williams, Bernard Wicki, Ken
Annakin. 180 min.

November

LOVES OF SALAMMBO Deluxe. Jeanne Valerie, Jacques
Sernas. Edmund Purdom. Director Sergio Grieco.
Adventure drama. 72 min. 11/12/62.

December

GIGOT DeLuxe Color. Jackie Gleason, Katherine Kath.
Gabrielle Dorziat, Diane Gardner. Producer Ken Hy-
man. Director Gene Kelly. Story of a mute and a little
girl he befriends. 104 min. 6/25/62.

January

SODOM AND GOMORRAH Stewart Granger, Pier An-
gel! Stanley Baker, Rossana Podesta. Producer Gof-
fredo Lombardo. Director Robert Aldrich. Biblical tale.

154 min. 1/21/63.

YOUNG GUNS OF TEXAS Cinemascope, De Luxe Color.
James Mitchum, Alana Ladd, Jody McCrea. Producer-
director Maury Dexter. Western tale of restless youth.
85 min. I 1/12/62.

February

DAY MARS INVADED EARTH, THE Cinemascope. Kent
Taylor. Marie Windsor. Producer-director Maury Dex-
ter. Science-fiction drama. 70 min.

LION, THE CinemaScope, De Luxe Color. William Hol-
den, Trevor Howard, Capuclne. Producer Samuel
Engel. Director Jack Cardiff. Based on best-seller
about a girl's love for a wild lion. 96 min. 9/3/62.
ROBE, THE Re-release.

M arch

NINE HOURS TO RAMA CinemaScope, DeLuxe Color.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

Film BULLETIN — THIS IS YOUR PRODUCT

April

STRIPPER THE (Formerly A Woman in July) Joanne
Woodward. Richard Beymer, Gypsy Rose Lee, Claire
Trevor. .

Coming

CLEOPATRA Todd-AO Color. Eliiabeth Taylor, Richard
Burton Rex Harrison. Producer Walter Wanger.
Director Joseph Mankiewicz. Story of famous queen.
LEOPARD, THE Burt Lancaster, Claudia Cardinale.
QUEEN'S GUARDS, THE CinemaScope, DeLuxe Color.
Daniel Massey, Raymond Massey, Robert Stephens.
Producer-Director Michael Powell. A tale of the
tradition and importance of being a Guard.

UNITED ARTISTS

October

HERO'S ISLAND James Mason. Neville Brand, Kate
Manx, Rip Torn. Producer-Director Leslie Stevens. Ad-
venture drama. 94 min. 9/17/42.

PRESSURE POINT Sidney Poitier, Bobby Darin, Peter
Falk. Producer Stanley Kramer. Director Hubert Corn-
field. Drama dealing with racial prejudice in U.S. 91
min. 9/17/62.

THREE ON A SPREE Jack Watling, Carole Lesley,
Colin Gordon. Producer George Fowler. Director Sid-
ney J. Furie. 83 min. 10/2/41.

November

MANCHURIAN CANDIDATE. THE Frank Sinatra, Laur-
ence Harvey, Janet Leigh, Angela Lansbury, Henry
Silva. Producers George Axelrod, John Frankenheimer.
Director Frankenheimer. Suspense melodrama. 124 min.
10/29/42.

January

CHILD IS WAITING, A Bu/t Lancaster, Judy Garland,
Stephen Hill, Gena Rowland. Producer Stanley Kramer.
Director John Cassavetes. Drama dealing with retarded
children. 102 min. 1/21/43.

TARAS BULBA Tony Curtis, Yul Brynner, Brad Dexter,
Sam Wanamaker, Vladimir Sokoloff, Akim Tamiroff,
Christine Kaufmann. Producer Harold Hecht. Director
J. Lee Thompson. Action spectacle. 122 min. 12/10/42.

February

TWO FOR THE SEESAW Robert Mltchum, Shirley Mac-
laine. Producer Walter Mirisch. Director Robert Wise.
Based on the Brodaway hit. 119 min. 10/29/42.

March

FIVE MILES TO MIDNIGHT Sophia Loren. Anthony
Perkins, Gig Younq, Jean-Pierre Aumont. Producer-
director Anatole Litvak. Suspense drama about an
American in Europe who schemes to defraud an insur-
ance company.

LOVE IS A BALL Techn;color, Panavision. Glenn Ford,
Hope Lange. Charles Boyer. Producer Martin H. Poll.
Director David Swift. Romantic comedy of the interna-
tional set.

April

I COULD GO ON SINGING Eastm*ncolor, Panavision.
Judy Garland, Dick Bogarde. Jack Klunman. Producers
Stuart Milhr, Lawrence Turman Director Ronald
Neame. Judy returns ip a dramatic singing role.

Coming

BEAUTY AND THE BEAST Joyce Taylor, Mark Damon,
Edward Franz, Merry Anders. 77 min.

CALL ME BWANA Bob Hooe, Anita Ekberg Edie
Adams. Producers Albert R. Broccoli, Harry Saltzman.
Director Gordon Douglas.

DR. NO Technicolor. Sean Cannery, Ursula And-e«s,
Joseph Wiseman. Jark lord. Producers Harry S-'I'z-
man, Albert R. Broccoli. Director Terence Young. Action
drama based on the novel by Ian Fleming.

GREAT ESCAPE, THE Deluxe Color, Panavision S*eve
McQueen, Jamps Garner, Richard Attenborough. Pro-
du-er-d'rector John Sturges. Based on true prisoner of
war escape.

IRMA LA DOUCE Color. Jack Lemmon. Shirley Mac-
hine. Producer-director Billv WI'der. Comedy about
Ihe "poules" of Paris from the h't Broadway play.

C4RFTAKER*, THF. R"bert St--"-k, Pollv Bergen, Joan
Crawford. Producer-director Hall Bartlett.

CEREMONY, THE Laurence Harvey, Sarah Miles, Rob-
ert Walker, John Ireland. Producer-director Laurence
Harvey.

mnnsnmsm

September

PH/SMTOM OF THE OPERA. THE Color. Herbert Lorn,
Heather Sears, Edward de Souza, Ian Wilson, Michael
Gough, Thorley Walters, Patrick Troughton. Producer
Anthony Hinds. Director Terence Fisher. Tale of a
"monster" who terrorizes a theatre. 84 min. 4/25/42.

October

NO MAN IS AN ISLAND Color. Jeffrey Hunter. Pro-
ducer-Directors Richard Goldstone, John Monk, Jr.
War melodrama. 114 min. 8/4/42.

November

IF A MAN ANSWERS Color. Sandra Dee, Bobby Darin.
Producer Ross Hunter. Director Henry Levin. Romantic

comedy. I U2 min. 9/3/62.

STAGE COACH TO DANCERS' ROCK Warren Stevens
Martin Landau, Jody Lawrance, Don Wilbanks, Del
Morre, Bob Anderson, Judy Dan. Producer-Director
Earl Bellamy Western. 72 min. 10/15/42.

January

FREUD Montgomery Clift, Susannah York, Larry Parks.
Producer Wolfgang Reinhardt. Director John Huston.
Story of Freud's initial conception of psychoanalysis.
139 min. 12/24/42.

February

40 POUNDS OF TROUBLE Color. Panavision. Tony Cur-
tis, Phil Silvers, Suzanne Pleshette. Producer Stan Mar-

q nles. DireCiOr i^uiniun jewison. ^oiii.uy. m it.

12/24/42.

MYSTERY SUBMARINE Edward Judd, Laurence Payne,
James Robcr,son Jusice. Producer Ber.ram Osier.
Director C. Pennington R.chards. 92 n-hn. 1/21/43.

March

TO KILL A MOCKINGBIRD Gregory Peck. Producer
Alan Pakula. Director Robert MuJigan. Based on
Harper Lee's novel. 129 min. 1/7/63.

April

BIRDS, THE Technicolor Rod Taylor, Jessica Tandy,
Suzanne Pleshette. Producer-Director Alfred Hitchcock.
Suspense drama.

UGLY AMERICAN, THE Color. Marlon Brando. Sandra
Church, Yee Tak Yip. Producer-Director George Eng-

lund. Drama based on best-&«i.ilig n^v^i.

Coming

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives.
Producer Robert Arthur. Director Harry Keller.

CAPTAIN NEWMAN, M.D. Gregory Peck. Producer
Robert Arthur. Director David Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills. Producer Ross Hun.er. Direc-
tor Ronald Neame.

CHARADE Color Panavision. Cary Grant, Audrey Hep-
burn. Producer-Director Stanley Donen.

FOR LOVE OR MONEY I Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parnsh.
Producer Robert Arthur. Director Michael Gordon.

GATHERING OF EAGLES, A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann.

KISS OF THE VAMPIRE Clifford Evans, Jennifer Daniel,
Edward De Souza, Noel Willman. Producer Anthony
Hinds. Director Don Sharpe.

LANCE' <">T AND GUINEVERE Color. Panavision. Cornel
Wilde. Jean Wallace. Producers Cornel Wilde, Bernard
Luber. Director Wilde.

LIST OF ADRIAN MESSENGER. THE Georqe C. Scott,
Dana Wynter. Producer Edward Lewis. Director John
Huston.

MAN'S FAVORITE SPORT Color. Rock Hudson, Maria
Perschey. Producer-director Howard Hawks.

PARANOIC Janette Scott, Oliver Reed. Producer An-
thony Hinds. Director Freddie Francis.

SHOWDOWN (Formerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen.

TAMMY AND THF DOCTO' Color S*ndr» Dee P»ter
Fonda. Producer Ross Hunter. Director Harry Keller.

THRILL 0« IT ALL. THE Color. Doris Day, James Gar-
ner, Arlene Francis. Producers Ross Hunter, Martin
Melcher. Director Norman Jewison.

WARNER BROTHERS

September

STORY OF THE COUNT OF MONTE CRISTO. THE

Technicolor. Louis Jourdan, Yyvonne Furneaux. Pro-
ducers Joan-Jacques Vital. Rene Modiano. Director
Claude Autant-Lara. Drama from the novel. 132 min.
6/1 1/42.

October

CHAPMAN REPORT, THE Technicolor. Shelley Winters,
Efrem Zimbalist, Jr., Jane Fonda, Claire Bloom, Glynis
Johns. Producer Richard Zanuck. Director George Cu-
kor. Based on Irving Wallace's best-seller of a sex
survey in an American suburb. 125 min. 9/3/42.

November

GAY PURR-EE Technicolor. Voices of Judy Garland,
Robert Goulet, Red Buttons, Hermione Gingold. Pro-
ducer Henry G. Saperstein. Director, Abe Levitow.
Animated comedy feature of Parisian cats. 84 min.
10/29/42.

WHAT EVER HAPPENED TO BABY JANE? Bette Davis,
Joan Crawford. Producer-Director Robert Aldrich.
Shock thriller. 132 min. 10/29/42.

January

GYPSY Technicolor, Technirama. Rosalind Russell, Nat-
alie Wood, Karl Maiden. Producer-Director, Mervyn
LeRoy. From Broadway musical hit based on Gypsy
Rose Lee's career. 149 min. 10/1/42.

February

DAYS OF WINE AND ROSES Jack Lemmon, Lee
Remick. Producer Martin Manulis. Director Blake
Edwards. A drama of the effects of alcoholism in a
modern marriage. 117 min. 12/10/62.

TERM OF TRIAL Laurence Olivier, Simone Signoret. Pro-
ducer James Woolf. Director Peter Glenville. Drama of
young girl's assault charge against teacher. 113 min.
1/21/63.

March

GIANT Re-release.

A pril

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min.

Coming

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom.

CASTILI AN, THE Panacolor. Cesar Romero, Frankie
Avalon, lere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

ISLAND OF LOVE I Formerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece.

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

PALM SPRINGS WEEK-END Troy Donahue. Connie Ste-
vens, Ty Hardin. Producer Michael Hoey. Director
Norman Taurog. Drama of riotous holiday weekend.

PANIC BUTTON Maurice Chevalier, Eleanor Parker,
Jayne Mansfield. Producer Ron Gorton. Director
George Sherman. Comedy set in Rome.

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II.

RAMPAGE. Technicolor. Robert Mitchum. Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama .

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama.

YOUNGBLOOD HAWKE Technicolor. Warren Beatty,
Suzanne Pleshette. Producer-director, Delmer Daves.
From Herman Wouk's best-selling novel.

To Better Serve You . . .

Office & Terminal Combined At

1018-26 Wood St. New Phones

labove Vine) Phila.: WAInut 5-3944-45

Philadelphia 7, Pa. N. J. : WOodlawn 4-7380

NEW JERSEY
MESSENGER SERVICE

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DEPENDABLE SERVICE!

CLARK
TRANSFER

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Philadelphia, Pa.: LOcust 4-3450
Washington, D. C: DUpont 7-7200

Film IULLETIN — THIS IS YOUR PRODUCT

SOPHIA LOREN ANTHONY PERKIN

MATQLE UTWUTS

b^lmpeccable production! Anatole Litvak
offers an intense, compelling motion picture,
teaming a pair of outstanding players!
Should make a strong grossing picture! 95

-M. P. DAILY

nurMlLES
TO <

MIDNIGHT

CO-STARRING

GIG YOUNG

"1EAN-PIERRE AUMONT peter viertel-hugh whee

ADAPTED BY

PETER ViERTEL ANDRE VERSINI

FROM AN ORIGINAL IDEA BY MUSIC BY

MIKIS

THEODORAKIS

PRODUCED AND DIRECTED BY

ANATOLE LITVAK

BULLETIN

Opinion of the InduLStry

MARCH 18, 1963

DFZ

Will He Alter
The Current
Of Production?

REVIEWS TO GUIDE THEATREMEN

'COURTSHIP OF EDDIE'S FATHER' Smash B.O. Hit

'MY SIX LOVES' Silly Plot Wastes Talent
'PT 109' Thrilling Saga of JFK's Pacific Adventure

'DR. NO' Exciting, Highly Exploitable Thriller
'I COULD GO ON SINGING' Bolstered by Garland
'SEVEN SEAS TO CALAIS' OK for Action Market

eviews

THE COURTSHIP OF EDDIE'S FATHER
PT 109
MY SIX LOVES
I COULD GO ON SINGING

DR. NO
SEVEN SEAS TO CALAIS

NOMINATED FOR Mf

THAN ANY O

"One of the finest films of a generation; a classic in its own time" — Washington D&
"One of the four or five best films I have ever seen" — America Magazine / "Ur|L
the last ten years" — Michigan Catholic / "Will take its rightful place among jfd-.

E ACADEMY AWARDS
ER PICTURE !

NOMINATIONS

ELUDING:

EST PICTURE

FTHP VFAD"
I nE T CMIa

BEST ACTOR / BEST SUPPORTING ACTOR
BEST DIRECTION / BEST SCREENPLAY
BEST EDITING / BEST MUSIC
BEST ART DIRECTION (COLOR)
BEST CINEMATOGRAPHY (COLOR)
BEST SOUND

the all-time great films"— A/.K Post / "Surpasses them all in greatness" — Boston Herald
great films of all time" — San Francisco Examiner / "The best picture I have seen in
Mir time" — Louis Sobol / "The best filmmaking in recent years"— Chicago Sun-Times

Zanuck supervises the setting up of a scene for "The Longest Day'

By MO WAX

The tides upon which the fortunes
of the motion picture industry rise and
fall are far less enduring, let it be
noted, than those that govern the seas.
There is no immutability here. A Grif-
fith fashioned a new filmic technique
to give the movie a dramatic frame-
work, and the Brothers Warner gave
the picture a voice to speak, a group of
enterprising young men made UA a ban-
ner for production independence, and a
Skouras gave new dimension to the
screen. This is a business of variability
and versatility. We may yet be on the
brink of another shift in the tide of
movie events.

For the first time since he assumed
the presidency of 20th Century-Fox last
summer, Darryl F. Zanuck returned to
the company's Hollywood studio to her-
ald the resumption of production. He
announced that a program of 24 fea-
tures will be produced within approxi-
mately one year and revealed a firm
schedule of starting dates for 14 films
to be made between April 22 and Sep-
tember 30.

Will He Alter
The Current
Of Production?

Pronouncements of long-range pro-
duction programs are nothing new, and
ofttimes are accepted by the press corps
with a grain or two of salt. But one
feels persuaded that Zanuck will meet
the commitments he has set for his
studio, and, perhaps, open a new era
for this volatile industry. He is a unique
individual, the one executive on the
scene today qualified by experience to

cope first-hand with the ramifications
of film production, complex and some-
times weird as they are.

The turbulence of our industry's re-
cent history makes it seem much more
remote, but it was only a dozen years
ago when motion picture production
was centered, except for some minor in-
dependent islands, in eight major em-
pires. Those companies boasted impos-
ing rosters of stars, directors, writers,
producers, technicians, and they each
turned out ample programs of features
and short subjects every year. Suddenly,
as if by conspiracy, there occurred a set
of circumstances that virtually shattered
the seemingly impregnable major com-
panies. Came television to siphon off
half the regular movie audience; mount-
ing taxes sent the high-salaried studio
employees looking for refuge in capital-
tax structures; and a reorganized new
United Artists arose from the old to
offer "emancipation" for talent that
yearned to be free from the yoke of
studio domination.

The growth of independent produc-
(Continued on Page 16)

Page 4

Film BULLETIN March 18, 1963

What They'te Mini About

□ □ □ In the Movie Business □ □ □

B.O. REPORT. The current boxoffice report,
as usual, has its bright and dim spots. It is
hardly a trade secret that "Son of Flubber"
is topping all other Disneys in many areas.
Exhibitors attribute the performance in no
small measure to the intensive TV promotion
put behind the film. On the other hand,
Paramount's "A Girl Named Tamiko" reportedly
is "laying an egg," and Universal's "Freud" is
meeting public resistance, except in a limited
number of select situations. Columbia's
"Diamond Head" is a strong grosser
everywhere, and showing sturdy legs, while
Warners' "Days of Wine and Roses" has opened
robustly on the strength of an excellent
campaign, but may find itself bucking
downbeat word-of-mouth because of the
film's depressive theme. "The Raven" is the
biggest money-maker American International
has had thus far. Universal's "To Kill a
Mockingbird" is solid, but not sock.
Continental's "David and Lisa" is one of the
season's wonderful surprises. Another
Paramount release, "Papa's Delicate Condition"
isn't very healthy. In the roadshow category,
Cinerama's "How the West Was Won" is rolling
up big grosses and the advance sale is big,
big. "Lawrence of Arabia" continues to stand
firm in all situations. "The Longest Day" is
beginning to show signs of wear after six
months in some spots, but the new out-of-town
openings have been sensational.

■

THE IMAGE-MAKERS. The fascination movie
stars and movie scenes hold for countless
millions of people was again revealed by
David L. Wolper's TV show, "The Great Stars".
The Wednesday (13th) night program
reportedly drew a vast audience and highly
favorable critical comment. Highlights were
clips, superbly edited for pace and impact,

of the old favorites, Bogart, Cagney, Bette
Davis, Joan Crawford, et al. And his scenes
involving Marilyn Monroe and Clark Gable were
very affecting. Several forthcoming feature
releases received brief plugs at the end of the
show, making one wonder again why the film
companies cannot devise a TV show, say every
three months, devoted entirely to snappy
clips and comments about the coming product.
It's a good bet that it would be one of the
highest rated television programs.
BIDDING & SELECTING. The recent decision
of the U. S. District Court of Minnesota in the
case of Parsons vs. Paramount, et al,
reaffirms the right of a distributor to select
a customer, rather than submit its pictures
to competitive bidding. The case concerned
the efforts of Burt and Freeman Parsons to
obtain product for their 450-seat Eastman
Theatre in St. Cloud, Minnesota, which they
had purchased from the Minnesota Amuse-
ment Company, against MAC'S 1409-seat
Paramount Theatre. TOA general counsel
Herman M. Levy had the following pertinent
comment to make on the decision:
"An important Court has, again, given its
blessing to distributors' selecting, as their
customer, one competitive theatre over
another, when they are impelled to do so by
sound business motives, and when they do not
act in conspiracy. This decision should give
much comfort to those distributors who
sincerely desire to select their customers
without resorting to competitive bidding.
In those relatively few cases when a distributor
really believes that employing competitive
bidding will avoid litigation, its use may be
justified. However, there are many instances
when competitive bidding is invoked, not to
avoid litigation, but when it appears financially
inviting to a distributor to use it. In those
areas in which a split of product cannot be
arrived at, and when bidding is not requested,
it should not be indulged in by distributors.
Rather, distributors should rely on decisions
such as this one, and select their customers.
Of course, when competitive bidding is
requested by one or more exhibitors,
distributors have to evaluate the situation
carefully, and determine whether to select
their customers, or to throw the situation
into competitive bidding."

Exhibs Hope, but Can't
Halt U Deal with TV

Exhibitors will derive no comfort
from the news that another huge block
of features is going up for grabs by
television, but they are doubtlessly hop-
ing that Universal doesn't find a buyer.

In accordance with the consent de-
cree by which MCA last summer ac-
quired control of Universal Pictures
and its parent, Decca Records, U was
required to set a figure and offer its
1948 to '56 releases to TV. Last week,
president Milton R. Rackmil revealed
that Universal is asking $21,500,000,
plus a percentage, for 215 post-'48
features.

The stipulation in the decree pro-
vided that a price was to be fixed on
the library by June, 1963, and that if
no taker was found by Oct. 1, Uni-

RACKMIL

versal would be free to do anything it
likes with the films, except distribute
them through MCA. That restriction is
off after Oct. 1, 1967.

Universal is putting the pictures up,
Rackmil stated, for a seven years licens-
ing period at the $100,000-per price
tag, plus 50% of the proceeds after the
TV distributor recoups a fee, the guar-
antee and allowable expenses. There is
no limit on the number of TV show-
ings. U asks about one-third of the
total price ($7,000,000) on completion
of an agreement.

Universal's pre-'48 library is being
distributed to TV by Screen Gems un-
der an agreement which guarantees the
film company $3 million annual income
for six years ending June, 1964.

SW Will Back New
Productions— Fabian

Nothing is plaguing exhibition as
much as the product shortage, Stanley
Warner Theatres president S. H.
Fabian declared last Friday, and his

Report on the Industry's
PEOPLE and EVENTS

■

CAST &
CREDITS

FABIAN

company plans to do everything pos-
sible to relieve the situation.

The occasion of his talk was a meet-
ing of the circuit's New York-New
Jersey personnel to kick off the "Spring
Promotion" sales drive in celebration
of the Fabian management's 10th anni-
versary of operation.

Stanley Warner, he stated, intends to
"finance new people" in production,
while "encouraging the established ma-
jors" to increase their output of prod-
uct in order to fill the "vacuum"
created by cutbacks in production. He
suggested that if the film companies
would heed exhibition's success with
certain types of pictures of late, they
might "concentrate on theatres and
leave TV to its own devices."

Morey Goldsrein, president and sales
chief of Warner Bros. Distributing,
also addressed the meeting and urged
the assembled theatremen to put maxi-
mum showmanship effort behind every
film they play. This, he indicated,
would encourage producers to make
more pictures.

New Theatre Ideas:
Marina-Cine, Car-Roof

New ideas and concepts in theatre
construction are cropping up with some
regularity these days. Cinerama has an-
nounced the geodesic dome type of
construction as the new form of future
Cinerama theatres. Tandem and bunk-
type dual theatres are no longer a nov-
elty.

Now two new innovations, one in
the drive-in field, the other in the con-

GOLDMAN'S MARINA-CINE

ventional house.

Pennsylvania circuit operator Wil-
liam Goldman and Philip Klein, presi-
dent of Philadelphia Marina Inc., a
non-profit organization for the devel-
opment of a Delaware River-front ma-
rina and recreation complex, have
signed a long-term lease for the con-
struction and operation of a unique
drive-in theatre.

Reluctant to refer to it as a "drive-
in" because it so broadly extends the
usual concept of outdoor theatres,
Goldman described the venture as "the
most complete, unique and inviting
center for public entertainment any-
where." To cover 14 of the develop-
ment area's 88 acres, the outdoor thea-
tre will have a ramp capacity of 1600
cars, a picnic area and playground facil-
ities for pre-show amusement. The
playground will include a miniature
railway, wading pool, pony riding track
and a professional Punch and Judy
show. The theatre catering facilities will
be extended by silent electric mobile
carts for servicing the ramp area during
screening and will also serve the picnic
area. The theatre will be equipped for
year-round operation.

The newest addition to the Walter-
Reade Sterling circuit, the Continental,
in Forest Hills, N.Y., which opens this
week, is the first four-wall theatre in
America to provide roof-top parking.
The novel solution to the parking head-
ache is an idea that has possibilities of
catching on in new theatre construction
and, where it is feasible, as an addition
to houses already in existence.

(Continued on Page 15)

READE STERLING'S CAR-TOP CONTINENTAL

Page 6 Film BULLETIN March 18, 1943

u

tewpoints

18. 1963 / VOLUME 31, NO. 6

MARCH 18, 1963

A Stockbrokers
Complaint* or
Why I Don V
See More Films

There is an old saying that everyone
has two businesses: their own and the
movie business. We hope it always
remains thus, for it is a commentary
on the abiding public interest in our
industry. With this prelude, we direct
the reader's attention to the following
comments about present film distrib-
ution practices from a San Francisco
stockbroker.

To The Editor
Dear Sir:

As a stockbroker, our firm receives
every two weeks copies of your Film
BULLETIN. This publication in my
opinion is quite interesting and cer-
tainly offers a story of the industry that
s not found in the average Annual
eport or Wall Street Journal type
of evaluation.

It is quite obvious that you are well
aware that the film industry has many
problems. However, I believe you are
overlooking one phase of the problems
of the movies and I have yet to see it
spelled out in print. I will therefore
take the liberty of acquainting you with
what in my case "robs the industry" of
at least $50 to $60 a year that I might
spend on the movies if this particular
practice were not in effect.

I refer specifically to what I guess is
best described as the saturation scheme
of showing films. During the past year
I have wanted to see probably twelve to
fifteen films. It so happened that on
the nights I could not get to see the
films, they were being shown in at
least 20 movies in the area. When I did
have free time, for example several
weeks later, these particular pictures
were nowhere to be found, and as a
consequence I missed seeing them and
the industry itself did not get my

Yankee Dollar.

My main complaint is this: the in-
dustry must well be aware of many
people in my position who have a
fairly heavy social and business calen-
dar week after week. I therefore must
see any pictures I do see on the nights
that are free — that is, on which I have
no previous engagement. However, be-
cause of the saturation marketing theory
in the film industry today, I now see
about one film in ten that I would like
to see.

Your reaction to my complaint might
very well be "well what of it?" My
reply to such a comment, or at least
the lack of interest on the part of the
motion picture distributors, is that as
a result the films I do see are 90 per
cent foreign and 10 per cent domestic,
mainly because foreign films are more
available due to long runs over a period
of time and therefore less trouble to
plan to see than American films which
never seem to be available except on
a crash program.

While I am on the soapbox, here is
another complaint: it always seems to
me that one good American picture is
invariably shown on a double bill with
one "turkey". Because of this arrange-
ment, the good American picture goes
on at 7:10 p.m. and again at 10:40. As
with many people, it is impossible for
me to make a movie by 7:10 p.m. or
even 7:50 p.m. When one does finally
see the American movie, therefore, one

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUB LI CATION -EDITORIAL OFFICES: 123? vine
Street, Philadelphia 7, Pa., LOcust 8-0950, 0951 .
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manager; Max Garelick,
Business Manager; Robert Heath, Circulation
Manager. BUSINESS OFFICE: 550 Fifth Ave-
nue, New York 36, N. Y., Circle 5-0124;
Ernest Shapiro, N.Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
$3.00 in the U. S.; Canada, $4.00;
Europe, $5.00. TWO YEARS, $5.00 in
the U. S.; Canada, Europe, $9.00.

gets out at 12:30 a.m. — 12:55 a.m., and
as a result one has to think twice before
going to an American film.

I do not know whether my com-
plaints will mean anything to you or to
anyone else, but so far as I am con-
cerned it merely means that for some
years now very few of my dollars ever
reach the American film industry, a
situation which is not likely to change
until such time as there are some
changes in the industry itself.
DONALD L. COLVIN
Hannaford & Talbot
San Francisco, Col.

Bo It Right
Senator IP odd

Here we go again. The moralistic
senator from Connecticut, Thomas J.
Dodd, chairman of the Senate Juvenile
Delinquency Subcommittee, won ap-
proval of another appropriation, al-
beit a slightly reduced one, to "look
at the policies, procedures and products"
of the motion picture industry.

The good senator is currently pre-
paring a report on the ill effects of TV,
which, he intimates, led him to the
conclusion that movies need looking
into. He plans to investigate the "effects
of crime, violence and eccentric sex in
motion pictures on the behavior of
young people."

Senator Dodd's staff of investigators
will now find employment checking
into "certain low-grade films particu-
larly prevalent on screens of drive-in
theatres", which raise the question
"whether industry leaders exercise suf-
ficient responsibility toward viewers of
their production."

We join Senator Dodd in calling on
those "leaders of the motion picture
industry", whoever they are, to halt the
flow of low-grade films, and further,
we also call on the "leaders of the
publishing industry" to stop publication
of all offensive printed material.

Let's do this right.

Film BULLETIN March 18, 1963 Page 7

7ke Vieu frw OuUide

by ROLAND PENDARIS

Importance of Teenagers

A survey about which I read the other day purported to find
that the major recreational activity of teenagers in the United
States was going to the movies. This was reported with a con-
siderable degree of relish and satisfaction in some sections of
the motion picture trade. As for me, my eyebrows are still
raised. I am dubious about every aspect of the matter. I do not
think the survey is an accurate reflection of the situation; and I
certainly hope that the motion picture industry will not accept
it as gospel. If the people who make the movies become con-
vinced that the teenagers are their most devoted audience, then
you and I know what kind of movies we are in for. You and I
also know what kind of movie audiences we are in for. In such
event, I will echo the immortal words of Sam Goldwyn:
"Include me out."

Optimists among film people will insist that movies are also
the major recreational activity of post-teenagers, young-married,
golden-agers and what have you, and that, therefore, the teen-
age audience couldn't possibly be the dominant influence. In this
case, while I do not agree as to the enthusiasms of all the vari-
ous age levels, I do agree with the conclusion. The teenagers
should not dominate the movie market.

In order to state my case, I must first challenge the findings
of the survey. Is the major recreational activity of teenagers
the buying of tickets for motion pictures? I am inclined to think
the record industry might argue the point. The radio broad-
casters, the television people and the bowling alley proprietors
might also want at least equal time.

But let's take a statistical look at the population. In the 15-to-
1 9-year-old age group, as of July, 1961, we had 13,700,000
people. In the 10-to- 14-year-old group we had almost 18,000,-
000, of whom perhaps 3,500,000 would be 14-year-olds and
almost 7,000,000 in their teens. Thus it is fair to estimate that
we have more than 20,000,000 teenagers contributing in one
way or another to the vagaries of the national economy thes?
days. Any way you look at it, that's a pretty fair collection of
folks to be concentrating on the movies.

Now proceed to apply this statistic to the figures on weekly
movie attendance. Would you, for example, say that we are
averaging 45,000,000 tickets per week? This would be two and
a half times larger than the total teenage population of the
nation. But between the ages of 20 and 39 alone there are
46,000,000 people and between 40 and 49 we collect another
23,000,000. If those under 40 go to the movies once a month
they are buying tickets at the rate of more than 11,000,000 a
week, and if those between 40 and 49 go once every two months
they are buying only slightly less than 3,000,000 tickets every
week. Thus, of 45,000,000 tickets per week, we can very prob-
ably account for more than a third without going near the
teenagers.

Examine the market in another way. Look at the character of
the movies which have made outstanding successes in recent
years. For the most part, you will find either adult pictures, or,
particularly in the case of Walt Disney, family films. The pic-
ture deliberately made for the teen-age market is the occasional
exploitation success rather than the general formula for fun
and profit at the bijou.

It may seem rather odd for this column to devote so much
attention to analysis of a harmless survey. The basic reason for
the attention is that your humble commentator does not con-
sider such surveys harmless. The direction in which the industry
can go if it listens to those who would orient it toward teen-
agers is, in this corner's considered opinion, down, down, down.

So there are two solutions. Either find pictures which can
appeal to a market other than teenagers, or find films which
appeal to a market of which teenagers are only a fractional and
manageable segment.

Whatever prosperity the motion picture industry has enjoyed
in recent years is certainly not due to any single segment of the
population. But I think it is fair to state that most of the head-
aches that theatre managers have had to endure have come from
one general age level and I don't think these managers would
be thrilled to know that this is the meat and potatoes of their
boxoffice potential.

I have fought hard against the temptation, but I cannot resist
the opportunity to say a few words about the showing of thea-
trical movies in prime time on network television. Forget ques-
tions of the size of the audience they attract. Just look at the
matter from the point of view of what it does to two businesses.
Yes, I said two businesses.

We have all heard about its effect on theatre attendance. At
a time when there is a product shortage in theatres, the idea
that competitive full length attractions, however interrupted by
commercials, can be seen for free on the home screen suggests
a form of industrial suicide in slow takes by the film companies.
Or perhaps it is industrial homicide, since the companies are
more likely to survive than the theatres. The companies get
income from TV showings, theatres just get the competition.

And if the home public should develop real enthusiasm for
seeing recent films on television, the stage is nicely set for film
companies to move into the pay TV business. They will be able
to pit three markets against each other — the still experimental
feevee, home television and the theatre.

But look at the other industry that is affected. Every time a
theatrical movie displaces several hours of new television pro-
gramming on a network in prime time it is reducing the crea-
tivity of the TV medium and tending to make that network a
sort of subsequent-run free movie theatre. This hardly encour-
ages new television talent — or new television audiences.

There is, of course, still a third force involved in all this.
That force is the public. I cannot help wondering why, if so
many millions of people willingly tune in on the telecast of a
recent movie, some significant proportion of these people might
not be lured into a theatre to see these same attractive films
uninterrupted. It might take a new promotional campaign for
the film, but surely such effort would be worthwhile in sustain-
ing motion picture theatre attendance and loyalty. Booking
films into prime network evening time is an easy and quick way
to latch on to additional revenue for a movie company, but is
it sound business for the long haul?

And, incidentally, do we have enough pictures around to keep
on with this sort of double entry marketing? Does it occur to
the movie moguls that within a couple years they might find
themselves without a theatre market and without product for
a TV market?

Page 8 Film BULLETIN March 18, 1943

FINANCIAL REPORT

Universal Pushes Decca Net
To $5.6 Million, a New High

Bulwarked by the heavy earnings of its Universal Pictures
subsidiary, Decca Records, Inc. achieved the highest net income
in its history for 1962. The consolidated net amounted to
$5,615,281. Of that figure, Universal contributed $4,422,614,
after a provision of $3,120,000 for Federal income taxes.
Decca's earnings were equal to $3.68 per share on the 1,527,401
shares outstanding at year's end, while Universal 's net
amounted to $4.96 per share on the 874,408 shares of common,
ifter dividends on the preferred.

The comparative figures for the 1961 year were these: Decca
—net $3,964,642 ($3.08 on 1,285,701 shares); Universal— net
*3,09 1,476 ($3.32 on 887,790 shares). Both firms declared
Jieir regular quarterly dividends: Decca 300, Universal 250.

Milton R. Rackmil, president of both Decca and Universal,
ssued optimistic statements to shareholders of the two com-
oanies. Universal, he said, "has been aggressively active in
planning productions and acquiring motion pictures for its
urogram for this year; and the releases now planned give
jromise of another successful year." Decca's record division,
Rackmil told that firm's stockholders, is meeting "service cora-
jetition for volume and talent" and he anticipates "even better
esults for 1963."

Referring to MCA's acquisition of a controlling interest in
3ecca (as of Feb. 28 MCA owned 1,340,515 shares, 87.8%,
)f Decca's outstanding stock), Rackmil declared: "This acquisi-
ion presents the opportunity for the manpower of each of the
hree companies, namely, MCA, Decca and Universal and their
iubsidiaries, to coordinate their present activities in related, but
eparate, segments of the entertainment industry and to mater-
ally strengthen and increase their production and distribution
Activities for the ultimate benefit of each of the corporations."

M-G-M Bright Spot in Dull Fortnight

With the sole exception of M-G-M, which recorded a sur-
mising 43/8 points rise in the two weeks from March 1 to 14,
ilm and theatre stocks performed in the same lacklustre style
is the market in general. Gains and declines were fractional for
he most part and trading was relatively light, M-G-M being
he most active (132,000 shares). In the theatre field, National
General led the way, moving up y8ths on fairly active trading.

/Vometco Profits Continue Climb

Wometco Enterprises, Inc., the Florida-based exhibition-TV-
ending-bottling concern, announced a record-shattering net
ncome of $1,831,254 after taxes, for 1962, an increase of more
han 35% over the prior year.

Gross income was up 17% to $18,723,132 over the previous

317 °' the foremost
financial houses in the U.S.

read

BULLETIN

year's $15,999,469. The cash flow was $2,774,137 ($1.93 per
share), up 30% over the 1961 figure. Shareholders received a
total of $512,466 in cash dividends during 1962.

President Mitchell Wolfson told the shareholders: "This
increase in earnings is the fourth successive annual increase
since the company became publicly-owned in 1959. I am happy
to state that thus far in 1963 our business is operating at levels
above those of last year at the same time."

Columbia's 6-Mos. Net Cut by Taxes

Columbia Pictures net earnings dropped to 460 per share for
the first six months of the current fiscal year compared to 980
for the same period last year when a tax loss carry forward
substantially boosted the net gain.

Gross earnings for the six month period ending December
30, 1962 were $1,767,000 against a gross of $1,890,000 for the
period ending December 3, 1961. Because of tax loss carry
forward, Columbia paid out only $253,00 in Federal taxes for
the six months ending December 30, 1961, as compared to
$950,000 for the same period this year. This plummeted net
earnings from $1,637,000 to $817,000 on gross earnings that
were down only $123,000.

In announcing the current profit picture, Columbia president
A. Schneider noted that income from the three big earners
currently on the screens, "Lawrence of Arabia", "Barabbas"
and "Diamond Head" would not be felt until the final portion
of the fiscal year.

FILM & THEATRE STOCKS

Close Close

Film Companies 2/28/63 3/14/63 Change

ALLIED ARTISTS 3% 3 ■ Va

ALLIED ARTISTS (Pfd.) 9% 9 %

CINERAMA 14% 15% + %

COLUMBIA 241/2 233/4 - 3/4

COLUMBIA (Pfd.) 82 82

DECCA 451/4 453.8 + i/8

DISNEY 333/4 341/2 ! 3/4

FILMWAYS 61/2 6% - i/g

MCA 50 1/2 48% 1%

MCA (Pfd.) 35V8 36 + 7/g

M-G-M 28i/4 32% +4%

PARAMOUNT 37% 373/4 + y2

SCREEN GEMS 16% 17% + 3/4

20TH-FOX 241/2 26 + 1%

UNITED ARTISTS 30 297/8 - %

WARNER BROS 14 13% - %

* * *

Theatre Companies

AB-PT 31% 321/2 •: %

LOEWS 18% 18 - %

NATIONAL GENERAL 10% 11% + %

STANLEY WARNER 21% 21% - %

TRANS-LUX 12% 13% + %

* * *

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, American
Exchange; all others on New York Stock Exchange.)

* * *

2/28/63 3/14/63

Over-the-counter Bid Asked Bid Asked

GENERAL DRIVE-IN 9% 10% 9 10

MAGNA PICTURES 2% 23/4 2% 2%

MEDALLION PICTURES 5% 6% 6 6%

SEVEN ARTS 8% 91/4 9% 10%

UA THEATRES 5% 5% 5 5%

UNIVERSAL No quotation No quotation

WALTER READE STERLING .... 1% 2% 2 2%

WOMETCO I91/4 20% I91/4 20%

( Quotations courtesy National Assn. Securities Dealers, Inc. )

Film BULLETIN March 18. 1943 Page 9

BOSTON'S BEN SACK LAUGHS BACK AT TV . . . PREMINGER BROOKS NO 'YES' MEN

The New England climate, during
your chronicler's recent expedition to
the patina of early American culture,
was warmed over by several encourag-
ing smoulders of enthusiasm fanned
both by public and industry folk.

I have never met the ebullient Mr.
Ben Sack, the theatreman, but I here-
with nominate him for not only pioneer
of the year but for the year's best mer-
chandiser. Mr. Sack has not been cry-
ing in his black ink over television com-
petition. He is on the attack and quite
strategically. It was Mr. Sack's idea to
let Boston television habitues know-
that he had some good movies at his
theatres and did this in a most simple,
effective way.

He merely bought the back page of
the television section and advertised his
attractions just to let the folks who
have succumbed to blinking inertia
know it was worthwhile to move their
buttocks from the home screen to one of
his nice theatres.

The Boston newspaper which carried
this effective attention-grabber then an-
nounced on the motion picture page
that the Sack theatres were running
this type of information every Sunday
from here on in.

I have heard tales about Mr. Sack's
daring tactics in offering tremendous
guarantees for attractions. That he gets
some mighty good ones speaks well for
his gambling spirit and for his hunches.
What I see in Mr. Sack's point of view
is quite a deal of showmanship and a
bank roll to back it up.

There must be other gentlemen in
our business who have this same love
for their work. What Mr. Sack is doing
is having fun and making money at
the same time. This is an enticing par-
lay. Would it not be a good thing if his
spirit became epidemic?

While patroling the Charles River
sector and submitting my California
metabolism to its freezing air, I learned
something about that thing we call
word-of-mouth. There seem to be two
varieties of word-of-mouth. There is
the segment that preaches stay-at-home-
ism and brags about the fact that it has
not seen a movie in years and there is
the other portion which talks about how
much they enjoyed "To Kill a Mocking-
bird ". Of course I am being metaphori-
cal in both cases, but the point is quite
clear that there is nothing wrong with
this business that word-of-mouth won't
cure or kill.

And let it be said on behalf of the
Boston newspapers that they are doing
their best to help the industry and are

ADAM WEILER

going all out to see that the likes of
Mr. Otto Preminger are getting an ap-
propriate podium in their columns.
And, for that matter, any one who
comes from Hollywood has no trouble
getting lots of space to talk about his
business. And I must say that during
my Boston sojourn I was most impressed
by Mr. Preminger's statements along
with those of his acting discovery, Mr.
John Huston, who heretofore was only
identified as a fine director. Mr. Hus-
ton, as you know, is appearing for Mr.
Preminger in "The Cardinal."

But first to Mr. Preminger This gen-
tleman, who recently said he wasn't
worried about pay-tv because he is not
an exhibitor, seemed very much con-
cerned with the interviewer's suggestion
that there was a rumor concerning Mr.
Preminger's predilection for assuming
the arrogance of a tyrant.

"Me — a tyrant?" he repeated in ap-
parent astonishment. "Wherever did
you get that impression?" And then he
spoke to his young publicity assistant:
"Do you think I'm a tyrant?"

What do you think the young pub-
licity man replied? I'll tell you. He said:
"No, sir." So, who dares to say that
movie business is loaded with "yes
men."

Mr Preminger, who, in my opinion,
is not only a fine picture maker, but
also one of our best public relations
experts, really knows how to make an
impression.

Said he in Boston: "I never start a
picture with a message in view. Perhaps
one comes out of the story. I like it
best when my films leave behind with
the audience a hope, a new meaning or
a different comment on life. That is
what the best books and best paintings
do — as well as the best films."

Bravo, Mr. Preminger, and cheers for
Miss Margoried Adams, a fine news-
paper woman who made possible my
larceny of the above comments.

The interview with John Huston
which I read in the Boston Record-
American was also reflecting the vast
publicity which Mr. Preminger's "The
Cardinal" is getting while he is doing

scenes in Boston.

Let it never be said that money is
among Mr. Huston's diversified inter-
ests. We have this on his own confes-
sion. Mr. Huston had the following to
say to Alan Frazer about his acting
stint in this picture:

"It's just a lark. I'm not even being
paid for it."

That's what we need in this business,
say I, a few more talented amateurs. If
Mr. Huston wants to do a real service
to the industry, he will take to the ros-
trum and tell the boys and girls how
much joy they are missing by being so
sordid as to work for money. Will a
few dollar-a-year men step forward.

And speaking of the intellectual cli-
mate, there is something to be said for
the numerous books written in the past
months on the history of motion pic-
tures. Mr. Dwight MacDonald, the
erudite film reviewer for Esquire maga-
zine, prefacing his comments on these
tomes, writes "that the movies have be-
come culturally respectible to an alarm-
ing degree. People now discuss movies
the way they used to talk about novels
and plays, probably for no more com-
plicated reason than that the directors —
except those marooned in Hollywood —
— have given us some exciting works
to discuss."

I suppose Mr. MacDonald means that
the exciting movies are made by those
"furriners", and that our indigenous
crop out thar in Hollywood went that-
a-way — meaning, of course, that these
lads are trying to make pictures for
18,000 theatres rather than for two or
three thousand. Now I certainly have
no objection to these foreign produc-
tions, but I do object to the fetish that
only exciting and important films are
made in France and Italy. For every
"Divorce — Iitalian Style" there are
likely to be twenty bad Italian pictures.

Allow me, Mr. MacDonald, to sug-
gest that there are some rather fine
films made here in the U. S. In fact, I
can't recall any foreign film of recent
vintage that better diagnoses human
frailty than "Requiem for a Heavy-
weight," nor can I recall a foreign film
that puts ideologies in better focus than
"The Manchurian Candidate."

I have no quarrel with the five pic-
tures nominated for the Academy
Awards, but I think the time has come
for this institution to make special
awards — not only for "best pictures" —
which too often mean big pictures — but
for producers who are sincerely devoted
to the idea that the small picture can
carry a big wallop.

Page 10 Film BULLETIN March 18, 1963

SELLING MILLIONS

MD HILUONS AND MILLIONS OF M0VIE60ERS

THE MURDER THAT CHAH6ED

(HE LIVES OF MILLIONS . . . I"

PREFERRED POSITION ADVERTISING!

Not teasers -but provocative hard-sell off the
amusement page ads . . . the kind of adver

APOLLO PROJECT
RUNNING ON TIME

Webb Declares an American
Will Reach Moon by 1970

fly ALFKKO E. 1 1 AkK

. * mmnwl cxprdiuon

< ti t ill 1 1<- and
would be fulfil).-) before 1970.

Speaking at the thirtv-etghl]
anniversary dwn.r of the wea
did* Aw<«unn cf Commerce
in the Stntiir Hiitr.fi Hotel. Mr.
Webb MJd

Trireeeea op*
port unity open* up.
qulrentenl UwubH
not *&k PrcalnV
rtqunt auppler ;'
ciency fundi ' 1
luteal yew"

He noted tba" t n** rate of
butdup in the | ev e program
«U slowing down but thai the;
program remajratd f.m -paced
and efficiently i nduelert"

DON'T READ ANOTHER
MURDER MYSTERY. . .

THE NEW YORK TIMES. THl RSDAV. NOVE:,

MENTAL ILLNESS Court w,
AN IMPROVED RISK j « ear***

PtyottEalt

When they oik have yo
lately.'' you con tell thei
to powerful you II think you
i the ilage And ev
of the moit

tising that gets attention . .
into reading about the
excitement of

pulls your audience
size, scope, and
this unusual motion picture.

"he aajd* f'Tn jjJJJJ 1u*aWooaMe enter

hHp «« K -f ^ttia t(w alrrrtoT. u,
,AMociauan would support erect
i monument to the owmr
aerator* of the 10 grin

SPECIAL

C0LLE6E

CAMPAI6H!

Geared to this all im-
portant market ... only
part of the co-ordinated
merchandising ap-
proach that penetrates
all levels, all ages.

WHERE TO TAKE YOUR
DATE ... OFF CAMPUS!

Do iomething differ
tabled bonis of the Gonge*
•o'ld of tights
be> them the i

> breathtaking, you'll remem-

Osooim at voun
PREMIERE SHOWCASE

^MMk. ^^^^

PlHORST r JOSE O VALERIE T~\ DIANE II A ROBERT nDON

Ejchholz'Ferrer'Gearon'Baker'Morley'Boriseimko

Priuced and Directed by MARK ROBSON • Screenplay by NELSON GlDDING • Based on the Novel by STANLEY WOLPERT • Color by De Luxe

CinemaScop£

HPS THE POWER OF RADIO!

Binket the airways with frequency! A "must" element in the
cncentrated "Rama" sell - a series of 4 suspenseful 30 second
spts for saturation use through opening day. Each spot hammers
hime the key advertising message: "THE MURDER THAT CHANGED
,T!E LIVES OF MILLIONS!"

POSTING!

Added impact... added au-
dience impressions in a
striking one-sheet that tells
the "Rama" story quickly,
concisely, importantly!

PUBLICITY

EXTRA!

"Rama" Producer Mark Robson will
tour the nation's key cities from
coast-to-coast . . . reach millions
of potential ticket buyers with
on-the-spot showmanship. Radio
interviews, television appearances,
amusement pages and selected
editorial and news page columns
will be devoted to the man who
gave you the money making
"Peyton Place," "FromTheTerrace"
and now— the spectacular, sus-
penseful NINE HOURS TO RAMA.

AND BIG HARD-SELL ADS THAT SELL

...the
murder

that

changed

the
livesof

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MILLIONS

AND MILLIONS AND

MILLIONS OF MOVIEGOERS

Attention -getting stoppers!

Exciting, distinctive display ads
for a solid back-up to 20t
new showmanship approach
-ordinated merchandising

Produced and Direcled by MARK ROBSON • Screenplay by NELSON GlDOING ■ Based on the Novel by STANLEY WOLPBI

COLOR BV OE LUXfc CinemaScOPE ' '~~\

r» HORST r JOSE f*\ VALERIE PI DIANE II II ROBERT |""l DON

Buchholz' Ferrer' Gearoim ' Baker' Morley' Borisenko

Produced and Directed by MARK ROBSON • Screenplay by NELSON GlDDING • Based on the Novel by STANLEY WOLPERT • Color by De Luxe

CinemaScoPG

IT'S POWERFUL!

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UTHO IN 0 S.A.

CAST AND CREDITS

( Continued from Page 6)

SUGAR AND POE

Poe 20th Exec. V.P.

Further regrouping of 20th Century
Fox's executive forces were announced
by president Darryl F. Zanuck last
week.

Seymour Poe was named executive
vice-president of the company. He will
continue to head world sales, gets a
firmer voice in company policy. Joseph
M. Sugar was moved up from director
of roadshows to vice president in charge
of domestic sales.

William Wyler resigned from the
board to devote his full attention to
the production of "The Sound of
Music" for 20th release. Financial v.p.,
Donald A. Henderson replaced him on
the board. Long-time (33 years) board
member, Senator Daniel O. Hastings,
89, resigned. His spot on the board will
be occupied by Poe.

Busy Week for AA

Allied Artists was busy last week.

Claude A. Giroux, the drug and in-
vestment executive who was reported
seeking control of the company about
a year ago, took over the board chair-
manship as management's choice. He
succeeds W. Ray Johnston, who stepped
down for reasons of health. The latter
will continue as a board member. Eman-
uel L. Wolf, associated with Giroux in
D. Kalman & Co., was also elected to
the board.

On the production front, president

Steve Broidy announced several deals.
The biggest is a ten-picture package
to be delivered by writer-producer
Philip Yordan's Security Pictures, Inc.
A. C. E. Films, Inc. president Sidney
Markley concluded arangements with
Broidy whereby A. C. E. will produce
its first film, "Streets of Montmartre",
for AA release. Another distribution
deal was concluded with producer-direc-
tor, Anthony Mann, who will make
"The Unknown Battle", a war film in
70mm Panavision and Technicolor. A.
C. E. also will participate in the financ-
ing of this production.

In the course of his peregrinations in and about the film studios to
assemble the 1963 "Report from Hollywood" on the product output
and release schedules for the current year (due for publication this
week), Edward L. Hyman, vice president of American Broadcasting-
Paramount Theatres, visited the M-G-M studios to see and discuss new
films with executives of that firm. Mr. Hyman is seen on the upper
right side of the table, with Robert M. Weitman, M-G-M studio chief,
and Clark Ramsay. On the left: Morris Sher, John Krier, George
Aurelius of AB-PT, and Sidney B. Pfeiffer.

INDEPENDENT THEATRE OWNERS
OF ARKANSAS

44th Annual Contention
*

APRIL 2 - 3

LA FAYETTE HOTEL, LITTLE ROCK

DALE ROBERTSON

HONORED GUEST AND PRINCIPAL SPEAKER
WITH FILM CLIPS OF HIS LATEST MOVIE

"THE MAN FROM BUTTON WILLOW"

FOR RESERVATIONS

CALL, WIRE OR WRITE, J. T. HITT

PRESIDENT ITOA, LA FAYETTE HOTEL
LITTLE ROCK, ARK.

Film

BULLETIN March 18, 1943 Page 15

DFZ

Intently observing, with Peter Lawford,
shooting of a scene in "The Longest Day"

(Continued from Page 4)

tion and the concomitant shrinkage of
studio-controlled production already
seem like ancient history, and both
phenomena are accepted almost univer-
sally as the inevitable and stable order
of the industry. But here and there one
begins to sense a wee bit of doubt about
the validity and the permanence of this
order. The lack of continuity in produc-
tion, the shortage of supply to meet the
market demand, the skyrocketing wages
of the unshackled talent, the absence of
any bona fide program for replenishing
the supply of talent, and, not least, the
realization that there is simply not
enough proven talent around to allow
every film company to operate like a
United Artists — all these factors give
one pause about the future form of
movie business.

What form will it take? A definitive
answer is not yet possible, because our
industry, like Stephen Leacock's horse-
man, is galloping off in many directions.

But there are signs of change in the
production current. Witness the ex-
panding, studio-like operations of "in-
dependents" like Seven Arts and the
Mirisch Brothers, which gradually are
taking on the shape, except for the real
estate, of major companies. Occasion-
ally, an actor or director who has tasted
the sometimes bitter fruits of independ-
ent production goes back to work for
one of the established studios, exchang-
ing his role of entrepreneur for the
security of a wage for his labors. And
the helter-skelter flow of production
to foreign shores seems to have run its
course. Some of the bills run up in
places like Rome and Tahiti made
Hollywood in its heyday seem like a
town of penny-pinchers. Producers will
continue to travel in search of appro-
priate locations, but the holiday abroad

Page 16 Film BULLETIN March 18, 1963

for movie-makers is coming to an end.

So, with the industry in this state of
flux, entered Darryl Zanuck as the chief
executive officer of a movie company.
That 20th Century-Fox was ailing when
he sat down in the president's chair is
putting it mildly; it had the pallor of
financial death. "Cleopatra" had bled
the company white.

Zanuck went to work with the air of
confidence of a man who knows what
he is about. He called off all unstarted
production to give himself the oppor-
tunity to make an appraisal of pending
properties. His own epic war film, "The
Longest Day", went into release and
started to pump the life-giving green
stuff into the company's depleted treas-
ury. Then he turned to "Cleopatra".

In a public statement, he read the riot
act to Joe Mankiewicz, who wrote the
screenplay, directed it, and was the de
facto boss of the $35 million-plus pro-
duction. Zanuck took over the respon-
sibility for re-editing the film and told
Mankiewicz: "If you are available and
willing, I will call upon you to screen
the re-edited version of the film. After
you have done so, I will meet with you
and go over it reel by reel and debate
any points of difference that may arise.
I will carefully consider any and all
suggestions or objections you may have."

By thus "interfering" with the now-
accepted precept of autonomy for the
creative element in production, DFZ
brought down on his head the wrath of
so eminent a talent as Billy Wilder, who
reportedly was so riled by the remons-
trance to Mankiewicz that he wired
Zanuck that no self-respecting creative
person would ever work for him, and
that before long bulldozers would raze
the 20th Century studio. But, despite
these dire predictions, when Zanuck de-
cided on a few additional scenes for
"Cleopatra", Joe Mankiewicz, fine artist
that he is, apparently suffered no an-
guish in responding to DFZ's call to
direct. He is now collaborating on edit-
ing the final print.

The point in reciting this historical
incident is that it further provides a
measure of Darryl Zanuck in the present
scheme of the industry. His is an un-
paralleled range of experience and

Studio Head Richard D. Zaw/ck

record of achievement. Consider that he
is a three-time winner of the Irving
Thalberg award for outstanding produc-
tion, and that his fine hand has been
involved in such worthy and often
provocative films as "All About Eve",
"Pinky", "Anna and the King of Siam",
"Viva Zapata!", "The Razor's Edge"
and "Gentleman's Agreement", not to
mention "The Longest Day", and his
stature as a creative force cannot be
questioned. He has his critics among the
artistic element, but many have done
their best work with him and for him.

From the outset of Zanuck's accession
to the presidency of 20th-Fox we have
found irresistible the notion that he
would move to divert the current that
has carried so much film production out
of the established studios in the past
decade. In our issue of last Sept. 3 this
item appeared: "Zanuck will return to

Giving instructions to an actor
before the Normandy "invasion"

a basic policy of studio-sponsored pro-
duction as soon as the company's affairs
become stabilized." His pronouncement
at the "official opening" of the studio
two weeks ago confirms that prognosis.
He has restored the concept of a well- i
ordered, centralized production organi-
zation, one that might serve as a model
for other film companies. For exhibition,
it means the restoration of a prolific
and proficient source of product.

With Richard D. Zanuck, a talented
producer in his own right, supervising
Hollywood production, Elmo Williams,
his right hand on "The Longest Day",
guiding all foreign projects, and DFZ,
himself, keeping his seasoned eye on
everything, the new 20th Century-Fox
establishment has suddenly assumed an
attitude of prominence and promise
that should spark the entire industry.

"The Courtship of Eddie's Father"

GcuUeu Rati*? GOO Plus

Smash, heart-warming comedy will delight every type
of audience. Destined to be one of season's biggest hits.
In color.

Here is one of the year's biggest money-makers! It is a joy to
behold. Talent galore has gone into M-G-M's romantic comedy
about a widower and his wise young son, and it emerges the
freshest, warmest, brightest screen delight of the current season.
Joe Pasternak produced it with style and taste, Vincent Min-
nelli has directed with a deft and happy hand, and the
first-rate, talent-loaded cast includes Glenn Ford, Shirley
Jones, Stella Stevens, Dina Merrill, nightclub star Roberta
Sherwood, fast-rising comic Jerry Van Dyke and Ronny How-
ard, the sensational youngster who scored in "The Music
Man" and is a regular hit on the Andy Griffith TV show. Add
to these seat-selling ingredients eye-catching fashions and lav-
ishly decorated sets handsomely mounted in Panavision and
Metrocolor, a catchy background score, plus the impact supplied
by the choice of "Courtship" as TOA's second Hollywood Pre-
view attraction ("What Ever Happened to Baby Jane?" was
the first), and exhibitors can count on grosses of sock propor-
tions. The film's ingenuous, human, non-syrupy quality makes
it first-rate entertainment for all types of moviegoers, from
the sophisticates to every member of the family trade. John
Gay's screenplay, based on Mark Toby's novel, is loaded with
bright, snappy dialogue, especially the "adult" exchanges be-
tween father and son. The plot centers around the warm rela-
tionship between the young widower, Ford, and his son, How-
ard, the emergence of Ford as a man willing to start a new life,
and the boy's attempts to find his dad a new mate. Ford, deftly
mixes comedy with heart in what is certainly his most thor-
oughly defined characterization thus far, while Howard is com-
pletely captivating as the boy with the infallible system for
separating the good ladies from the bad. One moment he
brings a tear, the next a hearty laugh. Miss Jones, as the warm-
hearted divorcee across the hall, and Miss Merrill, as a fashion
expert are solidly feminine as a twosome with a yen for Ford.
The real surprise of the show, however, is Stella Stevens, who
does wonders with the wide-eyed role of an almost-Miss Mon-
tana with an inferiority complex. Roberta Sherwood is just
right as Ford's live-wire housekeeper, and Van Dyke, creates
an amusing characterization of a wolf in disk-jockey's clothing
who falls hard for Miss Stevens. Ford goes for Miss Merrill,
but his son pulls for Miss Jones. When his father tells the boy
he plans to marry Miss Merrill, the lad runs away from summer
camp and is feared lost. He turns up at Miss Jones' apartment
and, by some clever cupiding, makes Ford realize he actually
loves Miss Jones.

M-G-M. 117 min. Glenn Ford, Shirley Jones, Stella Stevens, Dina Merrill, Ronny
Howard. Produced by Joe Pasternak. Directed by Vincente Minnelli.

"My Six Loves''
SoctlHeM 'Rati*? O O

Silly, incredulous screenplay wastes talent and Techni-
color. Debbie Reynolds and competent cast struggle with
inane plot, dialogue. Will suffer adverse word-of -mouth.

It is fortunate, in a sense, that three writers are credited with
the silly, trifling screenplay for this Paramount release; the
blame would be too much for any one scripter to bear. Inanity
! is piled upon inanity as a glamorous young actress, forced to
take a rest at her Connecticut home, becomes involved with six
homeless waifs and the hail-fellow-well-met young minister of

the town. Sound like a cute comedy idea? You can hardly
imagine what cliche-ridden incidents are dragged in to keep
the plot going and what a waste of talent and money it all is.
Debbie Reynolds, looking lovelier than ever, struggles valiantly
to make her role believable. Cliff Robertson, David Janssen,
Eileen Heckart, Jim Backus and Hans Conreid are burdened
with hollow characterizations, hack lines. Gower Champion,
debuting as a film director, gives it good pace, but the screen-
play is just too much to overcome. And Technicolor provides a
gloss for the stagey Gant Gaither production. This might get
by with family audiences in the hinterlands, but in metropolitan
markets grosses will quickly feel the effects of adverse word-of-
mouth. The plot has Miss Reynolds discovering the children,
abandoned by their drunken foster parents, living in a shack at
the back of her property. At first opposed to even having them
around, she finally decides to keep them temporarily. Then the
lure of the theatre calls Miss Reynolds back to New York and
the broken-hearted youngsters run away. The fade-out finds
Miss Reynolds giving up the theatre, accepting Robertson's
proposal of marriage, and planning to adopt the orphans.

Paramount. 105 minutes. Debbie Reynolds, Cliff Robertson, David Janssen, Eileen
Heckart. Produced by Gant Gaither. Directed by Gower Champion.

"Seven Seas to Calais"

Plenty of adventure, derring-do in colorful costume
swashbuckler. Rates higher for action market duals.

Action rides the high seas with Sir Francis Drake in this
exploitable swashbuckler from M-G-M. The adventures of royal
buccaneer Drake, who plundered the world's treasure chests
with Queen Elizabeth I's blessing, have been handsomely lensed
in CinemaScope and Eastmancolor and directed with briskness,
excitement and romantic abandon by Rudolph Mate. An above-
average supporting feature, "Calais" can top the bill in the
action market. As scripted by Pilippo Sanjust, Elizabeth and
Drake set about defying mighty Spain through tiny England's
dominance of the seas. During Drake's three-year voyage he puts
down a mutiny aboard his ship; discovers California, calling
it New Albion; pillages the fabulous gold mines of the Incas;
routs the Spanish gold ships at St. Miguel in Panama; and dis-
covers the potato. The costume drama draws to a thunderous
climax with Drake and his handful of ships destroying the
mightly Spanish armada. Roy Taylor is a dashingly self-possessed
Drake, Keith Michell (Broadway's "Irma La Douce") is appeal-
ing as Taylor's first lieutenant-closest friend, and Irene Worth
is a notable Elizabeth, a monarch who professes herself a help-
less woman while carrying out iron-fisted negotiations with
Spain. Female support is provided by Italian actress Hedy Ves-
sel, Michell's sweetheart, who accidentally becomes involved in
the Spanish plot to assassinate Miss Worth, and Esmeralda Rus-
poli, the ill-fated Mary, Queen of Scots. Through Taylor's
intervention, Miss Vessel's life is spared, and as a result of the
Taylor-Michell heroism during the Battle of the Armada, a
new spirit of pride and hope comes to England.

M-G-M. 102 minutes. Rod Taylor, Keith Michell, Irene Worth. Produced by Paolo
Moffa. Directed by Rudolph Mate.

• POOR • • FAIR

l • • GOOD • • • • TOPS

Film BULLETIN March 18, 1963

Page 17

"PT 109"

SutiKCM ZZaUHf Q Q Q Plus

Thrilling, suspenseful saga of President Kennedy's heroic
audiences. Highly exploitable.

Warner Bros.' "PT 109" is a two-fold entertainment treat:
(1) a thrilling World War II adventure saga; (2) a true story
about heroism centering around a courageous young naval offi-
cer who is now President of the United States. Taken on the
first level alone, the film would prove an excellent moneymaker
because it's a well-made, actionful, suspenseful war drama
handsomely presented in Technicolor and Panavision. But by
tastefully adding the truth-is-stranger than fiction element, and
having that facet focus on the extremely popular JFK, the box-
office prospects for "PT 109" loom powerful in all situations.
And Warner Bros, has promised to back it with an all-out, all-
media promotion campaign. An interesting aspect of the film
is that there is no deliberate playing upon the theme of "the
man who would become President." Instead, we watch Lt. (j.g.)
Kennedy come to the South Pacific in 1942, assume command
of the battle-scarred PT 109, zealously make it ship-shape in
one week, win the respect of his crew, then rise to the heights
of a hero after the 109 is cut in half by a Japanese destroyer.
Director Leslie H. Martinson has carried out the pre-collision
battle scenes with seat-gripping authenticity and he's provided
plenty of excitement and suspense during the latter half: Ken-
nedy gathering his men together on the partial deck of the
109; leading them to an island three and one-half miles away,
while taking the loose end of a severely burned man's life
jacket between his teeth and towing him through the water,
doing the breast stroke; spending ten hours in the water at
night with a signal lantern while waiting for a PT patrol boat
that never comes; refusing to abandon hope and moving his
weary, almost mutinous men to a safer island. The feat is a
thrilling one to watch, made the more so by the realization that
it really happened. Cliff Robertson offers an extremely pleasant,
underplayed, non-carbon copy imitation of Kennedy, and it's
rewarding to see this excellent actor's talents finally put to use
in an important film. Colorful support is provided by Ty
Hardin, the 109 s executive officer; James Gregory, the autocra-
tic boat maintenance officer; Grant Williams, the Squadron
Commander; Robert Culp, one of Robertson's friends who goes
along on the ill-fated mission and all of the crewmen of the
109. Through the help of friendly natives and Australian coast
watcher Michael Pate, all are finally rescued. Robertson, eligible
for transfer home, elects to remain in the Pacific.

Warner Bros. 140 minutes. Cliff Robertson, Ty Hardin, James Gregory. Produced
by Bryan Foy. Under the personal supervision of Jack L. Warner. Directed by
Leslie H. Martinson.

"Dr. No"

Scuutcte "R*ti*t$ O O O

Exciting cloak-and-dagger thriller sure to click with all
audiences. Highly exploitable.

"Dr. No," the first James Bond thriller to reach the screen,
is hell-bent-for-excitement entertainment from start to finish.
A super-duper cliffhanger, lushly photographed in Technicolor,
it stars Sean Connery as the suave and deadly British Secret
Service Agent 007 (a license to kill) created by Ian Fleming.
Already a powerful moneymaker in England, this United Art-
ists release looks to repeat its boxoffice success in this country,
because it's the kind of film guaranteed to generate word-of-
mouth from the high-brows to the masses and it lends itself to
showmanship. Look at the ingredients: two shocker murders
during the opening minutes; attempts on Connery's life (he's

Page 18 Film BULLETIN March 18, 1943

in Jamaica to investigate the murders — a British confidential
agent and his secretary) through a cliff-side car collision, a
planted poison tarantula and an Oriental charmer (Zena Mar-
shall) who is used as a decoy to attempted murder; and a bang-
up finale in the underwater headquarters of Dr. No (Joseph
Wiseman), a brilliant, part-Chinese scientist who is seeking to
divert the course of rockets projected from Cape Canaveral,
with more disastrous objectives in mind. This cloak-sex-and-
dagger thriller is not only presented in "hip", modern-day
terms, it also introduces the cosmopolitan Connery, certain to
become a favorite on these shores. An additional "profits" fac-
tor lies in the current popularity of the Fleming books (highly
recommended by J.F.K.). This initial Fleming story on film
portends a lengthy series from the same source. Wiseman is
delightfully sinister and Ursula Andress exudes large doses of
sex as a bikini-clad nature girl. Jack Lord, as a C.I. A. agent, and
Bernard Lee, as the head of British Intelligence, provide amus-
ing, dead-pan realism, and John Kitzmiller is effective as Con-
nery's dedicated native assistant. Terence Young's direction is
machine-gun paced, Monty Norman's music is catchy, the sets
and special effects are eye-pleasers and the Richard Maibaum-
Johanna Harwood-Berkely Mather screenplay remains loyal to
the lightning quick style of Fleming. Connery and Miss Andress
end up Wiseman's prisoners. Connery escapes from his room
through a small ventilator shaft, survives the intense heat of
radio-active perils, turns up all the switches and escapes with
Miss Andress before the island laboratory is blown to bits.

United Artists. I I I minutes. Sean Connery, Ursula Andress, Joseph Wiseman
Produced by Harry Saltzman and Albert R. Broccoli. Directed by Terence Younq.

"I Could Go Dn Singing"

Sudueetd IZati*? O O Plus

Judy Garland's singing and dynamic personality carry
pale plot. Her name, plus promotion, guarantees above
average grosses.

The real entertainment value of this United Artists release
stems from the fabulous Judy Garland singing up a storm, but
the rest of the show fails to match the lustre of her presence.
Nevertheless, the Garland name, backed by UA's typical hard- ,
hitting promotion, is certain to carry "I Could Go On Singing"
to above average grosses in all markets. Attractively produced
in Eastmancolor and Panavision by Stuart Millar and Lawrence
Turman, the film is burdened by a rather pale plot that depicts
Miss Garland as an American singing star who has come to
London ostensibly to appear at the Palladium, but actually to
see Dirk Bogarde, the British surgeon whom she had loved in
years gone by, and Gregory Phillips, the son she bore him out
of wedlock While Ronald Neame's direction is stylish, it fails
to keep a tight rein on Mayo Simon's sometimes vague screen-
play. But, to repeat, with Judy rendering such old favorites as
"Hello Bluebird", "By Myself", "It Never Was You" and the
good sounding title song by Harold Aden and E. Y. Harburg,
this is a movie with a special plus-factor. Her fans, who are
legion, should turn out just to hear her. Jack Klugman, as Miss
Garlands devoted manager, and Aline MacMahon, as hei
dresser, provide fine support. The plot finds widower Bogarde
reluctantly allowing Miss Garland to see young Phillips, now
at boarding school. The two of them hit it off and spend sev-
eral happy days together. This results in a bitter row between
Miss Garland and Bogarde, and Phillips learns that Miss Gar-
land is really his mother. Bogarde tells the youth he must choosf
between travelling all over the world with Miss Garland, 01
staying in England. Phillips agrees to stay with Miss Garland,
but she finally lets him go, along with Bogarde, for the onl)
happiness she can ever know — the stage.

United Artists. 99 minutes. Judy Garland, Dirk Bogarde. Produced by Stuar
Miller and Lawrence Turman. Directed by Ronald Neame.

The Dag Cash Dietl in IVinsted

/tie Ttoinyf

MERCHANDISING I ,

On March 13, death came to the town
if Winsted, Connecticut — and everybody
oved it! The victim — cash. It came back
o life 24 hours later, but during the
noritorium, credit ruled the day.

The occasion? Columbia Pictures' ima-
;inative promotion stunt inaugurating the
^orld premiere of Danny Kaye's "The
►Ian from the Diners' Club." For the first
ime since the history of money a city
>assed an ordinance forbidding the use of
ash for 4 hours. During that time only
Diners' Club cards could be used for pur-
ihases in Winsted. Comedian Kaye was on

Satiny Kaye points the way to mounds of free
oodies for the youngsters.

Amotion Must Be Constant,
ipton Tells U Sales Convention

, Pre-sell, sell, re-sell!

This is the broadside promotion ap-
proach being adopted by Universal to back
he 16 films to be released this year, the
ompany's recent national sales convention
/as told by David A. Lipton, vice presi-
lent in charge of advertising and publicity.

Universal is giving its current release
rop the biggest advertising budget and
he greatest selling effort in the history of
he company, Lipton declared, in a con-
erted drive to create the greatest possible
mpact on moviegoers before new films
each the screen and while they are being
hown. National pre-selling followed by
oncentrated local point-of-sale-promotion
vill be used wherever the pictures lend
hemselves to such treatment.

• "Selling on the local theatre level in
oday's market has to be more aggressively
>ursued than ever before in view of the
;ind of money which can be realized
hrough the extended runs of pictures,"
'-ipton stated, adding that boxoffice suc-
ess depends on thorough follow-up of the
ampaign to launch a picture with sus-
ained advertising aimed at an extended
un.

hand to personally see that the edict was
strictly enforced.

The younger set, numbering close to
3000, joined in the holiday atmosphere of
"Credit Day." Children, from kindergarten
through high school, were dismissed at
noon with free 50-cent Junior Credit
Cards, courtesy of Mr. Kaye, Columbia
and the Diners' Club of America, Inc. Be-
fore the day drew to an end, mountains of
ice cream, cake, licorice, etc. had been
consumed.

Although the day dawned and ended
with rain, spirits remained undampened as
Danny and the visiting members of the
press, radio, television, magazines, syndi-
cates, wire services and broadcasting net-
works treked through the city.

"Credit Day" included a press confer-
ence, a cocktail reception and dinner, and
was capped by the jam-packed premiere
performance of "The Man From the Din-
ers' Club" at the Strand Theatre on Main
dustry proved that the hullabaloo of show-
manship attracts people in droves.

Cash may have died in Winsted on
Street. Once again, the motion picture in-
March 13, but "The Man From the Diners'
Club" was born in the splendor of public
awareness.

Vegas Still Reeling from
UA's Gay Party for 'Ball'

There is still no official report from Las
Vegas itself, but rumor has it that that
sleepless city of fun, frivolity and fortune
(good and bad) has not yet recovered
from the three-day junket staged a few
weeks ago by United Artists and producer
Martin Poll to herald "Love Is A Ball".

The 150-odd news, television, and radio
people who attended won't forget the af-
fair for a long time. The film's stars —
Glenn Ford, Hope Lange, Ricardo Mon-
talban — plus the scores of other show
business headliners who made up the en-
tourage, drew huge crowds wherever they
moved through Las Vegas, and the UA
showmen made certain that the movie
they were plugging was the focal point
of the whole shindig. The special coverage
of the three-day celebration will help
spread the name and entertainment value
of "Love is a Ball" to every corner of
the country. Steve Allen tele-taped the
high points for airing on his show of
April 28. ABC-TV also covered it for a
special feature.

It's a good bet that producer Poll and
UA will reap far more in promotion value
than the cost of the two 50-gallon bottles
of champagne that were tapped at one of
the dusk-to-dawn parties. It was show-
manship at its most effervescent.

WB Crew To Tour for 'PT-109';
'Spencer's Mt.' and Goodwill

Goodwill is bustin' out all over. This
spring Warner Brothers ad-pub folks are
hitting the trail to over 1,000 American
communities as good will ambassadors for
the film industry in general, Warner
Brothers and its two new releases, "Spen-
cer's Mountain" and "PT-109", in par-
particular.

Announcement of the grass-roots tour
was made by WB promotion chief, Richard
Lederer, who described the campaign as
"strengthening our company's ties with
the local press, radio and television in
communities across the country, the chan-
nels of communication with the movie-
goers of the nation, and with theatre man-
agers and their patrons."

Last year's tour, the first, visited some
400 cities and towns and was so successful,
said Lederer, that the number of stops is
being more than doubled. Field leaders of
the tour will be national publicity manager
Joe Hyams and exploitation-promotion
manager Ernie Grossman. The tour will
last three weeks starting April 22 and will
bring the Warner message to about 2,500
newspaper editors and radio and TV pro-
gram directors.

Richard Lederer (I.) Warner Bros, director
of advertising and publicity, and exploitation-
promotion manager Lrnie Grossman show off
key art on "Spencer's Mountain"' and "PT-109".

Film BULLETIN March 18. 1943 Page 19

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

October

CONVICTS 4 Ben Gazzara, Ray Walston, Stuart Whit-
man. Sammy Davis, Jr., Vincent Price, Rod Steiger.
Producer A. Ronald Lubin. Director Millard Kaufman.
Prison dama. I 10 min.

November

BILLY BUDD CinemaScope. Peter Ustinov, Robert Ryan,
Melvyn Douglas, Terence Stamp. Producer-Director
Ustinov. Picturization of Herman Melville's sea classic.
123 min. 11/12/62.

March

DAY OF THE TRIFFIDS. THE CinemaScope. Color.
Howard Keel, Nicole Maurey. Producer Philip Yordan.
Director Steve Sekely. Science-fiction thriller. 119 min.

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
A Julian Wintle, Leslie Parkyn Production. Director
Michael Winner. Musical.

April

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Loren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.

June

LONG CORRIDOR, THE Peter Breck, Constance Towers.
Producer-director Samuel Fuller. A Leon Fromkess
Presentation. A suspense drama.

July

55 DAYS AT PEKING Technirama. Technicolor. Charl-
ton Heston, David Niven, Ava Gardner, Flora Robson,
Harry Andrews, John Ireland. Producer Samuel Bron-
ston. Director Nicholas Ray. Story of the Boxer uprising.

GUNHAWK, THE Color. Rory Calhoun, Rod Cameron,
Ruta Lee, Rod Lauren. Producer Richard Bernstein.
Director Edward Ludwig. Outlaws govern peaceful town
of Sanctuary.

Coming

CAPTAIN MUST DIE, THE Producer Monroe Sachson.
Director Allen Reisner. Suspense thriller.

GUNFIGHT AT COMANCHE CREEK Color. Cinema-
scope. Audie Murphy. Producer Ben Schwalb. Private
detective breaks up outlaw gang.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

RECKLESS PRIDE OF THE MARINES Producer Lester
Sansom. Andrew Geer's book about a horse which
served as an ammunition carrier in Korea.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen. Producer Martin Jurow. Army comedy.

STREETS OF MONTMARTRE Lana Turner, Louis Jour-
dan. Producer-director Douglas Sirk. Based on two
books, "Man of Montmartre" and "The Valadon
Drama."

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

October

WARRIORS 5 Jack Palance, Jo Anna Ralli. Producer
Fulvio Lusciano. Director Mario Silvestra. Story of an
American G.I. who organized the underground resist-
ance in Italy. 82 min. 11/12/42.

November

REPTILICUS Color. Carl Ottosen, Ann Smyrner. Pro-
ducer-Director Sidney Pink. Giant sea monster's de-
struction of an entire city. 81 min.

December

SAMSON AND THE 7 MIRACLES OF THE WORLD

(Formerly Goliath and the Warriors of Genghis Kahn)
Color. CinemaScope. Gordon Scott, Yoko Tani. Samson
helps fight off the Mongol invaders. 80 min. 2/18/63.

February

Coming

January

RAVEN, THE Color. Panavision. Vincent Price, Peter
Lorre, Boris Karloff. Producer-director Roger Corman.
Edgar Allan Poe tale. 86 min. 2/4/63.

Film

BATTLE BEYOND THE SUN I Filmgroup) Color & Vista-
scope. Ed Perry, Aria Powell. 75 min.

NIGHT TIDE (Filmgroup) Dennis Hopper, Linda Law-
son. 84 min.

PIT, THE Dirk Bogarde, Mary Ure. Science fiction.

March

CALIFORNIA Jack Mahoney, Faith Domergus. Western.

FREE. WHITE AND 21 (Formerly Question of Consent)

Frederick O'Neal, Annalena Lund. Drama.

OPERATION BIKINI [Formerly Seafighters) Tab Hunter,
Frankie Avalon, Eva Six. Producer-director Anthony
Carras.

April

MIRACLE OF THE VIKINGS Color, Cinemascope. Car
eron Mitchell. Action drama.

May

DEMENTIA (Filmgroup) William Campbell, Luana An-
ders, Mary Mitchell. Suspense drama.

MIND BENDERS, THE Dick Bogard, Mary Ure. Science
fiction.

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama.

June

TERROR, THE (Filmgroup) Color, Vistascope. Boris Kar-
loff. Horror.

"X"— THE MAN WITH THE X-RAY EYES Ray Milland.
Science fiction.

July

BEACH PARTY Color, Panavision. Frankie Avalon.
Producer Lou Rusoff. Teenage comedy.

August

HAUNTED PALACE, THE Ray Milland. Edgar Allan
Poe classic.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

COMEDY OF TERROR, A Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff. Horror.

DUNWICH HORROR Color. Panavision. Science Fiction.

GENGHIS KHAN 70mm roadshow.

HAUNTED HOUSE, THE Color, Scope. Ray Milland.

IT'S ALIVE Color. Peter Lorre, Frankie Avalon. Teen,
horror, musical comedy.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

NIGHTMARE HOUSE (Formerly Schizo) Leticia Roman,
John Saxon. Producer-director Mario Bava. Suspense
horror.

UNDER 21 Color, Panavision. Teen musical comedy.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Producers Julian
Wintle, Leslie Parkyn. H. G. Wells classic.

December

BLACK FOX Marlene Dietrich. Producer-director Louis
Clyde Stoumen. Narration of true story of Adolph
Hitler. 89 min.

OUT OF THE TIGER'S MOUTH Loretta Hwong, David
Fang. Producer Wesley Ruggles, Jr. Director Tim
Whelan, Jr. 81 min.

OU ARE FELLOW, THE Patrick McGoohan, Sylvia Sims.
Walter Macken. Producer Anthony Havelock-Allan.
Director Arthur Dreifuss. 85 min. 11/26/62.

January

TOTO, PEPPINO and LA DOLCE VITA Toto, Peppino.

TRIAL, THE Anthony Perkins, Jeanne Moreau. Director
Orson Welles. Welles' version of Kafka novel. Ill
min. 3/4/63.

October

ALMOST ANGELS Color. Peter Week, Sean Scully,
Vincent Winter, Director Steven Previn. 93 min. 9/3/42.

November

LEGEND OF LOBO. THE Producer Walt Disney. Live-
action adventure. 67 min. 11/12/42.

December

IN SEARCH OF THE CASTAWAYS Technicolor. Maurice
Chevalier, Hayley Mills, George Sanders. Producer
Walt Disney. Director Robert Stevenson. Based on the
Jules Verne story, "Captain Grant's Children." 110
min. 1/7/43.

February

SON OF FLUBBER Fred MacMurray, Nancy Olson.
Keenan Wynn. Walt Disney Production. Director Robert
Stevenson. Comedy. 100 min. 1/21/43.

March

MIRACLE OF THE WHITE STALLIONS Color. Robert
Taylor Lili Palmer, Curt Jergens. Director Arthur
Hiller.

June

SAVAGE SAM Brian Keith, Tommy Kirk. Drama.

July

SUMMER MAGIC Hayley Mills, Burl Ives. Drama.

SWINDLE, THE Broderick Crawford, Giulietta Masina,
Richard Basehart. Director Federico Fellini. Melodrama.
92 min. I 1/12/42.

WORLD BEGINS AT 6 P.M. Jimmy Durante, Ernest Borg-
nine. Director Vittorio DeSica.

BULLETIN — THIS IS YOUR PRODUCT

September

BEST OF ENEMIES. THE Technicolor, Technirama. David
Niven, Sordij Michael Wilding. Producer Dino de
Laurentiis. Director Guy Hamilton. Satirical comedy
on war. 104 min. 8/4/42.

DAMN THE DEFIANT (formerly H.M.S. DEFIANT) Color.
Alec Guinness, Dirk Bogarde, Anthony Quayle. Pro-
ducer John Brabourne. Director Lewis Gilbert. Sea
adventure. 101 min. 8/20/42.

RING-A-DIMG RHYTHM Chubby Checker, Dukes of
Dixieland, Gary (U.S.) Bonds, Dell Shannon. Producer
Milton Subotsky. Director Dick Lester. Teenage com-
edy. 78 min. 9/17/42.

October

REQUIEM FOR A HEAVYWEIGHT Anthony Quinn,
Jackie Gleason, Mickey Rooney, Julie Harris. Producer
David Susskind. Director Ralph Nelson. Award winning
drama. 87 min. 9/17/42.

TWO TICKETS TO PARIS Joey Dee, Gary Crosby, Kay
Medford. Producer Harry Romm. Director Greg Gar-
rison. Romantic comedy. 75 min. 11/24/42.

November

PIRATES OF BLOOD RIVER Color. Glenn Corbett, Ktr-
win Mathews, Maria Landi. Producer Anthony Nelson
Keys. Director John Gilling. Swashbuckling adventure.
87 min. 8/4/42.

WAR LOVER. THE Robert Wagner, Steve McQueen.
Producer Arthur Hornblow. Director Philip Leacock.
Drama of World War II in the sky. 105 min. 10/29/42.

WE'LL BURY YOUI Narrated by William Woodson.
Producers Jack Leewood, Jack W. Thomas. Documen-
tary highlighting rise of Communism. 72 min. 10/15/42.

December

BARABBAS Technicolor. Anthony Quinn, Silvan* Mait-

gano, Jack Palance, Ernest Borgnine, Katy Jurado,
Douglas Fowley, Arthur Kennedy, Harry Andrews,
Vittorio Gassman. Producer Dino de Laurentiis. Direc-
tor Richard Fleischer. Based on novel by Par Lager-
kvist. 134 min. 9/3/42.

February

November

MARCH SUMMARY

To this date the release chart for
the approaching month lists a sparse
16 features. M-G-M has four films
planned for April release. United Art-
ists, Universal and Columbia have
scheduled two each. Six companies —
20th Fox, Warner Bros., American-In-
ternational, Allied Artists, Continental
and Paramount — all promise one. No
new releases have been set by either
Embassy or Buena Vista.

DIAMOND HEAD Panavision, Eastman Color. Charlton
Htston, Yvette Mimieux, George Chakiris, France
Nuyen, James Darren. Producer Jerry Bresler. Director
Guy Green. Based on Peter Gilman's novel. 107
min. 1/7/63.

April

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical.

MAN FROM THE DINER'S CLUB, THE Danny Kaye, Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin. 96 min.

Coming

JASON AND THE ARGONAUTS (Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Novak. Pro-
ducer Charles H. Schneer. Director Don Caffey. Film
version of Greek adventure classic.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

WEEKEND WITH LULU, A Bob Monkhouse, Leslie
Philips, Shirley Eaton, Irene Handl. Producer Ted
Lloyd. Director John Paddy Garstairs. 91 min. 6/11/62.

September

IMPERSONATOR. THE John Crawford. Jane Griffiths.
Director Alfred Shaughnesty. Producer Anthony Perry.
Murderer puts town on edge as he prowls for woman.
64 min.

OPERATION SNATCH Terry-Thomas, George Sanders,
Lionel Jeffries, Jackie Lane. Producer Jules Buck.
Director Robert Day. Story of attempt to perpetuate
a famous legend. 83 min. 10/15/62.

October

END OF DESIRE Color. Maria Schell. Christian Mar-
quand, Ivan Desny, Pascale Petit. Producer Agnes De-
Lahaie. Director Alexander Astruc. 91 min.

November

LONELINESS OF THE LONG DISTANCE RUNNER. THE

Michael Redgrave, Tom Courtenay, Avis Bunnage. Pro-
ducer-director Tony Richardson. Explores the attitudes
of a defiant young man sent to a reformatory for
robbery. 103 min. 10/1/62.

January

DAVID AND LISA Keir Dullea, Janet Margolin, How-
ard Da Silva. Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed young-
sters. 94 min. 1/7/63.

HANDS OF THE STRANG LER Mel Ferrer, Danny Carrol.
Producers Stevan Patios, Donald Taylor. Director Ed-
mond T. Grenville. Drama about a man twisted by a
strange obsession. 86 min. 8/20/62.

February

GREAT CHASE, THE Douglas Fairbanks, Sr., Buster
Keaton, Lillian Gish. Producer Harvey Cort. Silent
chase sequences. 77 min. 1/7/63.

THIS SPORTING LIFE Richard Harris, Rachel Roberts.

March

WRONG ARM OF THE LAW, THE Peter Sellers.
Lionel Jeffries.

YOUR SHADOW IS MINE Jill Haworth, Michael Ruhl.

April

BALCONY. THE Shelly Winters, Peter Falk.

September

DIVORCE— ITALIAN STYLE Marcello Mastroianni, Dan-
iela Rocca, Stefania Sandrelli. Producer Franco Cris-
taldi. Director Pietro Germi. Satirical jabs at the
mores of our times. 104 min. 10/29/62.

LA VIACCIA Claudia Cardinale, Jean-Paul Belmondo,
Pietro Germi. Producer Alfredo Bini. Director Mauro
Bolognini. A drama of the tragic influences of the city
upon a young farmer. 103 min. 11/12/62.

October

CRIME DOES NOT PAY Danielle Darrieux, Richard
Todd, Pierre Brasseur, Gino Cervi, Gabriele Ferzetti,
Christian Marquand, Michelle Morgan, Jean Servais.
Producer Gilbert Bokanowski. Director Gerard Oury.
French object lesson based on classic crimes. 159 min.
10/29/62.

LONG DAY'S JOURNEY INTO NIGHT Katharine Hep-
burn, Jason Robards, Jr., Sir Ralph Richardson, Dean
Stockwell. Producer Ely A. Landau. Direcotr Sidney
Lumet. Film version of Eugene O'Neill's Pulitzer Prize-
winning stage drama. 174 min. 10/29/62.

NIGHT IS MY FUTURE Mai Zetterling, Birger Malmsten.
Director Ingmar Bergman. Bergman reflects on the
theme of man's search for human contact and love in
a "hostile universe.'' 87 min. 1/7/63.

December

CONSTANTINE AND THE CROSS Color. Cornel Wilde,

Christine Kaufman, Belinda Lee. Producer Ferdinando
Felicioni. Director Lionello De Felice. Story of early
Christians struggling against Roman persecution. 120
min. I 1/26/62.

January

SEVEN CAPITAL SINS Jean-Pierre Aumont, Dany Saval.
Directors Claude Chabrol, Edouard Molinaro, Jean-Luc
Godard, Roger Vadim, Jaques Demy, Philippe De
Broca, Sylvain Dhomme. A new treatment of the classic
sins with a Gallic flavor. 113 min. 11/26/62.

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,

Christian Doermer. Directors Francois Truffaut, Andrez
Waida, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world. 113
min. 2/18/63.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French

Revolution. 104 min. 3/4/63.

Current Releases

ANTIGONE ( Ellis Films) Irene Papas, Manos Katra-
kis. Producer Sperie Perakos. Director George Tza-
vellas. 88 min. 10/29/62.

ARMS AND THE MAN ICasino Films) Lilo Pulver,
O. W. Fischer, Ellen Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
96 min.

BERNADETTE OF LOURDES IJanus Films) Daniele Ajoret
Nadine Atari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE ILopertl Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 68 min.

BLOODY BROOD. THE (Sutton! Peter Falk, Barbara
Lord, Jack Berts.

BOMB FOR A DICTATOR, A Pierre Fresnay, Michel
Auclair. 72 min.

CANDIDE (Union Films ) Jean-Pierre Cassel, Pierre
Brausseur, Dahlia Lavi. Director Norbert Carbonnaux.
90 min. 1 1/26/62.

CLEOPATRA'S DAUGHTER Color, Totalscope. Debra
Paget, Robert Alda. 93 min.

COMING OUT PARTY A. James Robertson Justice.
Producers Julian Wintle, Leslie Parkyn. Director Kenn
Annakin. 90 min. 9/17/62.

CONCRETE JUNGLE, THE (Fanfare Films) Stanley
Baker, Margit Saad, Sam Wanamaker, Gregoire Asian.
Producer Jack Greenwood. Director Joseph Losey. 86
min. 7/9/62.

CONNECTION, THE Warren Finnerty, Garry Good-
row, Jerome Raphel. Producer Lewis Allen. Director
Shirley Clarke. Off-beat film about dope addicts. 93
min. 10/29/62.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

DAY THE SKY EXPLODED, THE (Excelsior) Paul Hob-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR, THE Color, Totalscope. Ricardo
Montalban, Carmen Sevilla. 87 mm.

DEVIL MADE A WOMAN. THE Color, Totalscope. Sarita
Montiel. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

ELECTRA (Lopertl Irene Papas, Aleka Catselli. Pro-
ducer-director Michael Cacoyannis. Version of classic
Greek tragedy. 110 min. 1/7/63.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE (Ultra Pictures) Anthony Quinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS Technicolor, Totalvision.
Yoko Tani, Oldrick Lukes. 81 min.

FIVE DAY LOVER, THE IKinasley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay

Forester, Pamela Mason, Donald Woods. 86 min.

FLAME IN THE STREETS (Atlantic) John Mills, Sylvia
Syms, Brenda DeBanzie. Producer-director Roy Baker.
93 min. 10/29/62.

FORCE OF IMPULSE I Sutton Pictures) Tony Anthony,
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

GIRL WITH THE GOLDEN EYES, THE I Kingsley-lnter-
national) Marie LaForet, Paul Guers, Francoisa Pre-
vost. Producer Gilbert De Goldschmidt. Director Jean-
Gabriel Albicocco. 90 min. 8/20/62.

IMPORTANT MAN, THE (Lopert) Toshiro Mifuna, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

JOSEPH AND HIS BRETHREN IColorama) Geoffrey
Home, Belinda Lee. Producers Ermanno Donati, Luigi
Carpentieri. Director Irving Rapper. 103 min. 2/12/62.

KIND OF LOVING. A (Governor Films! Alan Bates,
June Ritchie, Thora Hird. Producer Joseph Janni.
Director John Schlesinger. 11/12/62.

LA NOTTE BRAVA IMi'ler Producing Co.) Eisa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LES PARISIENNES (Times Films) Dany Saval. Dany
Robin, Francoisa Arnoul, Catherine Deneuve.

LONG ABSENCE, THE (Commercial Films) Alida Valli,
Georges Wilson. Director Henri Colp. French drama.
85 min. 1 1/26/62

LOVE AND LARCENY (Major Film Distribution) Vif-
torio Gassman, Anna Maria Ferrero, Peppino DiFilippo.
Producer Mario Gori. Director Dino Risi. Satire on
crime. 94 min. 2/18/63.

MARRIAGE OF FIGARO, THE (Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin. Director Jean Meyer. French import.
105 min. 2/18/63.

MATTER OF WHO. A I Herts-Lion International) Alex
Nicol, Sonia Ziemann. Producers Walter Shenscw,
Milton Holmes. Director Don Chaffey. 90 min. 8/20/62.

MONDO CANE (Times Films Eng.) Technicolor. Pro-
ducer Rizzoli, Cineriz. Director Gualtiero Jacopetti.
Film portrayal of real life. 115 min.

NIGHT OF EVIL ISutton) Lisa Gaye, Bill Campbell.
88 min.

NIGHT, THE (Lopert) Jeanne Moreau, Marcello

Mastroianni, Monica Vitti. Producer Emanuele Cassulo,
Director Michelangelo Antonioni. 120 min. 3/5/62.

NO EXIT IZenith-lnternational ) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.

PAGAN HELLCAT (Times Films Eng.) Tumata Teuiau.
Producer-d:rector Umberto Bongignori. 59 min.

PARADISE ALLEY ISutton) Hugo Haas, Corinne Griffith.

PASSION OF SLOW FIRE, THE (Trans-Lux) Jean
DeSailley, Monique Melinand. Producer Francois
Chavene. Director Edouard Molinaro. 91 min. 11/12/62.

PHAEDRA (Lopert) Melina Mercouri, Anthony Perkins,
Raf Vallone. Producer-director Jules Dassin. 115 min.
10/29/62.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I 15 min.

RICE GIRL I Ultra Pictures) Elsa Martinelli, Folco Lu Mi.
Michel Auclair. Producer Carlo Ponti. Director Raffa-
eilo Matarazzo. Dubbed Italian melodrama. 90 min.
2/4/63.

SATAN IN HIGH HEELS (Cosmic). Meg Myles. Gray-
son HaU, Mike Keene. Producer Leonard M. Burton.
Director Jerald Intrator. 97 min. 5/14/62.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
tan. 82 min.

SECRETS OF THE NAZI CRIMINALS (Trans-Lux). Pro-
ducer Tore Sjoberq. Documentary recounting Nazi
crimes. 84 min. 10/15/62.

Film

BULLETIN — THIS IS YO»R PROD»«T

SLIME PEOPLE, THE I Mutton-Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT. THE Robert Clarke, Francine
York. 85 min.

STAKEOUT Ping Russell. Bill Hale, Eve Brent. 81 min.

SUNDAYS AND CYBELE I Davis-Royal I Hardy Kruger,
Nicole Courcel, Patricia Gozzi. Producer Romain Pines.
Director Serge Bourguignon. 110 min. 11/26/62.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Ca h ill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THRONE OF BLOOD (Brandon Films) Toshino Mifone,
Isuzu Yamada. Director Akira Kurosawa 108 min.
1/8/62.

TROJAN HORSE. THE Colorama. Steve Reeves, John
Drew Barrymore, Edy Vessel. Director Giorgio Ferroni.
105 min. 7/23/62.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE ITimes Films Eng.) Color. Pro-
ducer-director Marion Gering.

VIOLENT MIDNIGHT ITimes Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION ITimes Films sub-titles) Eastman-
color. Mad&leine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FCR KICKS ITimes Films] David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

YOJIMBO (Seneca-International) Toshiro M. Fune, Kyu
Sazanka, Nakadai. Director Akiro Kurosana. 101 min.
9/17/62.

METRO-GOLDWYN -MAYER

October

VERY PRIVATE AFFAIR. A Brigitte Bardot Marcello
Mastr^ianni. Producer Christine Gouze-Renal. Director
Louis Malle. Story of the meteoric career of a young
screen star who becomes a sex symbol for the world.
94 min. 10/1/62.

November

ESCAPE FROM EAST BERLIN Don Murray, Christine

Siodmak. Drama of the escape of 28 East Germans to
West Berlin under the wall via a tunnel. 93 min.
10/29/62.

KILL OR CURE Terry-Thomas, Eric Sykes, Dennis Price,
Moira RoHmnnd. Producer Georgp Brown. Director
George Pollack. Detective tale. 88 min. 11/26/62.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh Griffith. Pro-

Hurp- AJ*"on P->*~nbp-n. Oirectr*- 1 -wis Mil-*Af>ne.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/63.

PERIOD OF ADJUSTMENT Tony Franciosa, Jane Fonda,
Jim Hutton. Producer Lawrence Weingarten. Director
George Roy Hill. Screen version of Tennessee Williams'
Broadway play. 112 min. 10/29/62.

TRIAL AND ERROR Peter Sellers, Richard Attenbor-
ough. Producer Dimitri de Grunwald. Director James
Hill. Comedy about a henpecked murderer and his
ineffectual lawyer. 99 min. 11/26/62.

December

ARTHRO'S ISLAND R°qina|d Kernan, Key Meersman,
Vanni De Maigret, Ornella Vanomi. Producer Carlo
Ponti. Director D. Damiani. Based on noted Italian
novel. 9b mm. 1/21/63.

BILLY ROSE'S JUMBO Doris Day, Stephen Boyd, Jimmy
Durante, Martha Raye. Producer Joe Pasternak. Direc-
tor Charles Walters Martin Melcher. Based on the
Broadway musical Tolialgo. 125 min. 10/12/62.

SWORDSMAN OF SIENA Eastman Color. Stewart
Granger, Christine Kaufmann. Producer Jacques Bar.
Director Etienne Pertier. Adventure drama. 92 min.
1 1/26/62.

January

CAIRO George Sanders, Richard Johnson. Producer
Ronald Kinnoch. Director Wolf Rilla. Drama of attempt
to rob the Cairo Museum. 91 min. 2/4/63.

PASSWORD IS COURAGE. THE Dirk Bogarde. Pro-
ducer-Director Andrew L. Stone. One man's war against

the Nazis during World War II. 116 min. 1/7/63.

February

HOOK. THE Kirk Douglas, Nick Adams. Producer Wil-
liam Perlberg. Director George Seaton. Drama set

against background of the Korean War. 98 min.
1/21/63.

March

COURTSHIP OF EDDIE'S FATHER. THE Glenn Ford,
Shirley Jones. Producer Joe Pasternak. Director Vin-

cenie Minnelli. Kom^nric comeay revolving about a
young widower and his small son. 117 min.

FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
Randell, Russ Tamblyn, Janis Paiae. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy. 95 min. 3/4/63.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate. Based on the life of Sir Francis Drake. 95 min.
3/4/63.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer AnatoU de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.

IT HAPPENED AT THE WORLD'S FAIR Panavision.

Color. mv,s rresley. Producer led Richmond. Romantic
comedy.

RIF1FI IN TOKYO Karl Boehm, Barbara Lass, Charles
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo.

TAMAHINE Nancy Kwan, Dennis Price. Producer John
Bryan. Director Philip Leacock. Romantic comedy of
a Tahitian girl and her impact on an English public
school.

May

DIME WITH A HALO Barbara Luna, Paul Langtoa.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris

Saijoi. Kace track comedy. 94 mm.

DRUMS OF AFRICA Frankie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.

IN THE COOL OF THE DAY CinemaScooe, Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz.

June

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West.

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,

Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy.

Coming

COUNTERFEITERS D' PARIS Jean Gakin, Dany Carol.
Producer Jacques Bar. Director Gilles Grangier. 99
min.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HAUNTING. THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

HOW THE WEST WAS WON Cinerama. Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

INTERNATIONAL HOTEL I Formerly Very Important

Persons) Color. Elizabeth Taylor, Richard Burton, Louis
Jordan. Producer Anatole de Grunwald. Director An-
thony Asquith. Comedy drama.

MONKEY IN WINTER Jean Gakin, Jean-Paul Belmondo.

Producer Jacques Bar. Director Henri Verneuil. Sub-
i i : led French import. 104 min. 2/18/63.

MURDER AT THE GALLOP Margaret Rutherford, Paul
Robson. Agatha Christie mystery.

OF HUMAN BONDAGE IMGM-Seven Arts) Laurence
Harvey, Kim Novak. Producer James Woolf. Director
Henry Hathaway. Film version of classic novel.

TARZAN FACES THREE CHALLENGES Jock Mahoney.
Woody Strode.

TICKLISH AFFAIR, A (Formerly Moon Walk) Shirley
Jones. Producer Joe Pasternak. Director George Sid-
ney. Romantic comedy based on a story in the Ladies
Home Journal.

TODAY WE LIVE Simone Signoret, Stuart Whitman.
Producer Jacques Bar. Director Reng Clement. Drama
of temptation and infidelity in wartime.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister hi«-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

WHEELER DEALERS, THE James Garner, Lee Remick.
Producer Martin Ransohoff. Director Arthur Hiller.
Story of a Texan who takes Wall Street by storm.

YOUNG AND THE BRAVE. THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.I. s and orphan boy.

MB33BEEECfll

November

GIRLS! GIRLS! GIRLS! Panavision. Technicolor. Elvis
Presley. Stella Stevens. Producer Hal Wallis. Director

Norman Taurog. Romantic comedy. 106 min.

December

IT'S ONLY MONEY Jerry Lewis. Joan O'Brien. Zackary
Scott, Jack Weston. Producer Paul Jones. Director
Frank Tashlin. Comedy. 84 min. 9/17/62.

January

WHERE THE TRUTH LIES Juliette Greco, Jean-Marc
Bory, Lisolette Pulver.

February

GIRL NAMED TAMIKO, A Technicolor. Laurence Har-
vey, France Nuyen. Producer Hal Wallis. Director John
Sturges. A Eurasian "man without a country" courts an
American girl in a bid to become a U.S. citizen.

WHO'S GOT THE ACTION Panavision. Technicolor.
Dean Martin, Lana Turner, Eddie Albert, Walter Mat-
hau, Nita Talbot. Producer Jack Rose. Director Daniel
Mann. A society matron becomes a "bookie" to cere
her horse-playing husband. 93 min. 10/1/62.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleasen,

Glynis Johns. Producer Jack Rose. Director George
Marshall. Comedy-drama based on childhood of silent
screen star Corinne Griffith. 98 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Ctiff
Robertson, David Jannsen. Producer Garet Gaither.

Director Gouer Champion. Broadway star adopts six
abandoned children.

May

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director Rift.
Drama set in modern Texas. 122 min. 3/4/63.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmons,
Pat Hingle. Producer David Susskind. Director Alex
Segol. Film version of play and novel.

COME BLOW YOUR HORN Technicolor. Frank Sinatra,
Barbara Ruth, Lee J. Cobb. Producer Howard Koch. Di-
rector Bud Yorkin. A confirmed bachelor introduces his
young brother to the playboy's world.

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama In
the South Pacific.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Ouine. Romantic-comedy filmed
on location in Paris.

WONDERFUL TO BE YOUNG Cliff Richard, Robert
Morley. 92 min.

20TH CENTURY-FOX

October

LONGEST DAY. THE John Wayne, Richard Todd,

Peter Lawford, Robert Wagner, Tommy Sands, Fabian,
Paul Anka, Curt Jurgens, Red Buttons, Irina Demich,
Robert Mitchum, Jeffrey Hunter, Eddie Albert, Ray
Danton, Henry Fonda, Edmond O'Brien, Robert Ryan
Producer Darryl Zanuck. Directors Gerd Oswald
Andrew Marton, Elmo Williams, Bernard Wicki, Ker
A/inakin. 180 min.

November

LOVES OF SALAMMBO Deluxe. Jeanne Valerie, Jacques
Sernas. Edmund Purdom. Director Sergio Grieco
Adventure drama. 72 min. 11/12/62.

December

GIGOT DeLuxe Color. Jackie Gleason, Katherine Katti.
Gabrielle Dorziat, Diane Gardner. Producer Ken Hy
man. Director Gene Kelly. Story of a mute and a little
girl he befriends. 104 min. 6/25/62.

January

SODOM AND GOMORRAH Stewart Granger. Pier An
geli, Stanley Baker, Rossana Podesta. Producer Gof
(redo Lombardo. Director Robert Aldrich. Biblical tale
154 min. 1/21/63.

YOUNG GUNS OF TEXAS Cinemascope, De Luxe Color
James Mitchum, Alana Ladd, Jody McCrea. Producer
director Maury Dexter. Western tale of restless youth
85 min. I 1/12/62.

February

DAY MARS INVADED EARTH. THE Cinemascope. Ken
Taylor. Marie Windsor. Producer-director Maury Dex
ter. Science-fiction drama. 70 min.

LION, THE CinemaScope, De Luxe Color. William Hel
den, Trevor Howard, Capucine. Producer Samue
Engel. Director Jack Cardiff. Based on best-sell*
about a girl's love for a wild lion. 96 min. 9/3/62.

ROBE. THE Re-release.

Film BULLETIN — THIS IS YOUR PRODUCT

October

March

MINE HOURS TO RAMA CinemaScope, DeLuxe Color.
Horst Buchholz, Valerie Gearon, Jose Ferrer Producer-
Director Mark Robson. Story of the man who assassi-
late-d Mahatma Gandhi. 125 min. 3/4/63.
10 YEARS OF FUN Charlie Chaplin, Laurel and Hardy.
Juster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 mm. 2/I8/6J.

April

iTRIPPER, THE (Formerly A Woman in July) Joanne
iVoodward, Richard Beymer, Gypsy Rose Lee, Claire
Trevor. >

Coming

5LEOPATRA Todd-AO Color. Elizabeth Taylor, Richard
Burton Rex Harrison. Producer Walter Wanger.
director Joseph Mankiewici. Story of famous queen.

.EOPARD, THE Burt Lancaster, Claudia Cardinale.

QUEEN'S GUARDS, THE CinemaScope, DeLuxe Color.
Daniel Massey, Raymond Massey, Robert Stephens.
Producer-Director Michael Powell. A tale of the
radition and importance of being a Guard.

UNITED ARTISTS

October

HERO'S ISLAND James Mason, Neville Brand, Kate
vtanx, Rip Torn. Producer-Director Leslie Stevens. Ad-
'enture drama. 94 min. 9/17/62.

•RESSURE POINT Sidney Poitier, Bobby Darin, Peter
:alk. Producer Stanley Kramer. Director Hubert Corn-
ield. Drama dealing with racial prejudice in U.S. 91
nin. 9/17/62.

'HREE ON A SPREE Jack Watling, Carole Lesley,
;olin Gordon. Producer George Fowler. Director Sid-
ley J. Furie. 83 min. 10/2/61.

November

vtANCHURI AN CANDIDATE, THE Frank Sinatra, Laur-
jnce Harvey. Janet Leigh, Angela Lansbury, Henry
Silva. Producers George Axelrod, John Frankenheimer.
iJirector Frankenheimer. Suspense melodrama. 126 min.
10/29/62.

January

CHILD IS WAITING, A Burt Lancaster, Judy Garland,
Stephen Hill, Gena Rowland. Producer Stanley Kramer,
director John Cassavetes. Drama dealing with retarded
:hildren. 102 min. 1/21/63.

TARAS BULBA Tony Curtis, Yul Brynner, Brad Dexter,
Sam Wanamaker, Vladimir Sokoloff, Akim Tamiroff,
Christine Kaufmann. Producer Harold Hecht. Director
J. Lee Thompson. Action spectacle. 122 min. 12/10/62.

February

TWO FOR THE SEESAW Robert Mitchum, Shirley Mac-
laine. Producer Wilter Mirisch. Director Robert Wise.
Based on the Brodaway hit. 119 min. 10/29/62.

March

FIVE MILES TO MIDNIGHT Sophia Loren, Anlhony
Perkins, Gig Young, Jean-Pierre Aumont. Producer-
director Anatole Litvak. Suspense drama about an
American in Eurooe who schemes to defraud an insur-
ance company. 110 min. 3/4/63.

LOVE IS A BALL Technicolor, Panavision. Glenn Ford,
Hope Lange, Charles Boyer. Producer Martin H. Poll.
Director David Swift. Romantic comedy of the interna-
tional set. I I I min. 3/4/63.

April

DR. NO Technicolor. Sean Connery, Ursula Andress.
Joseph Wiseman, Jack Lord. Producers Harry Saltz-
nan, Albert R. Broccoli. Director Terence Young. Action
drama based on the novel by Ian Fleming.

I COULD GO ON SINGING Eastmancolor, Panavision.
Judy Garland, Dick Bogarde, Jack Kluqman. Producers
Stuart Millar, Lawrence Turman. Director Ronald
Neame. Judy returns in a dramatic singing role.

Coming

BEAUTY AND THE BEAST Joyce Taylor, Mark Damon,
Edward Franz, Merry Anders. 77 mm.

CALL ME BWANA Bob Hope, Anita Ekberg, Edie
Adams. Producers Albert R. Broccoli, Harry Saltzman.
Director Gordon Douglas.

DIARY OF A MADMAN Vincent Price, Nancy Kovak.
Producer Robert E. Kent. Director Reginald Le Borg.
96 min. 3/4/63.

GREAT ESCAPE, THE Deluxe Color, Panavision. Steve
McQueen, James Garner, Richard Attenborough. Pro-
ducer-director John Sturges. Based on true prisoner of
war escape.

IRMA LA DOUCE Color. Jack Lemmon. Shirley Mac-
Laine. Producer-director Billy Wilder. Comedy about
the "poules" of Paris, from the hit Broadway play.

CARETAKERS, THE Robert Stack, Polly Bergen. Joan
Crawford. Producer-director Hall Bartlett.

CEREMONY, THE Laurence Harvey, Sarah Miles, Rob-
,ert Walker, John Ireland. Producer-director Laurence
Harvey.

September

PHANTOM OF THE OPERA, THE Color. Herbert Lorn,
Heather Sears, Edward de Souia, Ian Wilson, Michael
Gough, Thorley Walters, Patrick Troughton. Producer
Anthony Hinds. Director Terence Fisher. Tale of a
"monster" who terrorizes a theatre. 84 min. 6/25/62.

October

NO MAN IS AN ISLAND Color. Jeffrey Hunter. Pro-
ducer-Directors Richard Goldstone, John Monk, Jr.
War melodrama. I 14 min. 8/6/62.

November

IF A MAN ANSWERS Color. Sandra Dee, Bobby Darin.
Producer Ross Hunter. Director Henry Levin. Romantic

comedy. 102 min. 9/3/62.

STAGECOACH TO DANCERS' ROCK Warren Stevens,
Martin Landau, Jody Lawrence, Don Wilbanks, Del
Morre, Bob Anderson, Judy Dan. Producer-Director
Earl Bellamy Western. 72 min. 10/15/62.

January

FREUD Montgomery Clift, Susannah York, Larry Parks.
Producer Wolfgang Reinhardt. Director John Huston.
Story of Freud's initial conception of psychoanalysis.
139 min. 12/24/62.

February

40 POUNDS OF TROUBLE Color, Panavision. Tony Cur-
tis, Phil Silvers, Suzanne Pleshette. Producer Stan Mar-

cnl^s Director Norman Jewison. comedy, lub m.n.
12/24/62.

MYSTERY SUBMARINE Edward Judd, Laurence Payne,
James Robertson Justice. Producer Bertram Oster.
Director C. Pennington Richards. 92 min. 1/21/63.

March

TO KILL A MOCKINGBIRD Gregory Peck. Producer
Alan Pakula. Director Robert Mulligan. Based on
Harper Lee's novel. 129 min. 1/7/63.

April

BIRDS, THE Technicolor Rod Taylor, Jessica Tandy,
Suzanne Pleshette, Tippi Hedren. Producer-Director Al-
fred Hitchcock. Suspense drama.

UGLY AMERICAN, THE Color. Marlon Brando. Sandra
Church, Yee Tak Yip. Producer-Director George Eng-
lund. Drama based on best-selling nuvel.

Coming

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN, M.D. Gregory Peck, Tony Curtis,
Angie Dickinson, Bobby Darin, Eddie Albert. Producer
Robert Arthur. Director David Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mil's. John Mills. Producer Ross Hunter. Direc-
tor Ronald Neame.

CHARADE Color Panavision. Cary Grant, Audrey Hep-
burn. Producer-Director Stanley Donen.

FOR LOVE OR MONEY (Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Ju'ia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon.

GATHERING OF EAGLES. A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven. Producers Robert Arthurs, Stanley Sha-
piro. Director Ralph Levy.

LAMCE'OT AMD GUIMEVERE CoIt. Panavision. Cornel
Wilde, Jean Wallace. Producers Cornel Wilde, Bernard
Luber. Director Wilde.

LIST OF ADRIAN MESSENGER. THE Georqe C. Scott,
Dana Wynter. Producer Edward Lewis. Director John
Huston.

MAN'S FAVORITE SPORT Color. Rock Hudson, Maria
Perschey, Paula Prentiss. Producer-director Howard
Hawks.

MONSIEUR COGNAC Color. Tony Curtis. Producer
Harold Hecht. Director Michael Anderson.

PARANOIC Janette Scott, Oliver Reed. Producer An-
thony Hinds. Director Freddie Francis.

SHOWDOWN (Formerly The Iron Collar! Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen.

TAMMY AND THF DOCTOR Color. Sandr* Dee, P»ter
Fonda. Producer Ross Hunter. Director Harry Keller.

THRILL OF IT ALL. THE Color. Doris Day, James Gar-
ner Arlene Francis. Producers Ross Hunter, Martin
Melcher. Director Norman Jewison.

WARNER BROTHERS

September

STORY OF THE COUNT OF MONTE CRISTO, THE

Technicolor. Louis Jourdan, Yyvonne Furneaux. Pro-
ducers Jo^n-Jacques Vital, Rene Modiann. Director
Claude Autant-Lara. Drama from the novel. 132 min.
6/1 1/62.

CHAPMAN REPORT, THE Technicolor. Shelley Winters,
Efrem Zimbalist, Jr., Jane Fonda, Claire Bloom, Glynis
Johns. Producer Richard Zanuck. Director George Cu-
kor. Based on Irving Wallace's best-seller of a sex
survey in an American suburb. 125 min. 9/3/62.

November

GAY PURR-EE Technicolor. Voices of Judy Garland,
Robert Goulet, Red Buttons, Hermione Gingold. Pro-
ducer Henry G. Saperstein. Director, Abe Levitow.
Animated comedy feature of Parisian cats. 86 min.
10/29/62.

WHAT EVER HAPPENED TO BABY JANE? Bette Davis,
Joan Crawford. Producer-Director Robert Aldrich.
Shock thriller. 132 min. 10/29/62.

January

GYPSY Technicolor, TechMrama. Rosalind Russell, Nat-
alie Wood, Karl Maiden. Producer-Director, Mervyn
LeRoy. From Broadway musical hit based on Gypsy
Kose Lee's career. 149 min. 10/1/62.

February

DAYS OF WINE AND ROSES Jack Lemmon, Lee
Remick. Producer Martin Manulis. Director Blake
Edwards. A drama of the effects of alcoholism in a
modern marriage. 117 min. 12/10/62.

TERM OF TRIAL Laurence Olivier, Simone Signoret. Pro-
ducer Jam?s Woolf. Director Peter Glenville. Drama of
young girl's assault charge against teacher. 113 min.
1/21/63.

March

GIANT Re-release.

April

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom.

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors.

INCREDIBLE MR. LIMPET. THE Technicolor. Don Knotts.
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

ISLAND OF LOVE (Formerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece.

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

PALM SPRINGS WEEK-END Troy Donahue, Connie Ste-
vens. Ty Hardin. Producer Michiel Hoey. Director
Norman Taurog. Drama of riotous holiday weekend.

PANIC BUTTON Maurice Chevalier, Eleanor Parker,
Jayne Mansfield. Producer Ron Gorton. Director
George Sherman. Comedy set in Rome.

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II.

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family. 119 min. 3/4/63.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director. Rich-
ard Wilson. Racetrack drama.

VOUNGBLOOD HAWKE Technicolor. Warren Beatty.
Suzanne Pleshette. Producer-director, Delmer Daves.
From Herman Wouk's best-selling novel.

DEPENDABLE SERVICE!

CLARK
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Film BULLETIN — THIS IS YOUR PRODUCT

THIS
PAGE
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for a film company
that has a release
worth advertising

to the owners, the buyers,
the bookers of over 12,000 of
the most important theatres
in the U.S. and Canada

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BULLETIN

Opinion of t!b.e In.clu.stry

APRIL 1, 1963

Read the CclumtitA

PENDARIS:

He writes with the perspective of
an experienced (former) movie man,
the insight of a keen, knowledgeable
observer of the motion picture scene

WEHER:

He jabs deftly, occasionally delivers
a stiff blow to some weak point
in the film industry. In this issue' he
calls on Cassius Clay to score a point

eviews

THE BIRDS
CRITIC'S CHOICE
MONDO CANE
MIRACLE OF THE WHITE STALLIONS
LAFAYETTE
THE BALCONY
RIFIFI IN TOKYO
DIME WITH A HALO
A FACE IN THE RAIN

A

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Get On The Bau-" That Bounces
With Beautiful Bikini-Clad Girls-With
Gorgeous French Riviera Scenery...
Fabulous Villa Parties— With Fancy Yachts...

WITH ALL THE THINGS THA T MAKE
FOR A BOUNCING BOXOFFICEI

co -starring

n

J

Screenplay by DAVID SWIFT TOM WALDMAN and FRANK WALDMAN • Directed by DAVID SWIFT- Produced by

♦ m

MARTIN H. POLL presents

1.0

Gienn Hope

Ford Lange

jEhanes

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D,recte% VINCEFJTEMlNNELLI • rwdiyJOE PASTERNAK- m PANAV(SlON%nd MEfROCOLOf

ITs 'New Horizons'
Could Spark Entire
Production Scheme

The U.S. may yet get its long-awaited
"new wave" of film makers, if the pro-
gram announced by Universal Pictures
last week comes to fruition.

The project was described by Edward
Muhl, vice president in charge of U's
production as a "new film horizons"
program for the search, development
and encouragement of new young
talent. While other companies from

MUHL

time to time have undertaken training
programs for new talent, Universale
design is to allow them to participate
in the "actual creation" of films. "For
this purpose, Muhl asserted, "Universal
has allocated a substantial budget for
the production of a number of such
motion pictures.'

Besides providing much-needed addi-
tional product for theatres — the "new
horizons" project is not intended to
drain any films from Universale regular
output — the program is described as
serving as an answer to those critics
who contend "that young American
picture-makers have not kept pace with
the recent 'new wave' or neo-realism
school of producers abroad."

MCA, parent of U, undoubtedly will
play a vital role in this plan, in view
of its control, through Revue Produc-
tions, of much young talent currently
employed in television productions.
Decca's recording artists are likely to be
another source of talent for the "new
horizons" enterprise. Thus will be
realized the round-robin effect of the
entertainment complex visualized by
Decca-U president Milton R. Rackmil
and MCA president Lew Wasserman
when they planned the merger of the
three companies. It could be an in-
vigorating stimulus for the entire mo-
tion picture business.

CAST &
CREDITS

■

Report on the Industry's
PEOPLE and EVENTS

Hyman Report Sees
'Vintage' Year, but
Shortage Lingers On

Like a man in pursuit of a will-o'-
the-wisp, Edward L. Hyman continues
undaunted his quest for orderly release
of quality films the year round. Elusive
as that quarry is, there are signs that he
is gradually accomplishing his objective,
to some degree, at least.

Each year the American Broadcasting-
Paramount Theatres vice president vis-
its studios, looks at dozens of pictures,
talks with numerous production, distri-
bution and promotion executives to
assemble the material for his annual
appraisal of the year's film output. In
the recently issued "Report from Holly-
wood and 1963 Release Schedule", he
sees 1963 as a "vintage" year for Holly-
wood productions, and assures theatre-
men that "more quality product is com-
ing from Hollywood this year than at
any time during the past few years."

How does Ed Hyman go about the
task of re-framing releasing schedules
for the benefit of exhibitors and, he in-
sists, film companies, as well? He re-
veals that a request made to each dis-
tributor to make available a quality film
on or about August 30 — a period often
shied from by distributors because of
school opening and the advent of a new
TV season — had been "generally com-
plied with". The release of good prod-
uct at that time, he feels, can carry the-
atres into the fourth quarter release
period starting in October. For their
part in this scheme, Hyman urges the-
atremen to get out and sell their prod-
uct, and thereby "prove to distributors
that there are no orphan periods
through the year that cannot be con-
verted into profitable periods by quality
product."

HYMAN

The Report from Hollywood, Hyman
believes, is an invaluable aid to exhibi-
tors as it will "enable them to schedule
product and plan their campaigns far
in advance to take full advantage of
the quality pictures which will be re-
leased this year."

From the number of releases listed,
1963 may be truly a "vintage" year, but
it is not likely to be a bountiful one.
From the volume count in Ed Hyman's
1963 Report, it is evident that exhibi-
tion still will suffer from a shortage of
product.

Eady Plan Clobbered
By Exhibitors, Labor

The projected idea of an American
version of Britain's Eady Plan —
whereby the government exacts a tax
on movie admissions and uses the levy
fund to subsidize film production — was
all but clobbered to death on these
shores in the past two weeks.

Both national exhibition organiza-
tions voiced their opposition to a tax
on admissions, and from labor came a
warning that adoption of such a plan
would prompt the projectionists' union
to reconsider its wage structure.

TOA at its recent board meeting in
Washington expressed a favorable view
of a government subsidy to encourage
additional production, but opposed fi-
( Continued on Page 15)

Page 6 Film BULLETIN April I, 1936

V,

APRI

Aewpotnts

L 1, 1963 f VOLUME 31, NO. 7

!###/####/*>#• \ ####/#>

Does the average theatre manager
realize his importance and his poten-
tial? We doubt it, which is our
reason for reprinting the following by
Oscar A. Brotman, the prominent Chi-
cago theatreman.

* * *

The manager of a theatre, by the
sheer projection of his own personality,
can in the space of a few short months,
increase or decrease the business of a
theatre by as much as 25%.

A real manager does not hide in his
office, but is on the floor as much as
possible, especially during the peak
periods. When the audience is arriving,
he's near the entrance, smiling, greet-
ing, and calling out the patrons' names
if he knows them. A cheerful "Good
evening," "howdy," "nice to see you,"
"hope you enjoy the show," "how have
you been," or some such affable com-
ment flatters the customer and makes
him feel important. When the show
breaks, the manager again should be
near the door, smiling and nodding to
his patrons. Comments such as "good
night," "nice to have seen you," "glad
you could join us for the evening,"
how was the program tonight?"
"hope you enjoyed the program to-
night," . . . creates the impression that
the manager- is genuinely interested in
the customer personally.

During the course of the evening, the
manager should make it his business to
chat with several customers, introduce
himself and let his name be known.
Many years ago, I managed a neighbor-
hood theatre in the north-west side of
Chicago, and I am not being unduly
modest when I state that I doubt that
there was a person within a mile of the
theatre who did not know that my name
was 'Oscar'. First of all, it is a funny
name and easy to remember. There
wasn't a merchant in the area with
whom I was not on a first name basis.
Today, more than twenty-five years
later, hardly a day goes by that I am

not greeted by my first name in another
part of the city by one of my former
patrons.

It is equally important for a manager
to spend one or more hours away from
the theatre each week day in promo-
tional tie-ups. The majority of the pub-
lic no longer goes to the theatre
through habit, and the average amuse-
ment page has long lost its appeal
for the rank and file of newspaper
readers. If a theatre manager expects to
do business by simply booking an at-
traction on the screen and use the
usual trailers, posters out in front, and
directory listing, he is dooming his
theatre to slowly withering and dying
on the vine. The grosses have never
been lower or higher. The paradox is
that, while countless theatres are los-
ing the battle of attrition and going
out of business (due to many and varied
reasons), others are reaching grosses
unheard of many years ago.

Our problem is that we have too
many 'openers and closers', 'candy sel-
lers', 'hot dog purveyors', and not
enough theatre managers. The con-
cession income is fine, but a real theatre
manager's basic thinking should be con-
cerned with not how many extra cokes
he can sell, or whether to sell a larger
box of popcorn, but how many differ-
ent ways he can expose his attraction
to the public and attract more patrons
to the boxoffice.

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 123? Vine
Street, Philadelphia 7, Pa., LOcust 8-0950, 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manager; Max Garelick,
Business Manager; Robert Heath, Circulation
Manager. BUSINESS OFFICE: 550 Fifth Ave-
nue, New York 36, N. Y., Circle 5-0124;
Ernest Shapiro. N Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
$3.00 in the U. S.J Canada, $4.00;
Europe, $5.00. TWO YEARS, $5.00 in
the U. S.i Canada, Europe, $9.00.

In a large enough situation, a pro-
motion minded manager's salary costs
the theatre nothing. His promotions will
bring in more business than his weekly
draw. It is a positive prerequisite that
the manager should do something each
week away from the theatre. I realize
that many managers are handicapped
by limited budgets, red tape, protocol,
etc., but there is not a theatre in the
country, no matter how large or small,
which cannot do something each week
by way of promotion, no matter how
modest the budget is. It doesn't make
any difference whether it is a press book
suggestion, window cards, standees, cir-
culars, throwaways, radio, window dis-
plays, walking sandwich boards, store
displays, airplane banner towing, T.V.,
24-sheets, 3-sheets, telephone campaign,
and etc. — the point is, that the manager
should make it an absolute rule that
some effort should be expended each
week in promoting the theatre "away
from the theatre."

Getting back to the theatre itself, I
have found it important that the man-
ager constantly check on the manner in
which the staff treats the patrons. Most
theatres have a fairly rapid turnover, in
cashier, doormen and usher help. Fre-
quent meetings stressing courtesy and
service contests every so often and offer
bonds to the employees who go out of
their way to be helpful and courteous.
No matter how good are the intentions
of the owner or manager, if the cus-
tomer is greeted by a surly cashier and
a sourfaced doorman, the entire atmos-
phere of the theatre is changed.

If a theatre is large enough, staff meet-
ings from time to time are an excellent
idea in which to talk about future prod-
uct and build an esprit de corps.

A manager who reads the press books
on his future attractions, keeps abreast
of the business through the trade pe-
riodicals and runs a top-notch theatre,
will soon find that he is indispensable,
and by becoming a real "showman," lie
will be adding to his own income as lie
protects the owner's investment.

Film BULLETIN April I. 1963 Page 7

The Vieu> frw OuUitfe

by ROLAND PENDARIS

Movie Publicity Personnel

The other day I went with a friend to a New York sneak pre-
view of a big new picture. My companion, like myself, is a dis-
placed person from the movie business, now prospering more
than adequately (which is where the resemblance between us
ceases.) As we walked away from the theatre, the same thought
hit both of us. "They're so young," my friend said. He wasn't
talking about the actors in the movie. He was talking about the
functionaries on hand to represent the movie company. With
the exception of the major publicity executives, the publicists
in the lobby were all on the sunny side of thirty, I would
guess. "It's a young man's business," my friend said.

I guess it is a young man's business. My friend and I were
young when we left it, and we had each spent in the neighbor-
hood of fifteen years with a major company. Today, as I look
at the movies industry, I see much the same thing happening
that occurred when I was getting started. In those ancient days,
there weren't very many vice presidencies available, but there
were all kinds of fancy titles. I had a very impressive man-
agerial designation in the home office publicity department when
I was 25 years old. (I was making $40 a week; titles at that
time were considered to be in lieu of money.) Nowadays there
are many more companies and consequently many more vice
presidencies. I presume that the pay is also better. But the essen-
tial situation remains unchanged. It is still — at least in pub-
licity— a young man's business.

This may be a very good thing on all counts. It may be a
source of youthful strength and vigor, an indication that fresh
talent is constantly being recruited. But it can also be some-
what of a danger signal. I don't pretend to be widely acquainted
with the young publicity people of today's motion picture indus-
try. The executives of my acquaintance, however, tell me that
there is more wanderlust among the youngsters today than ever
before. They don't stay put, runs the complaint, they get itchy
after a year or two with one company and start shopping
around, and they move from company to company like a game
of musical chairs.

I have heard a contrasting point of view from some of the
young people. "You can't move ahead in your own company,"
they have told me. "The only time your ability is recognized is
when somebody else makes you a better offer. The way to
advance in this business is to keep moving." The truth may lie
somewhere between youthful itchiness and corporate indolence.
This is a matter of interpretation and personal judgment.

As regards the opportunities offered for a career in motion
picture publicity, however, there seems to be general agreement
that the reason there are so many young people in the field is
that the older and wiser ones have had the sense to move
out. Where do these experienced publicists go? (Some, of
course, do not leave; they are promoted in the ordinary course
of events and become publicity executives in the same com-
panies that started them off.)

In many instances, the wandering young movie publicist first
goes from a major company to an independent movie producer
and/or distributor. Some of these independents are also in-
volved in the preparation of material for television; as a result,

the movie industry has been feeding a modest amount of pub-
licity talent to TV for years. More and more, however, the
publicists move from the movie companies to the independent
public relations firms, handling a miscellany of accounts includ-
ing specific pictures, individual performers, industrial business,
etc. Once again, as it has been for years, the movie business is a |
training ground for general publicity work, a publicity talent
scout and feeder.

Now this is very flattering as an indication of the vitality
and talent of movie publicity work; but it is also a rather
unrewarding business situation. I know of at least one major
film company which is simply unable to find competent pub-
licity people with a modicum of experience. Everybody who is
available — and who is good enough to deserve consideration —
is more interested in other fields, such as television. Given the
same general pay scale, the young would-be publicist or fledg-
ling flack makes it plain that he'd rather be with a major TV
network than with a major film company. The reason? Mainly,
the conversations I have had suggest that business other than
the movies have a better reputation for responsibility toward
their employees — better pension plans, better records of job
security, less trouble with temperamental talent. And, another
factor is the widespread attitude — fed by the film industry's own
depressive tendencies and its lack of continuity in promotion —
that movie business isn't what it used to be.

It may seem contradictory that on the one hand I have noted
a reluctance on the part of young people to go into the movie
publicity field while on the other hand I have noted so many
youngsters in that very field. The contradiction is more appar-
ent than real. Every business today has its fill of eager young
men; to find them in clumps is no great feat. But in most busi-
nesses the young men are part of a graduated age pattern. At
the meeting of the newspaper publishers association you will
see men of all ages; at the television studio the only work that
is all in the hands of young men is ushering. But in the cases of
many movie companies, the basic publicity personnel are all
young, and the turnover is rapid.

I realize as I write these lines that anybody past the age of
35 who speaks this way is open to the charge of bias. Let me
here and now freely admit that I miss the good old days of
my youthful career as a movie publicist. Let me say that I recall
nostalgically, the excitement of squiring stars around town and
staging premieres and riding on junkets. I had a fine time for
a while, and I had no financial complaints in the long run. But
after a while it began to pall. After a while I was not quite as
young, and the work was not quite as exciting, and other fields
seemed a great deal more exciting and more lucrative. Nothing
that has happened since gives me reason to change my mind.
For me, the movies were a young man's business, and when this
young man got a little older he left.

Maybe this is the way it always will be, with the latest crop
of fresh young faces in the theatre lobby, and the last genera- I]
tion's retired movie publicists marveling at youth. But some-
how it seems to me that this is not the way it should be. Some- '
how it seems to me that youth, however wonderful, should not
always be the majority party.

Even on a baseball team, you need the old pros.

Page 8 Film BULLETIN April I, 1963

I

THE MOST

IMPORTANT ADVENTURE
OF OUR TIME!

A man with a mission,
fighting the forces
of violence in
southeast Asia . . .
baiting the hidden
tigers in a jungle
of intrigue...
with a continent
as a battleground
and half a world
as the prize!

he
t

s.
a
t

TheUgly American

Marlon
Brando

IN

TheUgly
American"

in Eastman COLOR

co-starring

SANDRA CHURCH -EIJI OKADA
PAT HINGLE ^ ARTHUR HILL

Screen Story and Screenplay by STEWART STERN
From the novel by William J. Lederer and Eugene Burdick
Produced and Directed by GEORGE ENGLUND . A Universal Picture

FINANCIAL REPORT

Industry's Upward Trend Seen
I Prevailing by Standard & Poor's

The four-year-old uptrend in revenues of the motion picture in-
dustry is likely to hold, industry-wide, although earnings of
I individual companies will vary, determined as they are by box-
I office successes of specific products and control over production
costs by the various companies. This, in a nutshell, is the outlook
for the movie business forecast by Standard and Poor's latest
I survey of the amusement industry.

The increase in revenue has been experienced coincidentally
with a decline in the number of motion pictures released each
year, and was up an estimated 5 to 6 percent in 1962 over the
$1.37 billion passed through boxoffice wickets in 1961. Two
factors account for the rise, the production of higher quality
films, which enjoy extended runs at higher admission prices,
and increased attendance attributed to the expansion of sub-
urban theatre locations. Revenues from foreign markets, which
account for 54% of the U.S. industry's gross receipts, are ex-
pected to hold their 1961 level in spite of the competitive
encroachments of television in many parts of the world. Trends
in evidence during 1962 will probably continue with the possible
exception of an increase in the number of domestic film releases
over the depressed 1962 total, the S&P survey opines.

Standard and Poor's gazes into the crystall ball to project the
potential of various companies in the current year.

Columbia Pictures: Earnings for fiscal year ending June 30,
1963, seen ahead of last year's $1.29, due in significant measure
to outstanding success of "Lawrence of Arabia". Common stock
viewed as speculative while preferred offers good yield.

Disney (Walt) Productions: While substantial revenue real-
ized from amusement park, TV and publication activities,
possibility of 1963 earnings exceeding last year's peak $3.14
per share depends on strong line-up of feature films. Working
capital requirements could hold cash dividends to 100 a quarter.
I Reliance on boxoffice draw of film release schedule imparts
speculative quality to shares.

MCA Inc.: Profits from merger with Decca-Universal are
indicated at about $2.50 per common share, up from 1961 's
pro forma $2.11. Further progress in 1963 is seen as depending
on the continuing success of theatrical film productions. No cash
dividends in prospect, but common is above-average.

Metro-Goldwyn-Mayer: Diversified activities include film
production and distribution, foreign theatres, TV interests and
record and music publishing. "Mutiny on the Bounty" loss
i write-off indicates sizeable deficit for fiscal year ending August
j 31, 1963. Dividends being reduced to 37l/20 on April 15 from
1 500 in previous quarters. Shares are speculative.

Paramount Pictures: Recovery from 1962's apparent break-
even level will depend on public response to an accelerated
[ flow of films. Profit was $4.23 per share in 1961 and 500
quarterly dividend seen as continuing. Pay-TV potential, value
of old film library makes shares worth holding.

Twentieth Century-Fox: Survey notes attempt by new man-
: agement to restore earning power which should result in some
1 relief this year from 1962's estimated deficit of $12 per share.
' Some recovery predicted for this year. Fuller recovery is seen
hinging on the boxoffice success of "Cleopatra."

United Artists Corp.: 1962 earnings indicated at from $2.40
j to $2.50 per share, up from previous year's $2.34. Shares
) appear to offer sound value "based on the company's good
record for distributing films well adapted to the public's taste"
and on expanding TV activities.

Warner Brothers Pictures: Uncertain whether earnings can

match record of $1.57 per share for 1961-62, although 12i/20
quarterly dividend should continue. Shares considered specu-
lative due to unpredictable success of feature films and highly
competitive TV production field.

In spite of the transition pains being felt by the film industry,
there is financial health in the celluloid giant yet.

Decca-U Incomes Hike MCA Profit

The third, and controlling, arm of the MCA-Decca-Universal
entertainment complex revealed a healthy financial picture
as Music Corporation of America board chairman Jules C. Stein
revealed a net profit of $12,706,849 for the year ended Decem-
ber 31, 1962. This represents $2.50 per share on 4,519,603
shares of common stock after deductions for preferred divi-
dends. A 470-per-share non-recurring item added another $2,-
118,410 in profit.

MCA owns controlling interest in Decca Records and,
through this holding, in Universal Pictures. Since MCA's 1962
earnings include, on a "pooling of interests" basis, its share of
Decca's earnings, it makes comparison with MCA's 1961 profit
picture $7,906,330) complicated. Decca's earnings, reported a
few weeks earlier, was £5,615,281. Of Decca's earnings, Uni-
versale profit was $4,422,614. Decca owns 88% of Universal,
while MCA holds over 80% of Decca's stock, so comparative
total earnings, while not reflecting full receipt of subsidiary
income by the parent companies, are close enough to suggest
the place of the subsidiary in the profit picture of the parent.

FILM &

THEATRE

STOCKS

Close

Close

Film Com patties

3/14/61

1/28/61

Change

ALLIED ARTISTS

3

2Vz

- 1/8

ALLIED ARTISTS (Pfd.) . .

. 9

9%

+ %

CINERAMA

■ ■ 151/2

15%

+ 1/8

COLUMBIA

. . 233/4

25%

+ 2%

COLUMBIA (Pfd.)

82

8oy2

-IV2

DECCA

■ 453/8

45i/2

+ Vz

DISNEY

• ■ 34y2

34

- %

FILM WAYS

63/8

61/2

+ y8

MCA

4834

51

+21/4

MCA (Pfd.)

36

353/4

- !/4

M-G-M

• 32%

321/2

- Vz

PARAMOUNT

- ■ 373/4

383/4

+ 1

SCREEN GEMS

■ ■ 171/2

20

+21/2

20TH-FOX

26

29

+ 3

UNITED ARTISTS

. 29V8

30

+ Vz

WARNER BROS

■ • 131/2

Hi/4

+ 3/4

Theatre Companies

* # *

AB-PT

• 321/2

33

+ Vl

LOEWS

18

183/4

+ 3/4

NATIONAL GENERAL

.. lli/4

10%

- %

STANLEY WARNER

.. 21%

201/2

TRANS-LUX

13%

* * *

12%.

- 3/4

(Allied Artists, Cinerama. Screen Gems, Trans

Lux,

American

Exchange; all others

on Neu- York Stock Exchange.)

Over-the-counter

m jp m

3/14/63

3/28/63

Bid

Asked

Bid

Asked

GENERAL DRIVE IN

9

10

81/2

91/2

MAGNA PICTURES

.... 2%

2%

2%

3

MEDALLION PICTURES

6

6%

57/8

6%

SEVEN ARTS

.... 9%

10%

9%

IO1/2

UA THEATRES

5

53/4

53/4

6%

UNIVERSAL

No quotation

No

quotation

WALTER READE-STERLING

.... 2

2%

2

2%

WOMETCO

....191/4

20%

21

23%

( Quotations courtesy National Assn.

Securities

Dea

'ers, Inc.)

Film BULLETIN April I, 1963 Page 13

CASSIUS CLAY TEACHES MOVIE PUBLICITEERS A THING OR TWO ABOUT PERSONALITY PROMOTION

Cassius Clay, the poet laureate of
fisticuffs, may eventually be a major
attraction for our business as well as
the future heavyweight champion. Thea-
tres did very well with the closed cir-
cuit bout he won against Doug Jones.
They would do well to book all his
fights.

But it is not only on the large screen
telecasts that Cassius is a loquacious
windfall. The expert on iambic chores,
as evidenced by his self-eulogizing verse,
is probably a potential movie star. If
ever two businesses needed a Cassius
Clay, it is boxing and movies.

As sugegsted in this corridor some
time ago, Cassius, the greatest, could
give our publicity boys a few lessons on
how to throw hyperboles around and
how advance pre-conditoning of audi-
ences can make the show seem much bet-
ter than it really is.

It is interesting to observe that the
aficionados of the waning world of
pugilism came not only to see Cassius'
fight at the Garden, but also to boo
him. Proving, of course, that they be-
little his prowess, but have great enthu-
siasm for his personality and would be
extremely pleased to see it atomized.

In this matter, let us remember that
it is not the actor who sells best but the
personality. I think that young Cassius
could get a few million bucks by just
getting into the ring and having the
hell beat out of him.

Why such a green performer should
be such moola at the boxoffice is not
hard to fathom. Boxing, like our own
industry, has been suffering from a
dearth of stars. Cassius and Old Archie
Moore aside, there has been no per-
former who really excited the public
since the days of Sugar Ray, and that
great old has-been still manages to ex-
cite some interest when he decides to
fight.

Just as I would not trade Elizabeth
Taylor for ten Alec Guinesses or for
ten Kirk Douglases, neither would the
hierarchy of the fight business trade
Cassius Clay for ten Floyd Pattersons.

The point is that the masses who
support all sports, amusements and rec-
reation are suffering from ennui because
there is little around in the way of stars
to excite them. Cassius is a model of
how a show business personality should
behave despite vocational mediocrity.

As soon as stars in any field reflect
the conformity of the paying customers,
then a nimbus envelops the whole
shooting match and Mr. and Mrs. John
Q. start to yawn. The yawns soon turn
into stupor, and before you know it
they are glued to the home screen

ADAM WEI LER

where their stupor can be properly com-
plemented.

The fact that Cassius' features graced
the cover of Time Magazine indicates
that Mr. Luce's siblings know a good
show when they encounter one. And
what about those Louisville millionaires
who bought Cassius outright and de-
signed an amortization plan that should
make the Morris Plan look to its laurels.
You may think that all of this does not
belong on a page devoted to chronicles
of the cinema (hear, hear), but actually
these millionaires could give us a good
lesson in crop cultivation, the crop being
the care of feeding species that even-
tually turn into blossoms of green-
backs.

Let us say that a similar group could
spot a latent movie star. How nice it
would be, and how profitable, also, to
set up the same type of deal that this
gentry did to promote Cassius Clay.
And not only that, think how important
such a group could become in produc-
ing motion pictures.

Mr. Eric Johnston once told his prin-
cipals that they must dispel the illusion
that they are the only clever persons
trying to make a few million. He
pointed out that all business has a cor-
nucopia of talent and that in our lim-
ited orbit a fellow is apt to develop a
sense of importance out of proportion
to the facts.

And that brings me to a point that
was emphasized on a recent NBC spe-
cial given over to the state of Califor-
nia. Toward the close of the show,
Mr. Edward Newman, the narrator, re-
minded the home audience that people
in California talk very little about
Hollywood because they find there are
too many other interesting things to
warrant conversation. This was a slight
exaggeration, but Mr. Newman was
trying to suggest that the movie colony
is becoming dull like the rest of the
inhabitants. I don't agree with this, but
apparently a lot of folks do. Yet, let
some new personality venture into the
constellation and in very little time the
conversation orients to this new body.

Recently Batten, Barton, Durstine and
Osborn, the big advertising empire, con-
ducted a survey to find out what New
York residents missed most during the
newspaper blackout. It seems the in-
terviewees mentioned all departments
of papers except motion picture news.
Whether this proves that motion pic-
ture news is losing interest or whether
the survey was so designed that no one
had a chance to mention it, is something
I can't vouch for. But it does seem
shocking that not even a tiny percentage
of those checked seemed to have any
interest in who's courting whom out
thar in the film studios.

It was sometime in the thirties that
General Hays, never one to overlook the
value of a good facade, commissioned
Professor Mortimer Adler, the noted
educator and philosopher, to compose a
volume setting forth the social values
of the motion picture. The book had
small sale to the public, but it certainly
made an impression on those segments
who had constantly berated the industry
for contributing to everything from
adultery to xenophobia.

I am reminded of this strategy by the
sagacious Mr. Hays upon noting the
space given recently in the western edi-
tion of the New York Times to a book
titled "The People Look at Television",
by Dr. Gary A. Steiner, associate pro-
fessor of psychology at the University
of Chicago.

In a review of the book, Mr. Jack
Gould, television editor of the Times,
speaks not only well of the book, but
seems happy over the conclusion that
very few people are dissatisfied with
the television menus. According to Dr.
Steiner, there is no sense referring to
television as a vast wasteland. The
average viewer, according to this study,
finds the fare relaxing and pleasant to
say nothing about the fact that it is
free — a factor which always makes an
audience a bit more sympathetic.

But what is important about this book
is that it was made possible by a grant
from CBS, and, let it be noted that
Frank Stanton knows when to throw his
doctor of philosophy degree in the
ring. It was Dr. Stantons idea to have
the book done. This is something for
the movie industry to think about.

In truth, the movie industry, aside
from volunteer material written in its
defense, seems to give no thought to a
grand strategy that would help give us
a better image — not to the paying cus-
tomers— but to the press and other
media that mould opinion amongst
those who can and ofttime do the in-
dustry harm.

Page 14 Rim BULLETIN April I, 1943

CAST AND CREDITS

(Continued from Page 6)

nancing same through a tax on thea-
tres. The Allied board meeting in Bal-
timore last week, hit the taxation phase
of the subsidy plan as eradicating the
benefits won for theatres when the fed-
eral admission tax was greatly reduced
or eliminated in congressional battles.

Meanwhile, Steve D'Inzillo, an offi-
cial of IATSE, served notice that if
exhibition approved any plan for a tax
on admissions to finance a production
subsidy his union would reopen con-
tracts made by projectionists' locals
with theatres which "fell short of what
the unions wanted and needed for their
members."

Consideration of the Eady idea for
the U.S. has been stimulated recently by
the Hollywood film unions which saw
in the subsidy plan a means of cutting
off "runaway" production and revivify-
ing Hollywood production.

'New Blood' Theme at
Columbia; 4 New VP's

Columbia Pictures continues to pour
energizing "new blood" into its execu-
tive structure. Four top-level depart-
mental operatives were elevated to vice
presidencies last week, it was announced
by company president A. Schneider. The
move, less a shift of personnel than the
upgrading of existing functions, was
described as "the latest step in the com-
pany's program of strengthening and
invigorating its executive structure to
meet the new requirements of the mo-
tion picture business."

MALAMED, FERGUSON, SCHNEIDER, KRAMER

Seymour Malamed, who has been Co-
lumbia's treasurer, now becomes vice-
president and treasurer; Arthur Kramer,
studio executive under Sol Schwartz,
is the new vice-president of west coast
operations; Robert S. Ferguson, execu-
tive in charge of world-wide advertis-
ing, publicity and exploitation becomes
vice-president in charge of the promo-
tion division; Stanley Schneider, execu-
tive assistant to Leo Jaffe, executive vp,
will have the title of vice-president.

Much Action on the
Films-to-TV Front

Exhibition — theatremen large and
small — are convinced the most pressing
problem they face today is the prime
time showing of relatively new feature
films on television. The $64 question is:
What can they do about it?

Here's what they are doing. TO A, at
its recent board meeting in Washington,
"viewed the situation with alarm" and
set up a special committee, headed by
David Milgram, to explore the problem.
Allied States Association dashed off
communiques to all the film companies
asking their thoughts on granting the-

ARKOFF, NILGRAM, NICHOLSON

atremen specific, adequate clearance over
TV.

Meanwhile, American International
Pictures took a stand, voluntarily, and
grabbed the headlines. President James
H. Nicholson and executive vice presi-
dent Samuel Z. Arkoff informed theatre-
men that their company was immedi-
ately instituting a policy of withholding
all its theatrical films from television for
a minimum of five years. Gratified, ex-
hibitors hailed them, pledged AIP maxi-
mum support.

Tribute from the farflung corners of the
nation continue to pour into coffers of
"Cleopatra" . David B. Wallerstein,
president of Balaban & Kat; Corp. signs
contract calling for $625,000 advanct
for Chicago's Stale Lake Theatre en-
gagement. Sealed beside him, Thomas
O. McCleaster, western dir. mgr. of
20th-Vox; standing Henry Ilarrell. Fox
Chicago manager, Harry Liistgarteu,
B & K v. p.

Industry Asking:
What's Our 'Image'?

The movie industry, which sometimes
acts like it doesn't care if its face is dirty
and its nose is running, is giving some
thought to its "image" again. Appar-
ently it does care, after all.

No one was quite sure whether it
was the prodding of Senator Dodd's
Senate Juvenile Delinquency Subcom-
mittee, which is taking another "look
at the policies, procedures and product"
of the industry, or whether the classifi-
cation and censorship measures pending
in several states were a factor. In any
event, MPAA president Eric Johnston
twice in the past fortnight assembled
the advertising-publicity directors of the
film companies to discuss the drafting
of a public relations program, shine up
the industry's face.

At the weekend, one concrete deci-
sion was made: any p. r. campaign
would need exhibition's support. That
decision appeared to be a step in the
right direction.

Full Steam Ahead!
O'Brien to Studio

Any misgivings held by exhibition as
the result of the implications in the
remarks to M-G-M stockholders by
president Robert H. O'Brien that the
company is planning to re-evaluate its
real estate (studio) holdings in Culver
City apparently can be put at rest. The
theme of the new M-G-M management
in relation to film production is "full
steam ahead!"

Following conferences with studio
head Robert M. Weitman, president
O'Brien announced a "broad and sweep-
ing" plan of production which will
result in 20 new releases and will pro-
vide " a balanced program for release
in 1964."

Referring to the plans for re-evaluat-
ing the Culver City property, O'Brien
noted that any misunderstanding of
M-G-M's intent probably arose from
the fact that many people are unaware
of the physical nature of the property
and that some of the land now being
used for storage and similar purposes
is located in the midst of booming com-
mercial expansion. The possible use of
studio property for purposes other than
production would in no way affect pro-
duction, O'Brien stated.

"By May," he said, "the studio will
be at the highest level of production in
several years."

Film BULLETIN April I. 1943 Page 15

The Birds"

GutiHCM, I^CltU? O O O Pius

Heavy clever pre-sellinq campaign assures this Hitchcock
chiller big grosses in all markets. In Technicolor.

Alfred Hitchcock's superbly-publicized and eagerly-awaited
"The Birds" is here. Based on a short story by Daphne du
Maurier and strikingly photographed in Technicolor against
the picturesque backgrounds of Bodega Bay (on the northern
coast of California), it possesses all of the famous Hitchcock
ingredients — suspense, chills, shock, and humor. In essence,
"The Birds" tells the frightening tale of a bird war against
people. No explanation is given for this onslaught, nor does
the basic plot always convince the viewer; it's simply an enter-
taining, seat-gripping journey into fear. One of the best pre-
sold films of recent times, want-to-see is already running at a
high pitch, and the popularity of suspense-master Hitchcock,
coupled with Universal's outstanding promotion campaign, will
definitely lift grosses into the top money category. The cast
boasts no strong marquee names, but it is composed of com-
petent and colorful players. Rod Taylor stars as a ladies man-
attorney whose easy-going life becomes a nightmare with the
arrival of the birds. Jessica Tandy portrays Taylor's extremely
possessive mother; fast-rising Suzanne Pleshette is a school
teacher with whom he was in love; and 12-year-old Veronica
Cartwright appears as his little sister. Hitchcock also introduces
former model 'Tippi' Hedren, who has much to learn about
acting, but is beautiful to look at meanwhile. But the real stars
of the film are the birds and the special effects personnel.
Between chief bird trainer Ray Berwick and special effects
expert Larry Hampton, sheer horror and fright are created
before the viewer's eyes; and to a point where audiences will
gasp out loud. Here are terrifying scenes in which gulls swoop
down, strike people and fly away, ravens chase a group of
screaming school children down the street, over 1000 finches
fly down a chimney, through a fireplace, and into a living
room to "attack," an attic full of crows and gulls fly sortie
after sortie against the helpless Miss Hedren. Special mention
also for the electronic bird sounds of Remi Gassman and Oskar
Sala — they will continue ringing in audience's ears for days
to come. In typical Hitchcockian fashion, the Evan Hunter
screenplay begins on a light comedy level with rich, spoiled
playgirl Miss Hedren meeting Taylor in a San Francisco pet
shop. She follows him to his weekend home at Bodega Bay on
the pretext that she is bringing a pair of lovebirds for Miss
Cartwright, whom she has never met. This light-hearted pace
suddenly gives way to the horror of the first bird hostilities and
the final terror of the full scale bird war. Granted, the writing
could have been more imaginative, but the average spectator
will be too overwhelmed by the bird "bit" to dissect the plot's
weaknesses. After Miss Hedren rents a room from Miss Plesh-
ette, she is attacked by a seagull. Next day, at Miss Cartwright's
birthday party, hundreds of screaming gulls attack the playing
children. That night, finches swoop down Taylor's chimney and
attack all present. The local sheriff's deputy takes the incident
lightly. Next morning, Miss Tandy, visiting a farmer neighbor,
finds him dead — obviously pecked to death by birds. Now the
birds attack the entire town. A man in a car rams into a gas
pump and a stream of gasoline catches fire. The firefighters are
hampered by swooping birds. Miss Hedren, trapped inside a
phone booth, is finally rescued by Taylor. After Miss Pleshette
is killed saving Miss Cartwright from the birds, Taylor boards
up the windows of his house. The birds, however, break
through and almost peck Miss Hedren to death. Taylor, decid-
ing they must flee to San Francisco, cautiously leads all of
them into a car, then heads slowly down the road. The fadeout
sees the now deserted house covered by thousands of birds.

"Dime With a Halo"

Rating is for lower dual-bill bookings. Lightweight sen-
timental yarn about five youngsters winning a big race-
track pool.

"Dime With a Halo" is an amusing little yarn about five
street urchins in Tijuana, Mexico, who take a dime from the
church collection box to help buy a ticket on the big pool at
the Caliente horse track, win a fortune, then, because of their
age, discover they cannot cash the ticket. There are enough
heart-warming ingredients in this M-G-M release to make the
film an acceptable second-feature for general market consump-
tion, especially with the family trade. The five youngsters are
primarily responsible for most of the mirth. Rafael Lopez, the
16 year-old leader, scene-stealing Maneul Padilla, seven-year-old
and only three-and-a-half feet tall, Tony Maxwell, 10 (soon
to be seen in "The Birds"), Larry Domasin, age seven, and
Roger Mobley, 13, an orphaned American. The adult cast is
headed by sultry Barbara Luna, Mobley's sister who, to keep
her brother from being sent to a home, moves to Tijuana and
becomes an entertainer in a small night club, and Paul Lang-
ton, an American race-track addict who becomes friendly with
the boys and buys their pool ticket for them. Boris Sagal has
directed with a light and generally interest-holding hand. The
script of producers Laslo Vadnay and Hans Wilhelm finds
Langton failing to show up for his regular Sunday session at
the track. The boy's attempts to cash the ticket involves them
with a member of the American Embassy, a crooked race-track
cashier and other Tijuana low lifes. Miss Luna even makes a
play for Lopez (who's infatuated with her) in hopes of getting
the ticket. Langton finally shows up, but suffers a heart attack
several feet from the cashier's window. The ticket blows away,
Miss Luna and Mobley decide to return to California, and the
four ragamuffins return to their street hustling activities.

M-G-M. 94 minutes. Barbara Luna, Roger Mobley, Rafael Lopez. Produced by
Laslo Vadnay and Hans Wilhelm. Directed by Boris Sagal.

"A Face in the Rain"

%>U4Ute44 &<zU*t$ O Plus

Routine war spy meller for lower-shot bookings.

This low-budget Embassy release filmed in Italy, is a run-of-
the-mill World War II spy-in-hiding-drama. It will fill the
lower-half slot in action and ballyhoo houses. Rory Calhoun
stars (he's also executive co-producer) as an American spy
working with the Italian underground who's forced to hide
out in the home of attractive Marina Berti. Miss Berti portrays
the wife of a language professor (now a Gestapo prisoner)
who doesn't want to risk the lives of her family for Calhoun.
Niall McGinnis is a (good) high ranking German officer with
whom Miss Berti has fallen in love and little Massimo Giuliana
is her son who looks upon Calhoun as a hero. The black-and-
white Pisa background add atmosphere and director Irving
Kershner squeezes a fair amount of suspense out of Hugo
Butler and Jean Rouvernol's basically soap opera-type screen-
play. McGinnis sets up headquarters in Miss Berti's apartment
while Calhoun finds shelter in the attic. Escape from the
building soon proves impossible. After failing to capture Cal-
houn and exposed as Miss Berti's lover, McGinnis is relieved
of authority. Miss Berti, unable to betray Calhoun, gets him
safely to the underground, then finds herself being pursued
through the streets. She sees McGinnis and rushes to him for
protection. McGinnis, to redeem himself, kills her. After the
war, Calhoun, unaware of Miss Berti's fate, returns to Italy to
try and find her.

Universal. 120 minutes. Rod Taylor, Jessica Tandy Suzanne Pleshette, 'Tippi' Embassy 90 minutes. Rory Calhoun, Marina Berti. Produced by John Calley. Di-

Hedren. Produced and Directed by Alfred Hitchcock. rected by Irving Kershner.

| More REVIEWS on Page 1 8 |

Page 16 Film BULLETIN April I, 1943

MERCHANDISING J EXPLOITATION DEPARTMENT f

Oversexploitation Not Good B.O.
Theatre Showmen Tell Distributor

If you had a picture titled "The Girl
Hunters," based on the first Mickey Spil-
lane book in a decade and featuring the
author himself in the role of Mike Ham-
mer, how would you advertise it? Would
you use catch lines like: "It's Sex, It's
Action, It's Spillane", or "Rough, Raw,

"Best American Film of 1962 Award" for "Law-
rence of Arabia" is presented to Columbia v. p.
Robert S. Ferguson (center) by representative
of the Film Critic's Circle of the Foreign Lan-
guage Press of New York.

Columbia Offers TV Special to
Perk Expanding 'Lawrence' Dates

Columbia is employing a clever "soft-
sell'' technique to promote "Lawrence of
Arabia" via television. The device em-
ployed is a 30-minute television special,
"The Making of a Movie", which made its
debut recently over WOR-TV, New York.

The show, featuring interviews with
producer Sam Spiegel, co-producer-direc-
tor David Lean and stars Peter O'Toole
and Omar Sharif, takes viewers behind the
scenes of the production into the deserts
of Jordan, where much of the film was
made. The television show is being offered
by Columbia to TV stations throughout
the country and contains provision for
opening and closing commercials, as well
as two 20-second announcements.

Meanwhile, plans to up the 17 current
engagements of "Lawrence" to 38 were
announced by Rube Jackter, Columbia
vice president and general sales manager,
who said the step is being taken "in re-
sponse to the overwhelming demand'' to
see the film. Extended distribution is being
tied in with the April 8 Oscarcast for maxi-
mum interest.

Violent, Mickey Spillane"?

The question of how they would like to
see Spillane's new opus exploited was re-
cently put directly to the promotion direc-
tors and operators of prominent New York
theatre circuits by Leo F. Samuels, general
sales manager of Colorama Features. "The
Girl Hunters" is the first production made
by Colorama, which hitherto had been en-
gaged only in distribution. Samuels told
those present at the luncheon-meeting in
New York that the purpose was to provide
"a genuine opportunity for exhibitors to
see to it that a major property is sold, ad-
vertised, and exploited in a manner most
appropriate to their needs."

Harry Goldberg, advertising-publicity
director of Stanley Warner Theatres,
warned against oveifxploitation in the
campaign. "I don't like the word 'sex'. I
wouldn't sell too far from the story. "Dis-
honesty in advertising has an inner weak-
ness in that it keep people away."

Ernest Emerling, vice president and pro-
motion director of Loew s Theatres agreed.
"Sex has been beaten to death. Sex and
violence in advertising have not paid off.''
Both Emerling and Goldberg felt there
should be more stress on the title and on
the fact that Spillane plays the Hammer
role in the campaign. Emerling also added
the view: "I think the public is ready for a
good whodunnit."

Paul Baise Upped at Continental

Paul Baise has ben named chief of ad-
vertising-publicity for Continental Distrib-
uting, it was announced by Al Floersheimer,
promotion director of Reade-Sterling,
which controls Continental. Baise takes
over the post formerly held by William
O'Hare, recently resigned.

The mermaid below defied the cold weather in
Washington, I). C. to plug I'A's "lore Is A
Ball" for RKO Keith's I keatre. She rod< around
town in a bannered Riviera. Stunt was arranged
by fieldman Max Miller of United Artists and
Keith's manager Jerry H.;/</

Them 'Birds' Is Causing
Quite a Stir in the Land

The birds is here. Really. At least, 2
pounds, 5 ounces of showmen's promo-
tional material has arrived on every edi-
tor's desk. Everybody's beginning to hear
the maddening noise of their flapping
wings. And someone saw a feather floating
through the air the other day.

Universal's boxofficers are cannonading
theatremen, the press and all other com-
munications media with tons of "Birds"
fodder contained in a kit. Aside from such
familiar items as press releases and the
slogan "The Birds is coming ", the
"Birds" kit contains showmanship sugges-
tions of every stripe and feather. Some of
them: a "birds' hairdo by Monsieur Al-
bert; pigeon pageants for local pigeon fan-
ciers; a Hitchcock caricature contest; maze
puzzles and crossword puzzles; talking
birds trained to cry, "The Birds is coming ";
contests of various kinds; bird call records
for lobby use; a Hitchcock record for lobby
use; a bird mask for the kiddies.

The premiere at New York's RKO Pal-
ace and Sutton theatres, features a race of
1,000 homing pigeons. For the past week
or so, actor Basil Hoffman has been feed-
ing birds in front of the Palace wearing a
"Birds is coming" sweatshirt, while the
Sutton is featuring bird sculpture in the
lobby. Prominent in pre-release publicity
is Ray Berwick, bird trainer and technical
adviser to the film, who has been active in
press, radio and television appearances.

Meanwhile, national exploitation head
Herman Kass announced that 19 fieldmen
have been assigned to carry through the
intensive "Birds'" campaign in the New
York area and 35 other key city openings.

There's nothing like a star when you're got a
premiere, as proven when beautiful Carroll
Baker, one of the stars of M-G-M-C.iuerama' 'i
"How the West Was Won" journeyed to Min-
neapolis to publicizt tin premiert at thi < oopet
Theatre. Above, at local Press Club reception,
to the star's right: Don Morrison, columnist of
the Minneapolis Star: M-G-M's Si Seadler. who
accompanied Miss Baker, and George Ganghau.

executive of Cooper Foundation Theatres,

Film BULLETIN Avril I, 1 963 Page 17

1

"Lafayette"

Su4ine44, ^<zti*9> O O Plus

Big, colorful spectacle of Revolutionary War hero. De-
spite flaws, should do well enough in general market.

French-made "Lafayette" is a big (Super Technirama 70mm),
colorful (Technicolor) spectacle dealing with the swashbuck-
ling and heroic adventures of the Frenchman whose love of
liberty and freedom led him to fight in America under Wash-
ington during the Revolutionary War. Breathtakingly costumed,
overwhelming with its massive sets and battle scenes (the Palace
at Versailles, the Congress meeting in Philadelphia, Washing-
ton at Mt. Vernon, Cornwallis' surrender at Yorktown), and
boasting an international cast, this Maco release should roll up
above-average returns in the mass market. There hasn't been an
American Revolution film in a long time, and despite some
immature dialogue and disturbing dubbing, there is plenty
going here from a standpoint of escapist entertainment. It
should especially delight the children. Additional profits can
be made via exhibitor tie-ins with the history department of
local schools. Most prominent among the cast are Jack Hawk-
ins as Cornwallis, Orson Welles as Benjamin Franklin, Howard
St. John as George Washington, Vittorio De Sica as a double-
agent and Edmund Purdom as Washington's key recruiting
agent. 29-year-old Frenchman Michel Le Royer makes his debut
as Lafayette, Pascale Audret is his wife, and Liselotte Pulver
portrays the glamorous Marie Antoinette. Director Jean Dre-
ville, who began his career as a publicity specialist in posters
and photography, has seen to it that pageant and spectacle
rule the day, and Cornwallis' surrender is indeed a sight to
behold. The script finds the French failing in their attempts to
prevent Le Royer from going to America to fight with Wash-
ington. He and his followers persuade the Philadelphia Con-
gress that they are more than mercenaries and Washington
grows fond of Le Royer as he continues to prove his skill in
battle. The British are defeated at Saratoga and Le Royer goes
to France where he gets Louis XVI to sign a treaty of alliance
between France and the Colonies. Le Royer returns to America
and helps set the Yorktown trap which leads to Hawkins'
surrender.

Maco Film Corporation. 110 minutes. Jack Hawkins. Orson Welles, Vittorio De Sica,
Michel Le Royer, Pascale Audret. Produced by Maurice Jacquin. Directed by Jean
Dreville.

"The Balcony"
'Scuuteu &ctU*t$ O O Plus

Unusual, provocative version of Genet's fantasy play.
May not satisfy, but will stimulate art film devotees.
Adults only.

This film version of Jean Genet's controversial, long-run, off-
Broadway play is strictly for the art market. Set in a bizarre
"house of illusion" where men and women act out their wildest
imaginations, stretching the line between reality and unreality
to its farthest extremes, this Continental release offers several
good performances, some imaginative photographic effects, and
plenty of explosive dialogue. A symbolic comedy-drama laid
in a mythical nation during a revolution and filled with per-
verted, sadistic, neurotic people, it bluntly examines the realities
of power, sex, religion, justice and freedom. Unfortunately,
co producer Ben Maddow's script is not the play Genet penned,
and this will surely evoke howls of protest from the latter's
followers, but it figures to provoke plenty of controversy among
art film devotees. Since "The Balcony" is controversial (many
will dub it shocking), this should induce word-of-mouth among
those viewers unfamiliar with the original and interested in
"far-out" screen offerings. There is a certain amount of strong
drama present, and co-producer-director Joseph Strict has done
a good job of making the material as fluid and visually excit-

ing as possibe. Peter Falk is excellent as the Police Chief who
assumes leadership of his country after the violent revolution,
while Shelley Winters proves uneven in the demanding role of
the Madame who runs the unusual house of prostitution. Lee
Grant is effective as Miss Winters' hot-blooded administrative
assistant who longs to become a "performer" again. The mas-
queraders who help Falk seize power include Kent Smith as
The General, Jeff Corey as The Bishop and Peter Brocco as The
Judge. Other "performers" are Ruby Dee as The Thief, Joyce
Jameson as The Penitent and Arnette Jens as The Horse. Falk's
power is short-lived. Miss Winters' girls rip off his clothes and
send him ridiculously naked into the streets.

Continental. 85 minutes. Shelley Winters, Peter Falk, Lee Grant. Produced by
Joseph Strict and Ben Maddow. Directed by Strict.

"Rififi in Tokyo"

Familiar jewel thievery plot filmed in Japan. Should get
by with action fans who dote on crime fare.

For crime-film fans who favor suspense-robbery fare of the
"Rififi" school, this M-G-M release (capitalizing on the suc-
cessful Dassin film) will prove satisfying entertainment. It is
best suited for dual bills in the action market. Creative promo-
tion will be required to keep it from slipping away unnoticed.
Effectively filmed against Tokyo backgrounds (and dubbed),
the plot follows the exploits of a band of international jewel
thieves intent on stealing a fabulous diamond from an elec-
tronically protected vault of the Bank of Japan. Jacques Deray's
direction is brisk and manages occasionally to lend an air of
freshness to a basically familiar theme. The first hour follows
the personal lives of the participants played off against the
Tokyo underworld, also interested in the gem. Charles Vanel
portrays the aged mastermind embarking upon his last job.
Karl Boehm, an embittered young man, joins Vanel after
Boehm's army buddy is brutally murdered by the Tokyo under-
world. Michel Vitold rounds out the gang, a Parisian electro-
physicist whose mission is to use the latest scientific equipment
to penetrate the vault's armor plate. Two lovely females appear
— Keiko Kishi, a Japanese girl with whom Boehm had been in
love, and Barbara Lass, Vitold's bored wife with whom Boehm
has an affair. This portion reaches its climax via a rousing
bullets-unlimited gang war. The concluding section depicts the
suspenseful and ingenious robbery and the ironic aftermath.
Once inside the vault, Vanel gets the diamond, but an iron
bar door descends, imprisoning him. A frightened Vitold runs
away. Vanel offers the diamond to Boehm on the outside, but
the latter declines it. As Boehm leaves the bank, he hears
Vanel shoot himself to avoid capture. Outside, members of the
underworld hold Miss Kishi prisoner and wait to capture
Boehm.

M-G-M. 8? minutes. Karl Boehm, Michel Vitold, Charles Vanel. Produced by
Jacques Bar. Directed by Jacques Deray

BULLETIN

reviews have one aim:
to give honest judgment
of entertainment merit
— and boxoffice value

Page 18 Film BULLETIN April I, >Vi

"Miracle of the White Stallions"

ScuUc^i Rati*? O O Plus

Handsome, colorful Disney production lacks pace for
general market. Should do well on promotion in family
houses.

Walt Disney has put together a colorful, but slow-moving,
live-action film concerning the famous white Lipizzan horses of
Vienna's Spanish Riding School. The closing days of World
War II set the scene for this Buena Vista release, a time when
school director Colonel Podhajsky fought to save the school
from possible extinction. Backed by strong Disney promotion,
this should manage to draw above-average grosses in the family
houses. The film boasts an attractive cast (Robert Taylor, Lilli
Palmer, Curt Jurgens, Eddie Albert), a handsome Technicolor
location mounting, plus sequences showing the famed horses
at their exhibition best. As scripted by A. J. Carothers and
directed by Arthur Hiller, "Stallions'' lacks the verve and pace
which could have capitalized the strong visual assets. Some
smart editing could make this a much more desirable release.
Taylor portrays Colonel Podhajsky, a man with a two-fold
mission: (1) keeping his prize stallions safe; (2) reuniting them
with the mares (now in another country, to prevent the breed
from dying out. Miss Palmer is his dedicated wife; Jurgens, a
sympathetic, cultured German general; Albert, Taylor's chief
rider; and James Franciscus, an American major who under-
stands Taylor's problems. Jurgens helps Taylor evacuate the
stallions (after the first bombs fall on Vienna), and a perilous
journey through war-torn Austria ends with sanctuary in St.
Martin. The Americans arrive and Taylor, after putting on a
quick performance, persuades General Patton (John Larch) to
include the Lipizzan mares as part of the Allied prisoner libera-
tion program. With Philip Abbot in command, the mares are
rounded-up and brought to St. Martin via a long caravan. Ten
years later, on the two hundred and twelfth anniversary of the
Riding Hall, a magnificent performance is staged.

Buena Vista. 118 minutes. Robert Taylor, Lilli Palmer, Curt Jurgens. A Walt Disney
Production. Directed by Arthur Hiller.

"Critic's Choice"

SccdiKCdd Ratuta Q Q p|us

Uneven, unsatisfying mixture of gag and straight
comedy-drama. Stars Hope and Ball will get it off, but
word-of -mouth will bog it down.

Bob Hope and Lucille Ball have been reunited in this tepid,
uneven Warner Bros, comedy based on Ira Levin's broadway
play about what happens when a dedicated and influential
Broadway drama critic (Hope) is forced to review a bad play
written by his own wife (Miss Ball). Director Don Weis and
scripter Jack Sher have attempted to merge gag comedy with a
degree of seriousness, and the outcome is a disturbing, dissatis-
fying mixture. The popularity of Hope and Miss Ball, plus
Warners' all-out promotion campaign will get this off the
ground in early rounds, but disappointed word-of-mouth will
keep the final boxoffice tally down. The production is a hand-
some one, photographed in Technicolor and Panavision, and
replete with up-to-date sets and costumes, and the two stars try
hard with material that is vague and disjointed. Hope, trying
to dissuade Miss Ball from writing a play, never seems quite
certain whether he is playing it straigbt or for an occasional
gag. Miss Ball, determined to prove she can create a smash out
of childhood incidents, fares a bit better. Supporting contribu-
tions, adding to the Hope-Ball difficulties, include Marilyn
Maxwell, a high-style actress who is Hope's former wife and
wants him back; Rip Torn, a girl-chasing, screwball director who
convinces Miss Ball that she has talent; Jessie Royce Landis,
Miss Ball's interior decorator mother; John Dehner, a producer

friend who also believes in Miss Ball; Jim Backus, the psychia-
trist downstairs; and 12-year-old Ricky Kelman, Hope's preco-
cious son, mothered by Miss Maxwell. Hope refuses to dis-
qualify himself from reviewing his wife's play, and Miss Ball
and Torn go off to Boston for the tryouts. On opening night,
Hope relents, and agrees not to review the play. He gets loaded
and ends up with Miss Maxwell. Then he changes his mind
and stumbles drunkenly into the theatre. The reviews are ter-
rible, with Hope's the worst. Miss Ball decides to leave with
Torn, but Hope, refusing to apologize for writing an unfavor-
able review, convinces Miss Ball (but not the audience) that he
loves her and needs her.

Warner Bros. 100 minutes. Bob Hope, Lucille Ball. Produced by Frank P. Rosen-
berg. Directed by Don Weis.

"Mondo Cane"

Scc4i*ete Rati*? GOO

Startling, fascinating documentary reveals unusual,
weird aspects of human and animal life. Good grosser.
Will stir talk.

This graphically powerful documentary depicting some weird
and amazing aspects of mankind is a minor masterpiece and it
may well turn out to be a boxoffice "sleeper", at least in the
art and class markets. Not for the squeamish or the I-see-the-
world-through-rose-colored-glasses, "Mondo Cane" ("A Dog's
Life") is a violence-filled survey of the unusual, the freakish and
the barbaric existing in our world today. A brilliant example
of imaginative filmmaking, the film is also a shattering seat-
gripper of the first order. It will repel some, fascinate many
more, be considered distasteful by some, absorbing by most,
and it will be talked about — passionately. Exhibitors, other than
those operating strictly family-fare houses, will do well to book
this Times release. Included in this jolting parade of the
unusual: bare-breasted women on the archipelago of Trobriand
energetically chasing males through the jungle; New Guinea
savages breaking the misery of a five-year fast to stuff them-
selves with hundreds of slightly singed pigs; baby chicks (in
Rome) stuffed into Easter eggs after having been immersed in
colored baths, then dried out in 140 degree Fahrenheit ovens;
Strasbourg geese stuffed to the liver expanding point — to pro-
duce pate de joie gras; a Malayan shopper carefully choosing
the reptile he will have for dinner; a $20 lunch at a New York
restaurant where the bill of fare includes fried ants, stuffed
beetles and roasted worms; beautiful women on the island of
Tabar shut up in narrow cages and stuffed with tapioca until
they weigh at least 265 pounds, then offered as wives to the
village ruler; Holy Friday in a poor Italian village where the
flagellation of Christ is exalted by young men who lacerate
their legs with bits of broken glass; memories of death drow ned
in beer, beer and more beer in a Hamburg beerhouse; pretty
models, their bodies covered with blue paint, used as human
brushes; wild cavemen armed with clubs living in the New
Guinea mountains. Perhaps the most disturbing portion of the
film — Bikini atoll ten years after the last American atom bomb
has been exploded. Fish that normally could live out of water
only briefly now deserting the radioactive water to stay in trees;
birds burying themselves deep under the ground; the sea turtle,
its sense of orientation destroyed, struggling toward the interior
of the island, where it eventually dies from sun and fatigue.

Times Film. 105 minutes. Produced and Conceived by Gualtiero Jacopetti.

• POOR • • FAIR

• • • GOOD • • • • TOPS

Film BULLETIN April I. 1943 Page 19

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

October

CONVICTS 4 Ben Gaziara, Ray Walston, Stuart Whit-
man. Sammy Davis, Jr., Vincent Price, Rod Steiger.
Producer A. Ronald Lubin. Director Millard Kaufman.
Prison dama. I 10 min.

November

BILLY BUDD CinemaScope. Peter Ustinov, Robert Ryan,
Melvyn Douglas, Terence Stamp. Producer-Director
Ustinov. Picturization of Herman Melville's sea classic.
123 min. 11/12/62.

March

DAY OF THE TRIFFIDS, THE CinemaScope. Color.
Howard Keel, Nicole Maurey. Producer Philip Yordan.

Director Steve Sekely. Science-fiction thriller. II? min.

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
A Julian Wintle, Leslie Parkyn Production. Director
Michael Winner. Musical.

April

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Loren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.

June

55 DAYS AT PEKING Technirama. Technicolor. Charl-
ton Heston, David Niven, Ava Gardner, Flora Robson,
Harry Andrews, John Ireland. Producer Samuel Bron-
ston. Director Nicholas Ray. Story of the Boxer uprising.

LONG CORRIDOR, THE Peter Breck, Constance Towers.
Producer-director Samuel Fuller. A Leon Fromkess
Presentation. A suspense drama.

July

GUNHAWK. THE Color. Rory Calhoun, Rod Cameron,
Ruta Lee, Rod Lauren. Producer Richard Bernstein.
Director Edward Ludwig. Outlaws govern peaceful town
of Sanctuary.

Coming

CAPTAIN MUST DIE, THE Producer Monroe Sachson.
Director Allen Reisner. Suspense thriller.

GUNFIGHT AT COMANCHE CREEK Color. Cinema-
scope. Audie Murphy. Producer Ben Schwalb. Private
detective breaks up outlaw gang.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

RECKLESS PRIDE OF THE MARINES Producer Lester
Sansom. Andrew Geer's book about a horse which
served as an ammunition carrier in Korea.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen. Producer Martin Jurow. Army comedy.

STREETS OF MONTMARTRE Lana Turner, Louis Jour-
dan. Producer-director Douglas Sirk. Based on two
books, "Man of Montmartre" and "The Valadon
Drama."

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

October

WARRIORS 5 Jack Palance, Jo Anna Ralli. Producer
Ful vio Lusciano. Director Mario Silvestra. Story of an
American G.I. who organized the underground resist-
ance in Italy. 82 min. 11/12/42.

November

REPTILICUS Color. Carl Ottosen, Ann Smyrner. Pro-
ducer-Director Sidney Pink. Giant sea monster's de-
struction of an entire city. 81 min.

December

SAMSON AND THE 7 MIRACLES OF THE WORLD

I Formerly Goliath and the Warriors of Genghis Kahn)
Color. CinemaScope. Gordon Scott, Yoko Tani. Samson
helps fight off the Mongol invaders. 80 min. 2/18/63.

January

RAVEN, THE Color. Panavision. Vincent Price, Peter
Lorre, Boris Karloff. Producer-director Roger Corman.
Edgar Allan Poe tale. 86 min. 2/4/63.

Film

February

BATTLE BEYOND THE SUN IFIImgroupl Color & Vista-
scope. Ed Perry, Aria Powell. 75 min.

NIGHT TIDE (Filmgroup) Dennis Hopper, Linda Law-
son. 84 min.

March

CALIFORNIA Jack Mahoney, Faith Domergus. Western.

FREE, WHITE AND 21 I Formerly Question of Consent)

Frederick O'Neal, Annalena Lund. Drama.

April

ERIK. THE CONQUEROR (Formerly Miracle of the
Vikings). Color, Cinemascope. Cameron Mitchel. Action
drama.

OPERATION BIKINI (Formerly Seafighters) Tab Hunter,
Frankie Avalon, Eva Six. Producer-director Anthony
Carras.

May

DEMENTIA IFilmgroup) William Campbell, Luana An-
ders, Mary Mitchell. Suspense drama.

MIND BENDERS, THE Dick Bogarde, Mary Ure. Science
fiction.

YOUNG RACERS. THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama.

June

TERROR, THE IFilmgroup) Color, Vistascope. Boris Kar-
loff. Horror.

"X"— THE MAN WITH THE X-RAY EYES Ray Milland.

Science fiction.

July

BEACH PARTY Color, Panavision. Frankie Avalon.
Producer Lou Rusoff. Teenage comedy.

August

HAUNTED PALACE, THE Ray Milland. Edgar Allan
Poe classic.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

COMEDY OF TERROR, A Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff. Horror.

DUNWICH HORROR Color. Panavision. Science Fiction.

GENGHIS KHAN 70mm roadshow.

HAUNTED HOUSE, THE Color, Scope. Ray Milland.

IT'S ALIVE Color. Peter Lorre, Frankie Avalon. Teen,
horror, musical comedy.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

NIGHTMARE HOUSE (Formerly Schizo) Leticia Roman,
John Saxon. Producer-director Mario Bava. Suspense
horror.

UNDER 21 Color, Panavision. Teen musical comedy.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Producers Julian
Wintle, Leslie Parkyn. H. G. Wells classic.

December

BLACK FOX Marlene Dietrich. Producer-director Louis
Clyde Stoumen. Narration of true story of Adolph
Hitler. 89 min.

OUT OF THE TIGER'S MOUTH Loretta Hwong, David
Fang. Producer Wesley Ruggles, Jr. Director Tim
Whelan, Jr. 81 min.

OUARE FELLOW, THE Patrick McGoohan, Sylvia Sims.
Walter Macken. Producer Anthony Havelock-Allan.
Director Arthur Dreifuss. 85 min. 11/26/62.

January

SWINDLE. THE Broderick Crawford, Giulietta Masina,
Richard Basehart. Director Federico Fellini. Melodrama.
92 min. I 1/12/62.

WORLD BEGINS AT 6 P.M. Jimmy Durante, Ernest Borg-
nine. Director Vittorio DeSica.

BULLETIN — THIS IS YOUR PROD

Coming

TOTO, PEPPINO and LA DOLCE VITA Toto, Peppino.

TRIAL, THE lAstor Productions, Inc. I Anthony Perkins,
Jeanne Moreau. Director Orson Wells. Welles' version
of Kafka novel. 118 min. 3/4/63.

October

ALMOST ANGELS Color. Peter Week, Sean Scully,
Vincent Winter, Director Steven Previn. 93 min. 9/3/62.

November

LEGEND OF LOBO, THE Producer Walt Disney. Live-
action adventure. 67 min. 11/12/62.

December

IN SEARCH OF THE CASTAWAYS Technicolor. Maurice
Chevalier, Hayley Mills, George Sanders. Producer
Walt Disney. Director Robert Stevenson. Based on the
Jules Verne story, "Captain Grant's Children." 110
min. 1/7/63.

February

SON OF FLUBBER Fred MacMurray, Nancy Olson.
Keenan Wynn. Walt Disney Production. Director Robert
Stevenson. Comedy. 100 min. 1/21/63.

April

MIRACLE OF THE WHITE STALLIONS Color. Robert
Tavlor, Lili Palmer, Curt Jergens. Director Arthur
Hiller. Storv of the rescue of the famous white stallions

of Vienna.

June

SAVAGE SAM Brian Keith, Tommy Kirk. Drama.

July

SUMMER MAGIC Hayley Mills, Burl Ives. Drama.

September

BEST OF ENEMIES, THE Technicolor, Technirama. David
Niven, Sordi, Michael Wilding. Producer Dino de
Laurentiis. Director Guy Hamilton. Satirical comedy
on war. 104 min. 8/6/62.

DAMN THE DEFIANT (formerly H.M.S. DEFIANT) Color.
Alec Guinness, Dirk Bogarde, Anthony Quayle. Pro-
ducer John Brabourne. Director Lewis Gilbert. Sea
adventure. 101 min. 8/20/62.

RING-A-DING RHYTHM Chubby Checker, Dukes of
Dixieland, Gary (U.S.) Bonds, Dell Shannon. Producer

Milton Subotsky. Director Dick Lester. Teenage com-
edy. 78 min. 9/17/62.

October

REQUIEM FOR A HEAVYWEIGHT Anthony Quinn,
Jackie Gleason, Mickey Rooney, Julie Harris. Producer
David Susskind. Director Ralph Nelson. Award winning
drama. 87 min. 9/17/62.

TWO TICKETS TO PARIS Joey Dee, Gary Crosby, Kay
Medford. Producer Harry Romm. Director Greg Gar-
rison. Romantic comedy. 75 min. 11/26/62.

November

PIRATES OF BLOOD RIVER Color. Glenn Corbett, Ker-
win Mathews, Maria Landi. Producer Anthony Nelson
Keys. Director John Gilling. Swashbuckling adventure.
87 min. 8/6/62.

WAR LOVER, THE Robert Wagner, Steve McQueen.
Producer Arthur Hornblow. Director Philip Leacock.
Drama of World War II in the sky. 105 min. 10/29/62.

WE'LL BURY YOUI Narrated by William Woodson.
Producers Jack Leewood, Jack W. Thomas. Documen-
tary highlighting rise of Communism. 72 min. 10/15/62.

December

BARABBAS Technicolor. Anthony Quinn, Silvana Man-
gano, Jack Palance, Ernest Borgnine, Katy Jurado,
Douglas Fowley, Arthur Kennedy, Harry Andrews,
Vittorio Gassman. Producer Dino de Laurentiis. Direc-
tor Richard Fleischer. Based on novel by Par Lager-
kvist. 134 min. 9/3/62.

U C T

February

December

APRIL SUMMARY

The latest tabulation of the April re-
lease schedule lists 17 films ready to
bow this month. M-G-M remains in
front, scheduling four releases. United
Artists, Universal and American-Inter-
national each offer two listings. 20th-
Fox, Warner Bros., Columbia, Buena
Vista, Allied Artists, Continental and
Paramount all have one film set for the
month. Embassy has listed no new re-
leases for April.

DIAMOND HEAD Panavision, Eastman Color. Charlton
Heston, Yvette Mimieux, George Chakiris, France
Nuyen, James Darren. Producer Jerry Bresler. Director
Guy Green. Based on Peter Gilman's novel. 107
min. 1/7/43.

April

MAN FROM THE DINER'S CLUB. THE Danny Kaye. Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin. Comedy. 96 min.

May

FURY OF THE PAGANS Edmund Purdom. Rosanna
Podesta.

June

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke. Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical. 120 min.

JASON AND THE ARGONAUTS I Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Novak. Pro-
ducer Charles H. Schneer. Director Don Caffey. Film
version of Greek adventure classic.

Coming

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/42.

WEEKEND WITH LULU. A Bob Monkhouse, Leslie
Philips, Shirley Eaton, Irene Handl. Producer Ted
Lloyd. Director John Paddy Garstairs. 91 min. 4/11/42.

October

END OF DESIRE Color. Maria Schell, Christian Mar-
quand, Ivan Desny, Pascale Petit. Producer Agnes De-
Lahaie. Director Alexander Astruc. 91 min.

November

LONELINESS OF THE LONG DISTANCE RUNNER. THE

Michael Redgrave, Tom Courtenay, Avis Bunnage. Pro-
ducer-director Tony Richardson. Explores the attitudes
of a defiant young man sent to a reformatory for
robbery. 103 min. 10/1/42.

January

DAVID AND LISA Keir Dullea, Janet Margolin, How-
ard Da Silva. Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed young-
sters. 94 min. 1/7/43.

HANDS OF THE STRANGLER Mel Ferrer, Danny Carrol.
Producers Stevan Pallos, Donald Taylor. Director Ed-
mond T. Grenville. Drama about a man twisted by a
strange obsession. 84 min. 8/20/42.

February

GREAT CHASE, THE Douglas Fairbanks, Sr., Buster
Keaton, Lillian Gish. Producer Harvey Cort. Silent
chase sequences. 77 min. 1/7/43.

THIS SPORTING LIFE Richard Harris, Rachel Roberts.

March

WRONG ARM OF THE LAW, THE Peter Sellers,
Lionel Jeffries.

YOUR SHADOW IS MINE Jill Haworth, Michael Ruhl.

April

BALCONY, THE Shelly Winters, Peter Falk.

Wtittiim

September

DIVORCE— ITALIAN STYLE Marcello Mastroianni, Dan-
iela Rocca, Stefania Sandrelli. Producer Franco Cris-
taldi. Director Pietro Germi. Satirical jabs at the
mores of our times. 104 min. 10/29/42.
THE LOVE MAKERS I La Viaccial Claudia Cardinale,
Jean-Paul Belmondo, Pietro Germi. Producer Alfredo
Bini. Director Mauro Bolognini. A drama of the tragic
influences of the city upon a young farmer 103 min
11/12/42.

October

CRIME DOES NOT PAY Danielle Darrieux, Richard
Todd, Pierre Brasseur, Gino Cervi, Gabriele Ferzetti,
Christian Marquand, Michelle Morgan, Jean Servais.
Producer Gilbert Bokanowski. Director Gerard Oury.
French object lesson based on classic crimes. 159 min.
10/29/62.

LONG DAY'S JOURNEY INTO NIGHT Katharine Hep-
burn, Jason Robards, Jr., Sir Ralph Richardson, Dean
Stockwell. Producer Ely A. Landau. Direcotr Sidney
Lumet. Film version of Eugene O'Neill's Pulitzer Prize-
winning stage drama. 174 min. 10/29/62.

November

NIGHT IS MY FUTURE Mai Zetterling, Birger Malmsten.
Director Ingmar Bergman. Bergman reflects on the
theme of man's search for human contact and love in
a "hostile universe.'' 87 min. 1/7/63.

CONSTANTINE AND THE CROSS Color. Cornel Wilde,
Christine Kauiman, Belinda Lee. Producer l-erdinando
Feliciori. Director Llonello De Felice. Story of early
Christians struggling against Roman persecution. 120
min. 11/24/62.

January

SEVEN CAPITAL SINS Jean-Pierre Aumont, Dany Saval.
Directors Claude Chabrol, Edouard Molinaro, Jean-Luc
Godard, Roger Vadim, Jaques Demy, Philippe De
Broca, Sylvain Dhomme. A new treatment of the classic
sins with a Gallic flavor. 113 min. 11/26/62.

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,
Christian Doermer. Directors Francois Truffaut, Andrez
Wajda, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world. 113
mn. 2/18/63.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French
Revolution. 104 min. 3/4/63.

March

A FACE IN THE RAIN Rory Calhoun, Marina Berti,
Niall McGinnis. Producer John Calley. Director Irvin
Kershner. Suspenseful spy-chase drama. 81 min.

LANDRU Charles Denner, Michele Morgan, Danielle
Darrieux. Producers Carlo Ponti-Georges de Beaure-
gard. Director Calude Chabrol. Tongue-in-cheek drama
of the infamous ladykiller.

Current Releases

ANTIGONE [Ellis Films) Irene Papas, Manos Katra-
kis. Producer Sperie Perakos. Director George Tza-
vellas. 88 min. 10/29/62.

ARMS AND THE MAN (Casino Films) Lilo Pulver,
O. W. Fischer, Ellen Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
94 min.

BERNADETTE OF LOURDES (Janus Films) Daniele Ajoret
Nadine Alari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY. THE ILopertl Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 48 min.

BLOODY BROOD, THE ISuttonl Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR, A [Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

CANDIDE lUnion Films) Jean-Pierre Cassel, Pierre
Brausseur, Dahlia Lavi. Director Norbert Carbonnaux.
90 min. I 1/24/42.

CLEOPATRA'S DAUGHTER I Medallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

COMING OUT PARTY A. James Robertson Justice.
Producers Julian Wintle, Leslie Parkyn. Director Kenn
Annakin. 90 min. 9/17/42.

CONCRETE JUNGLE, THE [Fanfare Films) Stanley
Baker, Margit Saad, Sam Wanamaker, Gregoire Asian.
Producer Jack Greenwood. Director Joseph Losey. 84
min. 7/9/42.

CONNECTION, THE Warren Finnerty, Garry Good-
row, Jerome Raphel. Producer Lewis Allen. Director
Shirley Clarke. Off-beat film about dope addicts. 93
min. 10/29/42.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
74 min.

DAY THE SKY EXPLODED, THE [Excelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR, THE [Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL MADE A WOMAN, THE [Medallion) Color, To
talscope. Sarita Monliel. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

ELECTRA ILopertl Irene Papas, Aleka Catselli. Pro-
ducer-director Michael Cacoyannis. Version of classic
Greek tragedy. 110 r.iin. 1/7/63.

EVA ITimes Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE [Ultra Pictures) Anthony Quinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

FEAR NO MORE [Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS Technicolor, Totalvision.
Yoko Tani, Oldrick Lukes. 81 min.

FIVE DAY LOVER, THE IKinqsley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE I Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FLAME IN THE STREETS (Atlantic) John Mills, Sylvia
Syms, Brenda DeBanzie. Producer-director Roy Baker.
93 min. 10/29/62.

FORCE OF IMPULSE (Sutton Pictures) Tony Anthony
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

GIRL WITH THE GOLDEN EYES. THE IKingsley-lnter-
national) Marie LaForet, Paul Guers, Francoise Pre-
vost. Producer Gilbert De Goldschmidt. Director Jean-
Gabriel Albicocco. 90 min. 8/20/62.

IMPORTANT MAN, THE (Lopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

JOSEPH AND HIS BRETHREN (Coloramal Geoffrey
Home, Belinda Lee. Producers Ermanno Donati, Luigi
Carpentieri. Director Irving Rapper. 103 min. 2/12/62.

KIND OF LOVING, A (Governor Films) Alan Bates,
June Ritchie, Thora Hird. Producer Joseph Janni.
Director John Schlesinger. 11/12/42.

IA NOTTE BRAVA (MiUer Producing Co.) Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 94 min.

LAST OF THE VIKINGS [Medallion) Color, Totalscope.
Cameron Mitchell, Edmond Purdom. 102 min.

LES PARISIENNES ITimes Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE [Medallion) John Agar, Greta Chi. 83 min.

LONG ABSENCE. THE [Commercial Films) Alida Valli,
Georges Wilson. Director Henri Colp. French drama.
85 min. I 1/26/62

LOVE AND LARCENY (Major Film Distribution) Vit-
torio Gassman, Anna Maria Ferrero, Peppino DiFilippo.
Producer Mario Gori. Director Dino Risi. Satire on
crime. 94 min. 2/18/63.

MARRIAGE OF FIGARO, THE [ Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin. D'rector Jean Meyer. French import.
105 min. 2/18/63.

MATTER OF WHO. A (Herts-Lion International) Alex
Nicol, Son|a Ziemann. Producers Walter Shenson,
Milton Holmes. Director Don Chaffey. 90 min. 8/20/62.

MONDO CANE (Times Films Eng.) Technicolor. Pro-
ducer Rizzoli, Cineriz. Director Gualtiero Jacopetti.
Film portrayal of real life. 115 min.

NIGHT OF EVIL ISutton) Lisa Gaye, Bill Campbell.
88 min.

NIGHT, THE (Lopert) Jeanne Moreau, Marcello
Mastroianni, Monica Vitti. Producer Emanuele Cassulo,
Director Michelangelo Antonioni. 120 min. 3/5/62.

NO EXIT (Zenith-International) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.

PAGAN HELLCAT (Times Films Eng.) Tumata Teuiau.
Producer-drrector Umberto Bongignori. 59 min.

PARADISE ALLEY (Sutton) Hugo Haas, Corinne Griffith.

PASSION OF SLOW FIRE, THE (Trans-Lux) Jean
DeSailley, Monique Melinand. Producer Francois
Chavene. Director Edouard Molinaro. 91 min. 11/12/62.

PHAEDRA (Lopert) Melina Mercouri, Anthony Perkins,
Rat yallone. Producer-director Jules Dassin. 115 min.
10/29/62.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I 1 5 min.

RICE GIRL (Ultra Pictures) Elsa Martinelli, Folco Lulli,
Michel Auclair. Producer Carlo Ponti. Director Raffa-
eilo Matarazzo. Dubbed Italian melodrama. 90 min.
2/4/63.

ROMMEL'S TREASURE [Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

SATAN IN HIGH HEELS (Cosmic). Meg Myles. Gray-
son Hall, Mike Keene. Producer Leonard M. Burton.
Director Jerald Intrator. 97 min. 5/14/62.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat
ten. 82 min.

SECRETS OF THE NAZI CRIMINALS [Trans-Lux). Pro-
ducer Tore Sjoberg. Documentary recounting Nazi
crimes. 84 min. 10/15/62.

Film

BULLETIN — THIS IS VOII MODMT

SLIME PEOPLE. THE ( Hutton-Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

SON OF SAMSON [Medallion) Color, Totalscope. Mark
Forest, Chelo Alonso. 89 min.

STAKEOUT Ping Russell, Bill Hale, Eve Brent. 81 min.

SUNDAYS AND CYBELE (Davis-Royal) Hardy Kruger,
Nicole Courcel, Patricia Gozzi. Producer Romain Pines.
Director Serge Bourguignon. 110 min. 11/26/62.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THRONE OF BLOOD (Brandon Films) Toshino Mifone,
Isuzu Yamada. Director Akira Kurosawa 108 min.
1/8/42.

TROJAN HORSE, THE Colorama. Steve Reeves, John
Drew Barrymore, Edy Vessel. Director Giorgio Ferroni.
105 min. 7/23/62.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Times Films Eng. I Color. Pro-
ducer-director Marion Gering.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FOR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

YOJIMBO (Seneca-International) Toshiro M. Fune, Kyu
Sazanka, Nakadai. Director Akiro Kurosana. 101 min.
9/17/62.

METRO-GOLDWYN-MAYER

October

VERY PRIVATE AFFAIR, A Brigitte Bardot, Marcello
Mastnianni. Producer Christine Gouze-Renal. Director
Louis Malle. Story of the meteoric career of a young
screen star who becomes a sex symbol for the world.
94 min. 10/1/62.

November

ESCAPE FROM EAST BERLIN Don Murray, Christine
K-Mifmann. Producer Walter Wood Oirector Robert
Siodmak. Drama of the escape of 28 East Germans to
West Berlin under the wall via a tunnel. 93 min.
10/29/62.

KILL OR CURE Terry-Thomas, Eric Sykes, Dennis Price,
Moira Redmond. Producer George Brown. Director
George Pollack. Detective tale. 88 min. 11/26/62.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GriffTfh. Pro-
ducer A^ron Pos«nbe-q. Director Lewis Mil"<tone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/63.

PERIOD OF ADJUSTMENT Tony Franciosa, Jane Fonda,
Jim Hutton. Producer Lawrence Weingarten. Director
George Roy Hill. Screen version of Tennessee Williams'
Broadway play. 112 min. 10/29/62.

TRIAL AND ERROR Peter Sellers, Richard Attenbor-
ough. Producer Dimitri de Grunwald. Director James
Hill. Comedy about a henpecked murderer and his
ineffectual lawyer. 99 min. 11/26/62.

December

ARTl'RO'S ISLAND Reginald Kernan, Key Meersman,
Vanni De Maigret, Ornella Vanomi. Producer Carlo
Ponti. Director D. Damiani. Based on noted Italian

novel. 95 min. 1/21/63.

BILLY ROSE'S JUMBO Doris Day, Stephen Boyd, Jimmy
Durante, Martha Raye. Producer Joe Pasternak. Direc-
tor Charles Walters. Martin Melcher. Based on the
Broadway musical Tolialgo. 125 min. 10/12/62.

SWORDSMAN OF SIENA Eastman Color. Stewart
Granger, Christine Kaufmann. Producer Jacques Bar.
Director Etienne Pertier. Adventure drama. 92 min.
1 1/26/62.

January

CAIRO George Sanders, Richard Johnson. Producer
Ronald Kinnoch. Director Wolf Rilla. Drama of attempt
to rob the Cairo Museum. 91 min. 2/4/63.

PASSWORD IS COURAGE. THE Dirk Bogarde. Pro-
ducer-Director Andrew L. Stone. One man's war against

the Nazis during World War II. 116 min. 1/7/63.

February

HOOK. THE Kirk Douglas, Nick Adams. Producer Wil-
liam Perlberg. Director George Seaton. Drama set

against background of the Korean War. 98 min.
1/21/63.

March

COURTSHIP OF EDDIE'S FATHER. THE Glenn Ford,
Shirley Jones. Producer Joe Pasternak. Director Vin-

cente Minnelli. Romantic comedy revolving about a
young widower and his small son. 117 min. 3/18/63.

FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
Randell, Russ Tamblyn, Janis Paiqe. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy. 95 min. 3/4/63.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate. Based on the life of Sir Francis Drake. 95 min.
3/18/63.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatolj de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.

IT HAPPENED AT THE WORLD'S FAIR Panavision.

Color, blv.s Presley. Producer led Richmond. Romantic
comedy.

RiFtFI IN TOKYO Karl Boehm. Barbara Lass, Charles
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo.

TAMAHINE Nancy Kwan, Dennis Price. Producer John
Bryan. Director Philip Leacock. Romantic comedy of
a Tahitian girl and her impact on an English public
school.

May

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris

Sagal. Race track comedy. 94 min.

DRUMS OF AFRICA Frankie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.

IN THE COOL OF THE DAY CinemaScope, Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz.

June

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West.

GOLDEN ARROW. THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz.

Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy.

Coming

COUNTERFEITERS D ' PARIS Jean Gakin, Dany Carol.
Producer Jacques Bar. Director Gilles Grangier. 99
min.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

HOW THE WEST WAS WON Cinerama, Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

INTERNATIONAL HOTEL (Formerly Very Important

Persons) Color. Elizabeth Taylor, Richard Burton, Louis
Jordan. Producer Anatole de Grunwald. Director An-
thony Asquith. Comedy drama.

MONKEY IN WINTER Jean Gakin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/63.

MURDER AT THE GALLOP Margaret Rutherford. Paul
Robson. Agatha Christie mystery.

OF HUMAN BONDAGE IMGM-Seven Arts) Laurence
Harvey, Kim Novak. Producer James Woolf. Director
Henry Hathaway. Film version of classic novel.

TARZAN FACES THREE CHALLENGES Jock Mahoney,
Woody Strode.

TICKLISH AFFAIR, A (Formerly Moon Walk) Shirley
Jones. Producer Joe Pasternak. Director George Sid-
ney. Romantic comedy based on a story in the Ladies
Home Journal.

TODAY WE LIVE Simone Signoret, Stuart Whitman.
Producer Jacques Bar. Director Reng Clement. Drama
of temptation and infidelity in wartime.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

WHEELER DEALERS, THE James Garner, Lee Remick.
Producer Martin Ransohoff. Director Arthur Hiller.
Story of a Texan who takes Wall Street by storm.

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy.

November

GIRLS! GIRLS! GIRJ-SI Panavision, Technicolor. Elvis
Presley. Stella Stevens. Producer Hal Wallis. Director

Norman Taurog. Romantic comedy. 106 min.

December

IT'S ONLY MONEY Jerry Lewis, Joan O'Brien, Zackary
Scott, Jack Weston. Producer Paul Jones. Director
Frank Tashlin. Comedy. 84 min. 9/17/62.

January

WHERE THE TRUTH LIES Juliette Greco, Jean-Marc
Bory, Lisolette Pulver.

February

GIRL NAMED TAMIKO, A Technicolor. Laurence Har-
vey, France Nuyen. Producer Hal Wallis. Director John
Sturges. A Eurasian "man without a country" courts an
American girl in a bid to become a U.S. citizen.

WHO'S GOT THE ACTION Panavision. Technicolor.
Dean Martin, Lana Turner, Eddie Albert, Walter Mat-
hau, Nita Talbot. Producer Jack Rose. Director Daniel
Mann. A society matron becomes a "bookie" to cure
her horse-playing husband. 93 min. 10/1/62.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleason,
Glynis Johns. Producer Jack Rose. Director George
Marshall. Comedy-drama based on childhood of silent
screen star Corinne Griffith. 93 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds. Cliff
Robertson, David Jannsen. Producer Garet Gaither.
Director Gouer Champion. Broadway star adopts six
abandoned children. 105 min. 3/18/63.

May

HUD Paul Newman, Patricia Neal. Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director Ritt.
Drama set in modern Texas. 122 min. 3/4/63.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmons,
Pat Hingle. Producer David Susskind. Director Alex
Segol. Film version of play and novel.

COME BLOW YOUR HORN Technicolor. Frank Sinatra,
Barbara Ruth, Lee J. Cobb. Producer Howard Koch. Di-
rector Bud Yorkin. A confirmed bachelor introduces his
young brother to the playboy's world.

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George AxeJ-
rod. Director Richard Quine. Romantic-comedy filmed

on location in Paris.

WONDERFUL TO BE YOUNG Cliff Richard, Robert
Morley. 92 min.

20TH CENTURY-F.OX

October

LONGEST DAY. THE John Wayne, Richard Todd,
Peter Lawford, Robert Wagner, Tommy Sands, Fabian,
Paul Anka, Curt Jurgens, Red Buttons, Irina Demich,
Robert Mitchum, Jeffrey Hunter, Eddie Albert, Ray
Danton, Henry Fonda, Edmond O'Brien, Robert Ryan.
Producer Darryl Zanuck. Directors Gerd Oswald,
Andrew Marton, Elmo Williams, Bernard Wicki, Ken
Asinakin. 180 min.

November

LOVES OF SALAMMBO Deluxe. Jeanne Valerie, Jacques
Sernas. Edmund Purdom. Director Sergio Grieco.
Adventure drama. 72 min. 11/12/62.

December

GIGOT DeLuxe Color. Jackie Gleason, Katherine Kath.
Gabrielle Dorziat, Diane Gardner. Producer Ken Hy-
man. Director Gene Kelly. Story of a mute and a little
girl he befriends. 104 min. 6/25/62.

January

SODOM AND GOMORRAH Stewart Granger, Pier An-
geli, Stanley Baker, Rossana Podesta. Producer Gof-
fredo Lombardo. Director Robert Aldrich. Biblical tale.

154 min. 1/21/63.

YOUNG GUNS OF TEXAS Cinemascope, De Luxe Color.
James Mitchum. Alana Ladd, Jody McCrea. Producer-
director Maury Dexter. Western tale of restless youth.
85 min. I 1/12/62.

February

DAY MARS INVADED EARTH. THE Cinemascope. Kent
Taylor. Marie Windsor. Producer-director Maury Dex-
ter. Science-fiction drama. 70 min.

LION, THE CinemaScope, De Luxe Color. William Hol-
den, Trevor Howard, Capucine. Producer Samuel
Engel. Director Jack Cardiff. Based on best-seller
about a girl's love for a wild lion. 96 min. 9/3/62.

ROBE, THE Re-release.

Film BULLETIN — THIS IS YOUR PRODUCT

M arch

NINE HOURS TO RAMA CinemaScope, Deluxe Color.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/43.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

April

STRIPPER, THE (Formerly A Woman in July I Joanne
Woodward, Richard Beymer, Gypsy Rose Lee, Claire
Trevor.

Coming

CLEOPATRA Todd-AO Color. Elizabeth Taylor, Richard
Burton, Rex Harrison. Producer Walter Wanger.
Director Joseph Mankiewici. Story of famous queen.

LEOPARD, THE Burt Lancaster, Claudia Cardinale.

QUEEN'S GUARDS, THE CinemaScope, Deluxe Color.
Daniel Massey, Raymond Massey, Robert Stephens.
Producer-Director Michael Powell. A tale of the
tradition and importance of being a Guard.

UNITED ARTISTS

October

HERO'S ISLAND James Mason. Neville Brand, Kate
Manx, Rip Torn. Producer-Director Leslie Stevens. Ad-
venture drama. 94 min. 9/17/62.

PRESSURE POINT Sidney Poitier, Bobby Darin, Peter
Falk. Producer Stanley Kramer. Director Hubert Corn-
field. Drama dealing with racial prejudice in U.S. 91
min. 9/17/62.

THREE ON A SPREE Jack Watling, Carole Lesley,
Colin Gordon. Producer George Fowler. Director Sid-
ney J. Furie. 83 min. 10/2/61.

November

MANCHURIAN CANDIDATE. THE Frank Sinatra, Laur-
ence Harvey, Janet Leigh, Angela Lansbury, Henry
Silva. Producers George Axelrod, John Frankenheimer.
Director Frankenheimer. Suspense melodrama. 126 min.
10/29/62.

January

CHILD IS WAITING. A Burt Lancaster, Judy Garland,
Stephen Hill, Gena Rowland. Producer Stanley Kramer'.
Director John Cassavetes. Drama dealing with retarded
children. 102 min. 1/21/63.

TARAS BULBA Tony Curtis, Yul Brynner, Brad Dexter,
Sam Wanamaker, Vladimir Sokoloff, Akim Tamiroff,
Christine Kaufmann. Producer Harold Hecht. Director
J. Lee Thompson. Action spectacle. 122 min. 12/10/62.

February

TWO FOR THE SEESAW Robert Mitchum, Shirley Mac-
lame. Producer Walter Mirisch. Director Robert Wise
Based on the Brodaway hit. 119 min. 10/29/62.

March

FIVE MILES TO MIDNIGHT Sophia Loren, Anthony
Perkins, Gig Young, Jean-Pierre Aumont. Producer-
director Anatole Litvak. Suspense drama about an
American in Europe who schemes to defraud an insur-
ance company. 110 min. 3/4/63.

LOVE IS A BALL Technicolor, Panavision. Glenn Ford,
Hope Lange, Charles Boyer. Producer Martin H Poll!
Director David Swift. Romantic comedy of the interna-
tional set. I I I min. 3/4/63

April

DR. NO Technicolor. Sean Connery, Ursula Andress
Joseph Wiseman, Jack Lord. Producers Harry Saltz-
m*n, Albert R. Broccoli. Dir=rtor Terence Young. Action

3/l8/63baSed 0" "OVel ty Fleming' 111 min-

I COULD GO ON SINGING Eastmancolor Panavision
Judy Garland, Dick Bogarde, Jack Kluqman. Producers
Stuart Millar, Lawrence Turman. Director Ronald
Neame. Judy returns in a dramatic singing role 99
mm. 3/18/63.

Coming

BEAUTY AND THE BEAST Joyce Taylor, Mark Damon
Edward Franz, Merry Anders. 77 mm.

CALL ME BWANA Bob Hope, Anita Ekberg Edie
Adams. Producers Albert R. Broccoli, Harry Saltzman
Director Gordon Douglas.

DIARY OF A MADMAN Vincent Price, Nancy Kovak
Producer Robert E. Kent. Director Reginald Le Borg.
96 mm. 3/4/63.

GREAT ESCAPE. THE Deluxe Color, Panavision. Steve
McQueen, James Garner, Richard Attenborough. Pro-
ducer-director John Sturges. Based on true prisoner of
war escape.

[RMA LA DOUCE Color. Jack Lemmon. Shirley Mac-
Lame. Producer-director Billy Wilder. Comedy about
the "poules" of Paris, from the hit Broadway play.

CARETAKERS, THE Robert Stack, Polly Bergen Joan
Crawford. Producer-director Hall Bartlett.

CEREMONY, THE Laurence Harvey, Sarah Miles, Rob-
ert Walker, John Ireland. Producer director Laurence
Harvey.

nanism!

October

NO MAN IS AN ISLAND Color. Jeffrey Hunter. Pro-
ducer-Directors Richard Goldstone, John Monk, Jr.
War melodrama. I 14 min. 8/6/62.

November

IF A MAN ANSWERS Color. Sandra Dee, Bobby Darin.
Producer Ross Hunter. Director Henry Levin. Romantic
comedy. 102 min. 9/3/62.

STAGECOACH TO DANCERS' ROCK Warren Stevens,
Martin Landau, Jody Lawrence, Don Wilbanks, Del
Morre, Bob Anderson, Judy Dan. Producer-D, rector
Earl Bellamy Western. 72 min. 10/15/62.

January

FREUD Montgomery Clift, Susannah York, Larry Parks.
Producer Wolfgang Bernhardt. Director John Huston.
Story of Freud's initial conception of psychoanalysis.
139 min. 12/24/42.

February

40 POUNDS OF TROUBLE Color, Panavision. Tony Cur-
til, Phil Silvers, Suzanne Pleshette. Producer Stan Mar-

r. nles. Director Norman Jewison. Comedy. IU5 mm.
12/24/62.

MYSTERY SUBMARINE Edward Judd, Laurence Payne,
James Robertson Justice. Producer Ber.ram Cier.
Director C. Pennington Richards. 92 min. 1/21/63.

March

TO KILL A MOCKINGBIRD Gregory Peck. Producer
Alan Pakula. Director Robert Mulligan. Based on
Harper Lee's novel. 129 min. 1/7/63.

April

BIRDS, THE Technicolor Rod Taylor, Jessica Tandy,
Suzanne Pleshette, Tippi Hedren. Producer-Director Al-
fred Hitchcock. Suspense drama.

UGLY AMERICAN, THE Color. Marlon Brando, Sandra
Church, Yee Tak Yip. Producer-Director George Eng-

lund. Uramd b-sid wn Da^T-sehing n^vei.

Coming

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN. M.D. Gregory Peck, Tony Curtis,
Angie Dickinson, Bobby Darin, Eddie Albert. Producer
Robert Arthur. Director David Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mil's, John Mills. Producer Ross Hunter. Direc-
tor Ronald Neame.

CH«.R*DE Color PanavMon. Cary Grant, Audrey Hep-
burn. Producer-Director Stanley Donen.

DARK PURPOSE Color. Shirley Jones, Rossano Brazzi,
George Sanders, Micheline Presle, Georgia Moll. Pro-
ducer Steve Barclay. Director George Marshall.

FOR LOVE OR MONEY (Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon.

GATHERING OF EAGLES. A C^lor. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven. Producers Robert Arthurs, Stanley Sha-
piro. Director Ralph Levy.

LANCELOT AND GUINEVERE Color. Panavision. Cornel
Wilde, Jean Wallace. Producers Cornel Wilde, Bernard
Luber. Director Wilde.

LIST OF ADRIAN MESSENGER. THE Georqe C. Scott,
Dana Wynter. Producer Edward Lewis. Director John
Huston.

MAN'S FAVORITE SPORT Color. Rock Hudson, Maria
Perschey, Paula Prentiss. Producer-director Howard
Hawks.

MONSIEUR COGNAC Color. Tony Curtis. Producer
Harold Hecht. Director Michael Anderson.

PARANOIC Janette Scott. Oliver Reed. Producer An-
thony Hinds. Director Freddie Francis.

SHOWDOWN IFormerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen.

TAMMY AND THF DOCTOR Co!"-- Sand" D*e P-W
Fonda. Producer Ross Hunter. Director Harry Keller.

THRILL OF IT ALL. THE Color. Doris Day, James Gar-
ner Arlene Francis. Producers Ross Hunter, Martin
Melcher. Director Norman Jewison.

WARNER BROTHERS

November

GAY PURR-EE Technicolor. Voices of Judy Garland,
Robert Goulet, Red Buttons, Hermione Gingold. Pro-
ducer Henry G. Saperstein. Director, Abe Levitow.
Animated comedy feature of Parisian cats. 86 min.
10/29/62.

WHAT EVER HAPPENED TO BABY JANE? Bette Davis,
Joan Crawford. Producer-Director Robert Aldrich.
Shock thriller. 132 min. 10/29/62.

January

GYPSY Technicolor, Tech.->irama. Rosalind Russell, Nat-
alie Wood, Karl Maiden. Producer-Director, Mervyn
LeRoy. From Broadway musical hit based on Gypsy

Rose Lee s career. 149 min. 10/1/62.

February

DAYS OF WINE AND ROSES Jack Lemmon, Lee
Remick. Producer Martin Manulis. Director Blake
Edwards. A drama of the effects of alcoholism in a
modern marriage. 117 min. 12/10/62.

TERM OF TRIAL Laurence Olivier, Simone Signoret. Pro-
ducer James Woolf. Director Peter Glenville. Drama of
young girl's assault charge against teacher. 113 min.
1/21/63.

March

GIANT Re-release.

A pril

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope.
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min.

M ay

AUNTIE MAME Re-release.

ISLAND OF LOVE IFormerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece. 101 min.
CUMMER PLACE, A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

CASTILI AN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against th Moors. 129 min.

July

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry
Maureen O'Hara. Producer. director Delmer
Modern drama of a mountain family. 119 min.

World

Fonda ,
Daves.
3/4/63.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens. Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend.

PANIC BUTTON Maurice Chevalier, Eleanor Parker,
Jayne Mansfield. Producer Ron Gorton. Director
George Sherman. Comedy set in Rome.

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama.

YOUNGBLOOD HAWKE Technicolor. Warren Beatty.
Suzanne Pleshette. Producer-director, Delmer Daves.
From Herman Wouk's best-selling novel.

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"ONE OF THE MOST OUTSTANDING
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SATURDAY EVENING POST

"EASILY THE BEST U.S. MOVIE RE-
LEASED IN 1962!

TIME MAGAZINE

I SALUTE ALL THOSE WHO HAD A HAND
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THE NEW YORKER MAGAZINE

A BEAUTIFULLY WROUGHT MOVIE!'

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BULLETIN

Opinion of the Ind.-u.stry

APRIL 15, 1963

OSCAR WAS
IN BEST FORM

The telecast had pace, dignity, entertainment.
Awards, for the most part, ran true to form
and bespoke filmdom's accent on quality.

Pay TV9s Problems

Wtet They're Mini About

□ □ □ In the Movfo Business □ □ Q

eviewi

THE GREAT ESCAPE
Film of Distinction
0

BYE BYE BIRDIE
THE UGLY AMERICAN
THE MAN FROM THE DINERS' CLUB
THE YELLOW CANARY
LANDRU
PARANOIAC
FIASCO IN MILAN
SHOWDOWN
THE MIND BENDERS

PICTURE

Producer: Sam Spiegel

BEST
DIRECTION

David Lean

BEST

CINEMATOGRAPH

(COLOR) Fred A.Young

BEST

ART DIRECTION

(COLOR) John Box and John Stoll
Set Decoration: Dario Simoni

BEST

MUSICAL SCORE

(Original) Maurice Jarre

BEST

FILM EDITING

Anne Coates

BEST
SOUND

Shepperton Studio Sound Department
Sound Director: John Cox

WINNER OF
7 ACADEMY AWARDS ^

What They're Talking About

□ □ □ In the Movie Business □ □ □

PAY TV — PROBLEMS. PROBLEMS. That
pie-in-the-sky is turning moldy for the
promoters of pay television. Numerous straws
in the wind indicate that the feevee
entrepreneurs are beginning to suffer pangs
of doubt about the future of the
"boxoffice in the home".
Paramount's Telemeter experiment in
Etobioke, Canada, after three years of
grandiose claims and faltering operation, now
admits to a decrease in the number of
subscribers. The latest financial report of
Famous Players Canadian Corp., Ltd., which
Is carrying the Telemeter ball in the Toronto
suburb, now puts higher hopes in the prospects
of theatre television than in home pay TV.
Telecasts of hockey games and fights in the
1500-seat College Theatre in Toronto have
been highly successful. The FPC annual report
to stockholders states: "The popular response
to these attractions which we have had, i.e.,
jbften sold out and on the average more than
30% sold out in a theatre which is not centrally
located and without parking facilities,
encourages us to believe that they can be
presented with equal success in other theatres
n Toronto and surrounding communities.
Negotiations to that end are now
^eing conducted."

\s to the home variety of pay TV in Etobicoke,
=amous Players Corporation president
J. J. Fitzgibbons advised: "We have changed
Our policy in that we are charging a fixed fee
of $15 per year to each connected subscriber
in addition to the charges for each individual
program. This has had the effect of decreasing
the number of connected subscribers by
eliminating those who used the apparatus now
and then." Mr. Fitzgibbons hailed the
announcement by National General Corp. that
it would establish a theatre television network

in the U. S. within the next year.
Elsewhere on the home pay TV front one finds
signs of diminished fervor. "Broadcasting,"
the trade magazine, recently reported that
a check-up on the Hartford experiment
revealed the public response there was
"more modest than originally visioned" by the
RKO Phonevision operators. In Little Rock,
Arkansas, where the Telemeter promoters won
a court ruling requiring the local telephone
company to furnish wires for pay TV service,
no move has been made to get the project
off the ground. A strong suspicion prevails
that the court action taken there was merely
a move made on favorable ground to set a
precedent for other areas which feevee
operators hope to invade.

In Denver, the pay TV promoters looked the
facts in the eye and decided to cut their rates
long before they started their experiment.
George A. Bartell, president of Macfadden
Teleglobe, let it be known that his company
would drop the originally announced 750 weekly
line charge for subscribers who spend a
minimum of 750 per week for programs.
The reason Mr. Bartell gave for this largesse:
a reward to the good people of Denver for
their enthusiastic reception of pay TV. Over
5,500 citizens had already evinced interest
in the Teleglobe system, he said. Actual
subscribers: "about 300". The statistics
prompted Philip F. Harling, anti-feevee
spokesman, to comment: "If this response
is so great, why did they lower the rates?" Why?
From abroad, via "Broadcasting", came some
news about pay TVs progress in England.
In sum, the story was this: "Great Britain's
invitation for applications from companies
wishing to operate experimental pay television
on 'wired networks' next year has met with
nothing more than a nod of interest so far . . .
Rigid government restrictions apparently would
influence the nature of any company which
receives the pay TV franchise, including a
provision that the company must be set up
'to operate pay television as its main interest'."

COLUMBIA PICTURES I

congratulates I

SERGE BOURGUIGNOf
and ROMAIN PINES I

JL for their I

ACADEMY! AWARD-WINNINi

reign Language Picture Of The Yea

Mi,

L-

directed by SERGE BOURGUIGNON • starring HARDY KRUGER and NICOLE COURCEL'and introducing PATRICIA 6

Screenplay by Serge BOUrgUlgnfjn and AntOine TLldal From the nouel Les Dimanches de Ville d'Avray" by Bernard Eschasseriaux • Photography by Henri DeCae • Original music by Maurice J3I

Additional music: Extracts 0/ Tibetan Music. Adagio /or Organ and Orchestra by D'Albigmmi. Tenth Concerto for Organ and Orchestra by Handel, Antique Dances by Respighi and Christmas Mass by Carpentier • Produced by ROmSlfl

A Terra Film • Fides Orsay Film Les Film Trocadero Co Production • A DAVIS-ROYAL FILMS RELEASE

V,

APRI

Aewpotnts

L 15, 1963 / VOLUME 31, NO. 8

Questions far You. $Mr. Exhibitor

The past decade in America has
been the do-it-yourself era; and we
might as well face the fact that you,
Mr. Exhibitor, in your search for a real
full-scale recovery program, will have
to do a lot of it yourself.

The film companies in recent years
have been taking their friends as they
find them — in free and pay television
as much as in the theatre field. They
will help the exhibitor who helps him-
self; but in today's climate they are
not blazing the trails. It's up to you,
Mr. Exhibitor, to come up with some
solutions of your own.

We suggest you start by asking your-
self a few pertinent questions. It might
be well to write out your answers, in
order that you will see before your own
eyes a program to solve your problems.
Here are a few questions you might
ask:

Who's running my theatre? Am I
asserting myself sufficiently as the pol-
icy maker for my own theatre? Am I
developing sufficient sources of film
supply so that I don't have to be hung
up by a booking jam on a couple of
films? Am I depending entirely on na-
tional and press book promotions of
pictures instead of developing my own
standard promotions?

Obviously, the number of pictures I
can find to play at my theatre is bound
to be subject to the booking policies of
the major distributors, clearances and
so forth — but have I explored the prod-
uct line-ups of the smaller outfits, the
foreign offerings, the reissues, the spe-
cial programming possibilities, so that
I don't always have to take whatever
I'm offered?

What am I selling? That's a question
I should decide immediately. Am I just
selling a picture on a screen, or am I
also selling my theater as an entertain-

ment institution? Am I presenting my
refreshments as attractively as possible
and getting maximum returns from
that important source of income? Am I
selling a package of entertainment for
and to the entire family? Am I selling
a show that starts at the right time of
the evening to be proper for the enter-
tainment package?

Can I cooperate with my competitor?
Am I engaged in blind and costly com-
petition with a fellow exhibitor, in-
stead of cooperating with him for our
common benefit? Are we bidding
against each other, instead of splitting
the product? And how much could we
help each other by cross-plugging our
theatres? Why not pick up the phone
and call him today for a meeting?

Do I know what's going on in the
business? Do I read the trade papers
thoroughly? Am I well informed as to
the availability and quality of product,
the trends in public taste, the work of
theatre operators elsewhere? Do I
know how to translate this information
for my own use?

Am I giving as much service as I
might? Do my patrons have to grope
for their seats in the dark or is there
an usher to show them the way? Have

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUB LI CATION -EDITORIAL OFFICES: 123? Vine
Street, Philadelphia 7, Pa., LOcust 8-0950, 095 1 .
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manager; Max Garelick,
Business Manager; Robert Heath, Circulation
Manager. BUSINESS OFFICE: 550 Fifth Ave-
nue, New York 36, N. Y., Circle 5-0124;
Ernest Shapiro, N.Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
S3. 00 in the U. S.; Canada, $4.00;
Europe, $5.00. TWO YEARS. $5.00 in
the U. S.; Canada, Europe, $9.00.

I the best screen and is my sound sys-
tem up to par? Do I run as many
special shows — children's matinees, wo-
men's shows, merchants' appreciations,
lodge nights, etc. ? Have I come up with
any new service ideas geared to the
modern needs of the people of my com-
munity— from better parking facilities
to, let's say, parcel checking?

Have I checked my market lately?
Do I know for a fact which are my best
promotional media? Have I used them
all so that I have a basis of comparison
among radio, television, billboards,
window cards, program mailings, news-
paper ads, snipes, street bally and so
forth? Have I made ticket-selling con-
tact with the local school system?

Do I know' what my patrons want?
Have I a definite clientele for specific
kinds of pictures, and do I try to find
the pictures these patrons have shown
they want? Have I gone over my attrac-
tions of the past couple of years to see
whether any pattern of preferences
emerges? Do I have any knowledge of
whether price is a factor — is there a
specific ticket price which seems to be
most attractive and still profitable? Or
is price immaterial to my patrons?

Is my theatre worth saving? Are the
prospects of future business and of fu-
ture population trends in my area suf-
ficiently healthy to warrant keeping the
theatre in business? Is the amount of
investment necessary for proper opera-
tion of the theatre justified by the pres-
ent and foreseeable level of business?

These are the big questions for each
exhibitor to answer tor himself. Before
you can expect the distributors to face
up to your problems, face up to them
yourself. Only after you have a cleai
understanding of your own situation
can you formulate a positive program
for survival.

Film BULLETIN April 15, 1963 Page S

Did You Ei/er See

A Canary With A Gun?

IT'S HOT AS A PISTOL!
pnnnpu SO IS THE CAMPAIGN!

UdUdllJ ANOTHER BIG ONE FROM 20th!

yeunr

Oscar Derby Reveals
Filmdom's New Style

About noon of April 8 an anonymous
voice on the phone asked if the editor
of Film BULLETIN would like to have
the betting "line" on the Academy
Awards. Assured that no commitment
of a wager was necessary, we told the
caller to give us the dope.

This was the line: Best Picture —
"Lawrence of Arabia" the favorite at 2
to 5, "To Kill a Mockingbird" 7 to 5,
the field (all others) 20 to 1; Best
Actor — Gregory Peck the favorite at
even money, Jack Lemmon 6 to 5, Peter
O'Toole 8 to 5, Burt Lancaster 12 to 1,
Marcello Mastroianni 25 to 1; Best Ac-
tress— Bette Davis the favorite at even
money, Ann Bancroft 9 to 5, Katherine
Hepburn 2 to 1, Geraldine Page 3 to 1,
Lee Remick 20 to 1. In the Best Song
category our informant listed "Days of
Wine and Roses" odds-on at 1 to 10,
and warned that if he "got any more
action on it, he would take if off the
board!"

The incident is related to reveal not
only how shrewd the oddsmakers were
(with the exception of the Best Actress
award), but to point up the fact that
the Oscar Show is beginning to rival the
Kentucky Derby and the World Series
as a national event.

With TV and radio audience re-
searchers in such bad repute at this
writing, it would be unwise to rely on
professional estimates. One is safer to
guess at the size of the audience that
saw and heard the Academy Awards

Frank Sinatra introduces Sophia Lor en,
who winged in to make a presentation.

am

BEST PICTURE
WINNERS

"Lawrence of Arabia",
"Sundays and Cybele",
the French import,
gave Columbia a dual
victory in the key Best
Picture categories.

show on the night of the 8th, and a
fair country guess is that 8 out of every
10 television and radio sets were dialed
to the events taking place in the Santa
Monica Civic Auditorium. What they
saw and heard was one of the best of
the 35 Oscar shows.

Some of the movie-hateing TV colum-
nists to the contrary notwithstanding,
this year's production had pace, dignity
and entertainment. While the awards
ran true to form, there was no lack of
suspense, and there were a few sur-
prises among the choices of the Aca-
demy members to enliven the affair.
From an industry public relations stand-
point, it was one of the strongest
presentations, for most of the selections
and the words uttered into the micro-
phones bespoke the current accent on
quality in motion pictures.

Master of ceremonies Frank Sinatra

handled his chore with class and style.
Some missed Bob Hope's quips, but
everyone seemed to find Frankie a wel-
come relief from the ill-advised type of
humor dispensed by Jerry Lewis. Pro-
duction chief Arthur Freed merits praise
for his pacing of the show. It moved.
The more ample use of clips from
nominated films was a plus factor (al-
though better sequences could have
been selected in some cases). The pres-
ence of a number of past Oscar winners
to hand out this year's statuettes added
to the glamour and sparkle, and some
solid moments of entertainment were
provided by singers Fddie Fisher, Ethel
Merman and Robert Goulet.

Faults? There were some. Those
technical awards, important to the re-
cipients hut not to the public at large,
again took up almost half of the show

(Continued on Page 10)

Film BULLETIN April 15, 1 963 Page 7

No Middleman for
Bronston First Runs

Declaring
himself as
disturbed and
very unhappy
with the cost
of distribution
and with the
lack of indi-
vidual i z e d
merchandising
accorded his
films by ma-

jor distribu- bronston
tors, Samuel

Bronston is moving to eliminate the
middleman.

The prominent independent producer
("El Cid", "King of Kings", "55 Days
at Peking") disclosed last week a plan
to establish "a dramatic new form of
domestic distribution", whereby his
own organization, Bronston Distribu-
tions, Inc., will handle the first 2000
to 3000 bookings of all Bronston pro-
ductions starting with "The Fall of the
Roman Empire", which is slated for
release in Spring, 1964. Paul N. Laza-
rus, Jr., executive vice president of the
production unit, will head the distribu-
tion company, with Harold Roth as
sales manager.

The decision, Bronston declared, is
based on his conviction that "pictures
such as ours can only be properly han-
dled by a small, hard-hitting, dedicated
group of sales executives." The major
companies, he believes, "are unable to
custom-tailor their patterns to the in-
dividual needs of each picture." His
company is losing money by distribut-
ing through the majors, the producer
stated.

Lazarus said that there is no imme-
diate need to open branch offices or to
add personnel. The first 2000 to 3000
dates on each picture will be given
"roadshow launching", after which the
films will be turned over to other com-
panies to distribute. The plan also in-
cludes the possibility of having Bron-
ston Distributions handle pictures of
orher producers.

ECA Folds. The Big
Loser Is Exhibition

The high hopes held by exhibition
that it would have a fertile new source
of product in Entertainment Corp. of
America are shattered. ECA disbanded

CAST &

CREDITS
■

Report un the Industry's
PEOPLE and EVENTS

before a camera turned on its first
production.

The young, aggressive triumvirate of
Max E. Youngstein and associates,
Jerome Pickman and Charles Simonelli
had made a strong move in lining up
talent and properties, but the essential
financing was hard to come by. A.C.E.
Films, the exhibitor-sponsored produc-
tion unit, finally agreed to advance
some funds for the promising initial
project, "Fail-Safe", from the best-
seller. But then the axe fell. A plagiar-
ism suit was filed against the authors
of the novel and an injunction against

YOUNGSTEIN

the movie was sought by Stanley Kub-
rick, who is making "Dr. Strangelove:
Or How I learned to Stop Worrying
and Love the Bomb". A.C.E. refused
to support the legally-hampered "Fail-
Safe", withdrew its financial backing.

Last week, Youngstein's outfit had
to throw in the towel. Columbia Pic-
tures, which is distributor for "Dr.
Strangelove", took over "Fail-Safe".
The other ECA projects were assigned
elsewhere.

ECA's personnel: Youngstein will
serve as executive producer on "Fail-
Safe" and on "The Winston Affair",
which 2t0h-Fox will produce. He is
being sought by several companies for
important executive posts. Simonelli
was named vice president of Techni-
color and will be in charge of that
company's New York operations. Pick-
man is expected shortly to announce a
new association in the industry.

The big loser: exhibition.

READE

Reade to Universal:
Come in, Water's Fine

Macy's compliments Gimbel's. And
Walter Reade, Jr. welcomes Universal
into the field of producers of films for
specialized audiences.

Reade, board chairman of Walter
Reade-Sterling, Inc. and Continental
Distributing, is both an operator of
"art" theatres and a producer-distribu-
tor of films for the specialized market.
Last week he lauded the announcement
by Universal that it planned to set up
a special unit for the development of
new talent and the production of un-
usual low-budget pictures.

"I welcome Universal", said Reade,
"not as a competitor, but as the first
major film company to join the ranks
of those of us who are serving this
large and constantly growing segment
of our national audience ... It is tre-
mendously encouraging to those of us
who have pioneered for so many years
in this field to at last see a major com-
pany undertake its own production in
this area."

Allied's 4 Big Days

Allied States Association is holding
out the promise of aggressive business-
building sessions and New York's gay
night life to lure exhinbitors to its an-
nual convention at Manhattan's Ameri-
cana Hotel next Oct. 21-24. Convention
chairman Irving Dollinger stated that
the business meetings will concentrate
on "increasing the profits of theatre
operations", while the after-business
activities will include Broadway plays
and night clubs.

Morton Sunshine, it was learned,
would be in charge of the convention
functions.

Pearlman Joins Col.

Gil Pearlman is the new advertising
manager of Columbia Pictures, vice
president Robert S. Ferguson announced.
Pearlman had previously served in the
same capacity for Buena Vista.

Pdqo 8 Film BULLETIN April 15, 1963

FOR THAT EAS

5TER PARADE RIGHT TO

YOUR BOXOFF

=ice. ..BOOK IT NOW!

Contact your m g m branch NO W!

WINNERS. David Lean holds his Oscar for
Best Achievement in Directing ("Laurence
of Arabia" ). Gregory Peck, Best Aactor ("To
Kill a Mockingbird" ), in a scene with Mary
Badham. Anne Bancroft, Best Actress, and
Patty Duke, Best Supporting Actress, in scene
from "The Miracle Worker". Ed Begley
clutches his Oscar for Best Supporting Actor
("Sweet Bird of Youth") a.id gets bussed
by Rita Moreno.

DSCAR DERBY

( Continued from Page 7)
and tended to slow down the proceed-
ings for the millions on the outside.
The filmed inserts of speeches by
former award winners who could not
be present were dull. Turn that task
over to some glamorous live personali-
ties next year! The Oscar show is an
important enough event for any per-
former to fly into California from any
corner of the world. And why were the
Best Song nominations compressed into
an abridged medley, rather than given
imaginative production dressings? A
dance or two would have been welcome.

The awards, for the most part, were
richly deserved. "Lawrence of Arabia",
as anticipated, walked off the big win-
ner with seven awards. Film BULLE-
TIN likes to recall that its review in
the December 24 issue said of it: "A
motion picture masterpiece . . . Will
rank high on list of all-time film greats."

Columbia Pictures enjoyed the unique
distinction of having two films it dis-
tributes win Best Picture honors: "Law-
rence" and "Sundays and Cybele",
the Best Foreign Film. Universale
hopes hung high on "To Kill a Mock-
ingbird", and it won three Oscars, in-
cluding Peck's as Best Actor. "The
Miracle Worker", which did not set
boxoffices afire in its initial release,
got a new lease on life with the awards
to Anne Bancroft (Best Actress) and
young Patty Duke (Best Supporting
Actress). United Artists rushed "Miracle
Worker" back into release, and now a
new audience has a chance to discover
what a fine film it is and how superb
are the Bancroft and Duke performances.

Diversification and some difference

of opinion marked the top awards.
Peck's performance as the "Mocking-
bird" father was indeed outstanding,
and though some leaned to Peter
O'TooIe's "Lawrence" as a more com-
plex and fascinating delineation, there
was little argument with the final
choice, which was extremely popular

Sam Spiegel, producer of "Law-
rence of Arabia", gets Oscar
from Olivia deH av ill an d .

Scene from "Divorce — Italian
Style" Best Original Screenplay

Scene from Darryl Zan-
uck's "The Longest Day" ,
winner of two awards

with those in attendance. Perhaps the
biggest suprise of all was the Best Sup-
porting Actor award to Ed Begley for
his work in "Sweet Bird of Youth".
Most anticipated that this category
would bring another award to "Lawr-
ence" in the person of Omar Sharif, but
Mr. Begley's victory was roundly ap-
plauded by the audience in the auditor-
ium. Hardly any dispute was heard
about Horton Foote's brilliant adapta-
tion of Harper Lee's "Mockingbird" or
about the award to the Messrs. Ennio
DeConcini, Alfredo Giannetti and Pietro
Germi for their highly original screen-
play, "Divorce — Italian Style".

There is a strong view in some quar-
ters that some thought should be given
to breaking down the Best Picture
awards in the future. They point to the
fact that recent years have seen almost
clean sweeps by blockbusters — "Ben
Hur", "West Side Story", "Lawrence of
Arabia". While not taking anything
away from such outstanding films, they
ask what chance smaller pictures of real
merit have in the Oscar sweepstakes.
Is it possible that the Academy of
Motion Picture Arts and Sciences will
consider separate awards for different
types of Best Pictures (Best Spectacle,
Best Modest-Budget Picture)? Bigness
must not be allowed to become the gov-
erning factor in the choice of Best
Pictures.

A final word or two about the rank-
ling comments of some of the television
columnists, who seem to live from year
to year only for the opportunity to pan
the Oscar show.

Kay Gardella, in the New York
Daily News mourned for the movie
industry in these terribly sad words:
"Whether the Academy of Motion Pic-
ture Arts and Sciences realizes it or not,
'The Days of Wine and Roses', as
filmland once knew them, are over.
Past. Done for."

Could it be that they're jealous of the
bigness of the motion picture and the
minuteness of the medium they view?

Page 10 Film BULLETIN April 15, 1963

FINANCIAL REPORT

Cummings Buys More M-G-M,
Lehman Adds to 20th Holdings

Important stockholders in Metro-Goldwyn-Mayer and 20th
Century-Fox added substantially to their holdings in the two
film companies recently. The official SEC summary of security
Transactions for the Feb. 11 to March 10 period revealed that
Nathan Cummings, a director of M-G-M, purchased a total of
iOOO shares in ten individual buys during February, increasing
lis common shares to 54,781. Robert Lehman, a 20th-Fox
director who had been active in the opposition to the Skouras
management about a year ago, picked up 4200 Fox shares in
February, bringing his total holdings to 20,023.

Other noteworthy transactions for the period were these:
American Broadcasting-Paramount Theatres president Leonard
H. Goldenson disposed of 5000 shares of his company's stock.
3. B. Wallerstein, a director of AB-PT, exercised an option to
nirchase 2143 common shares. MCA further extended its con-
rol of Decca Records by picking up an additional 8000 shares,
ind was listed as holding a total of 1,340,515 at the end of Feb.
3fficers and directors of National General continued heavy
mying of that company's shares, recording a total of 23,100 for
he same month. The largest purchase was 10,000 shares by
Joyd Drexler. NG has been one of the most active industry
ssues for the past several months.

Fitzgibbons Cites Films-on-TV as
Problem for Canada Theatres, Too

The same factors that are disturbing theatremen in the U. S.
are prevalent as boxoffice deterrents in Canada. This was
revealed in the annual report made by president J. J. Fitzgibbons
to shareholders of Famous Players Canadian Corp. Ltd. In
addition to the fact that some pictures failed to draw as well as
anticipated, and the product shortage forced theatres to play
the available product too long, the FP executive pointed up the
most crucial problem facing exhibition today.

"Theatre attendance has been adversely affected ", he declared,
"by the showing of motion pictures in prime evening time on
television. This is a competitive situation affecting the Theatre
Industry, as well as some other industries, and to which we are
adjusting our operations as quickly as possible."

In 1962, Famous Players net was $2,667,449 ($1.54 per
share), as compared to $2,423,919 ($1.40) in 1961. The in-
crease, however, was equalized by the fact that the '62 profit
included 50 cents per share realized on the sale of fixed assets,
whereas the 1961 figure included 36 cents from this source.

(For Mr. Fitzgibbons' pertinent comments on pay TV, in
which his company is involved in Etobicoke, Canada, see What
They're Talking About, Page 3.)

20th Loss Close to $40 Million

What must stand as a record loss for a motion picture com-
pany was reported by 20th Century-Fox for 1962. A total
$39,796,094 deficit, including $33,374,000 "representing down-

(Continued on Page 14)

Blockbusters Offer Risk us well us Grury9
JVeu? Tulent Studios* Nee€l9 Says Vttlue Line

Will the major film companies be able to cure their own
prodigality in production, reduce the profit-squeezing de-
mands of established stars, and solve the talent shortage?
If they can accomplish these goals — and they appear to be
"back on the right track" — they will go a long way toward
reestablishing their once-predominant position as leaders of
the film production field. This is the view developed by The
Value Line Investment Survey, published by Arnold Bern-
hard & Co., in its latest analysis of the motion picture
industry.

Reviewing the recent history of the blockbuster era in
movie-making, Value Line concludes that it's a "trouble if
they do . . . and trouble if they don't" proposition. The trouble
if they do produce multi-million blockbusters is that some
prove to be costly failures and others create enormous prob-
lems for the producing companies. In the latter category are
cited "Cleopatra" and "Mutiny on the Bounty", which, the
survey states, were so dominated by their stars (Elizabeth
Taylor and Marlon Brando) that the costs kited far out of
reasonable range. The trouble if studios don't produce block-
busters, says Value Line is that they make no money. Para-
mount is given as a prime example of a studio following the
latter course. "Paramount Pictures has not released a $10
million picture for more than 5 years — indeed, not since the
loss of DeMille. What happened to Paramount last year? It
reported its first loss in history."

What is the solution? The VL analysis sees two possible
answers to the cost and production problem. One path the
film companies can follow is exemplified by Columbia's
blockbuster, "Lawrence of Arabia", which was not burdened
by any high-priced name stars. "The second alternative ",
suggests Value Line, is that which has been followed with
such success by many of the independents — namely, the pro-
duction of top quality films such as 'David and Lisa' on low
budgets. Walt Disney, which has been extremely successful,
has not followed that formula exactly, but it has produced
unusual films — if only in the sense that they have had enor-
mous 'children' and 'family' appeal.

"What it comes down to is this: the motion picture pro-
ducers must make films which will draw the public, but they
must not permit costs to get out of hand." That viewpoint
leads the VL analyst to the conclusion that one of the most
urgent problems facing the film companies is the replenish-
ment of the fund of talent upon which it can draw. Several
major companies are reported actively engaged in the de-
velopment of new talent. "It appears that they are back on
the right track in their effort to develop new talent to supple-
ment, if not replace, existing stars," the analysis states. "We
think that they will succeed in recapturing the solid position
they once enjoyed."

( ( ontinui il on Page 14 )

Him BULLETIN April 15. 1943 Page 11

I

7ke Vieu from OutJi'de

HBRHHH by ROLAND PENDARIS ■HHHI

Timing of the Oscar Show

This column was written at the height of the Easter season.
In case you have difficulty recognizing the height of the Easter
season, you have only to visit Rockefeller Center in New York
City and see the queuing customers in full bloom outside the
Music Hall. The line is long and business is good and Spring
is in the air. Spring lasts a nice while, but the line and the busi-
ness are not always quite as hardy.

This brings me to the question of timing. Since Easter time
is generally a good business season, and since the pictures which
do the good Easter business are not usually the top Oscar
winners, why is Academy Award time established at the begin-
ning of the Easter bonanza? Why isn't the boxofhce blessing
of Oscar aimed at a time of year when the movie industry really
needs blessings, such as, for example, January 15th? It is
generally conceded that Academy Awards help boost business. I
suggest they be timed for the time of the year when the business
is most in need of boosting.

At the risk of being fashionable, I should like to say a few
words about the Academy awards — or, more precisely, about the
ceremonies. Isn't it about time that the Academy stopped using
static film clips of absent stars reading from a teleprompter to
introduce a series of award presentations?

In our house we found that the program came to a dead halt
every time the action shifted from Santa Monica to an empty
studio in Europe. Surely there are enough big stars on hand in
Hollywood to do the whole show live. As far as I am concerned,
"canned" introductions for the Oscar ceremonies vitiate most of
the excitement of the evening. That would be true even if the
remarks written for the on-film absentees were polished prose.
But the words are dull and the celluloid is flat and I prefer my
Oscar presentations live, thank you.

•4 ►

I have a theory about the fan magazines. My feeling is that
these publications haven't passed away. They have merely shif;cd
to another medium. The sensational magazines that bear the
names of some once top-flight fan books are masquerading. The
kind of copy these magazines once used is now reserved for
several newer media — radio and television.

Yes, ladies and gentlemen, that's where you'll find the fan
magazines today. Instead of confiding to a fan magazines by-
liner, Gloria Glamorous now confides to millions of viewers
via a late night interview and variety program. Her appearance
is set up by a press agent, the arranged questions are asked,
the desired image is — if all perform according to Hoyle —
achieved overnight.

It is this very quality of seeming to present the "real" person
— formerly the stock in trade of the great fan books — which
has become the essence of the late night television live shows.
And there is the added element that, instead of having a
second-hand account of what a star is really like, the audience
sees the star for itself. Jack Benny talks seriously about his
ideas of comedy, Anne Bancroft reminisces about her childhood
in the Bronx, Greer Garson discourses on life in modern Texas.

This is not to say that the fan magazine is completely dead.
There is life in the old medium yet; but I certainly hope that
the tendency toward sensational headlines is stopped, and also

that a stronger supply of new big names to write about can be
established. Meanwhile, the dyed-in-the-wool fans can stay up
late and videogle.

They have been having a most successful art show in New
York lately, which can be described in movie terms as a reissue.
Fifty years ago the face of art in America was changed by the
famous Armory show in New York, which brought modern art
abruptly to the attention of a rather amazed public. Now, on
the fiftieth anniversary of that historic occasion, many of the
very same pictures have been reassembled in the Armory for a
"reissue" of the show. There was a fine advance publicity cam-
paign. The show was news. It attracted attention.

But imagine what would have happened if the anniversary
Armory show had been handled like, alas, altogether too many
reissue movie bookings. Instead of a big advance publicity and
advertising campaign, there would have been only the routine
notices and show would have opened cold. Instead of booking
it back into the original Armory, the promoters would have
selected a small auditorium "off Broadway" or perhaps double-
billed it with a retrospective showing of Currier and Ives prints.

Of course I am being sarcastic; but sarcasm is in order. In
recent months we have all seen reissues put on the market
with little or no attempt at new marketing. They have been
cashing in on the reputation of the stars or the happily timely
subject matter of the film, without any real effort to promote
advance attention for first-run trade. In the movie business
reissues have always been regarded as being not worth too much
effort. To use Madison Avenue patois, you merely put them on
the runway and see whether they'll take off. But these are often
the very same pictures which score huge ratings when they hit
television and get some real promotion by the stations which
play them.

Look at the results CBS gets, year after year, with what
amount to TV reissues of "The Wizard of Oz." Look at what
"Gone with the Wind" does every time around in the theatres.
And then consider how little the public knows about so many
of the reissues that the major companies grudgingly offer. 1
use the word grudgingly because I cannot believe that these
re-releases are wholehearted unless they are supported by
ingenious and decently budgeted promotional efforts. I believe
this is just as true of the re-issue double bill that has rung up a
gross of a million dollars as of the duds that die. The million-
dollar gross might be two or three million with bigger and
better promotion, and the duds might be a lot less numerous.

How do you promote reissues? I doubt that there is an avail-
able text on the subject. But there are certain basic truths which
might be kept in mind. They cover both the timing and the
budget, not necessarily in that order. It's a good idea to invite
the promotional people into the decision meetings about re-
issues. Part of their job should be to find the timely tie-ins.

As to the budget, suffice it to say that darned few pictures
ever hit the reissue gravy solely on the strength of their previous
reputation. They have to be sold. You have to buy space and
time to advertise them; you've got to devise good campaigns.
All this takes money and it takes working time as well. But
I am convinced that it pays off.

Television's proving that old pictures never die. And there s
no reason why they should fade away in the theatre market.

Page 12 Film BULLETIN April 15, 1943

LONG DAY'S JOURNEY INTO NIGHT

Has over 150 key city dates-with more pouring in every day!

PH,LA^LPH,A

CONTACT YOUR LOCAL EMBASSY EXCHANGE TODAY

JOSEPH LEVIHE

mm

J U PICTURES CORP.

Embassy Pictures Corp., 1271 Sixth Avenue, New York 20, New York JUdson 2-2100

1301 South Wabash Avenue, Chicago 5, Illinois Code 312-922-7728; 922-7729

1620 West 20th Street, Los Angeles 7, California Code 213-731-4163; 731-4164

988 Market Street, San Francisco 2, California Code 415 — PRospect 6 9665 — 6 9666

193 Walton Street, N.W., Atlanta 3, Georgia Code 404-523 1711

312V2 South Harwood Street, Dallas 1, Texas Code 214— Riverside 8-7249-50

20 Winchester Street, Boston 16, Massachusetts Code 617 — HUbbard 2-3325

1313 Vine Street. Philadelphia 7, Pennsylvania Code 215-MArket 7-3368

1117 Warner Bldg., 13th and E. St., N.W., Wash. 4, D.C. Code 202-638 2920, 2921

Joseph E. Levine in association with Ely Landa U and Jack J. Dreyfus, Jr. presents
KATHARINE HEPBURN RALPH RICHARDSON
JASON ROBARDS, JR. DEAN STOCKWELL in

Eugene O'Neill's LONG DAY'S JOURNEY INTO NIGHT

Produced by ELY LANDAU Directed by SIDNEY LUMET An Embassy Pictures Release

FINANCIAL REPORT

(Continued from page 11)

ward revision of inventory values of pictures in release at the
end of the year and other reserves and write-offs." With an
apparent sense of satisfaction in small favors, the company
reports that its huge loss "makes it possible to claim a refund
of $7,327,691 in Federal income taxes paid in 1959 and 1961.
In addition, approximately $20,000,000 of losses can be carried
forward and will be available to offset profits for tax purposes
in future years."

The loss from operations for the year was $22,532,084, which
included write-offs and reserves of its studio properties in the
amount of $25,477,917. Gross income in 1962 was $96,355,871,
down from $114,665,797 in 1961. The net loss per share for
1962 was $15.63. This compared to a loss of $9.03 from
operations in the prior year, which was offset by a gain of $10.21
from special items.

SW 2nd Quarter Improved

Stanley Warner Corp. showed an improved second quarter in
the current fiscal year. For the three months ended Feb. 23,
consolidated operating profit amounted to $429,200 (210 per
share), as compared to $247,300 (120) for the same period
last year. The six months figures were $1,059,000 (520) this
year, compared to the prior year's $1,560,000 (770).

BLOCKBUSTERS RISKY— VL

(Continued from page 11)

Analysis of Companies

In its analysis of the individual film companies, Vcdue Line
has the following to say, in part:

Columbia — "At this juncture, Columbia Pictures appears to
be one of the best buys in the motion picture industry." This
upbeat view is taken on the strength of both its film product
and its holdings in Screen Gems (TV). Despite the slow start
this year, 1963 is seen exceeding 1962, while fiscal 1964 is
termed "likely to be the year that earnings really explode."

Disney — "The record earnings posted by the company in
fiscal 1962 are likely to be relegated to second best this year,
and further earnings will probably be achieved by mid-decade."

MCA — "Has been extremely successful to date, and it is
likely that its future will continue bright. But investors, well
aware of this corporation's dynamic attributes, have bid the
price of the stock up to a level which largely discounts the
earnings improvement which may reasonably be projected for
the next 12 months and over the 3- to 5-year pull."

Metro-Golduyn-Mayer — Revising its previous estimate that
this company would register a sizeable earnings improvement
in '63, Value Line now states: "We believe that the company
will be fortunate to break even this year, and in any event,

317 °' the foremost
financial houses in the U.S.

read

BULLETIN

we do not look for earnings to surpass 500 a share." A turn-
about in Metro's fortuntes is anticipated for the second half of
this year, and it is deemed likely that the present $1.50 annual
dividend will be maintained.

Paramount — "While we estimate that the company will be in
the black this year, 1963 results are still likely to fall far short of
the profits turned in in earlier years ... A dividend cut is
possible, but not likely." The stock is classified unfavorably for
the next 12 months.

20th Century-Fox — The sharp rise in this company's shares
is attributed to facts and rumors. The high advances commanded
from theatres for "Cleopatra" and reports that it is really a
great picture is part of the story. Another factor in forcing the
stock up has been a rumor, Value Line reports, that the company
intends to purchase its shares in the open market or make a
tender offer. The analysis expresses the view that the stock has
gotten "way ahead of itself". The company is seen benefiting in
future years from substantial tax loss carry-forward.

Warner Bros. — On the basis of anticipated improved earn-
ings in both its theatrical film and television operations, this
company should be "attractive to capital gains oriented accounts
willing to maintain positions in this stock beyond mid-decade."
Two current films, "Gypsy' and "Days of Wine and Roses"
are seen contributing to improved movie income this year,
while Jack Webb's command of the TV division is commended
as a favorable factor in restoring Warners' once strong position
in that field.

FILM & THEATRE STOCKS

Close Close

Film Companies 3/28/63 4/11/63 Change

ALLIED ARTISTS 2% 2% -

ALLIED ARTISTS (Pfd.) . . . . 9% - -

CINERAMA 15% 15 - %

COLUMBIA 25% 26% + 3/8

COLUMBIA (Pfd.) 80y2 80% - %4

DECCA 451/2 45% I %

DISNEY 34 33% - 3/g

FILMWAYS 6% 6% - %

MCA 51 551/4 +41/4

MCA (Pfd.) 353/4 36 +1/4

V1-G-M 32i/2 323/4 + 1/4

PARAMOUNT 383/4 38% - %

SCREEN GEMS 20 21% +l3/4

20TH-FOX 29 31% + 2%

UNITED ARTISTS 30 293/8 - %

WARNER BROS 14% 13% - 3/4

# ♦ ♦

Theatre Companies

AB-PT 33 33% + %

LOEWS 183/4 17% - %

NATIONAL GENERAL 10% 10% + %

STANLEY WARNER 20% 22% +2%

TRANS-LUX 12% 13 + %

# * ♦

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, American

Exchange; all others on New York Stock Exchange.)

# * *

3/28/63 4/11/65

Over-the-counter Bid Asked Bid Asked

GENERAL DRIVE-IN 8% 9% 9 93/4

MAGNA PICTURES 2% 3 2% 3

MEDALLION PICTURES 5% 6% 5% 63/g

SEVEN ARTS 9% 10% 9% 10

UA THEATRES 53/4 6% 7% 8%

UNIVERSAL No quotation No quotation

WALTER READE STERLING ... 2 2% 2% 23/4

WOMETCO 21 23% 22 1/4 24%

(Quotations courtesy National Assn. Securities Dealers, Inc.)

Page 14 Film BULLETIN April 15, 1963

?///» cff kiitiHctbH

The Great Escape" Excitement-Crammed Thriller

gcuueet* RcUiKf ©GO Plus

Enormously exciting true-life story of mass escape pro-
ject engineered by Allied airmen from Nazi war camp.
Figures to be one of summer's hottest grossers.

The largest and most effective mass breakout of Allied airmen
from a maximum security German POW camp during World
War II is the source for this entertainment sizzler from pro-
ducer-director John Sturges. A fantastic and true adventure,
"The Great Escape" is bound to become one of the most talked
about films of the summer, and quite likely, one of the hottest
moneymakers. A huge all-male international cast headed by
Steve McQueen, James "Maverick" Garner and Richard Atten-
borough, a magnanimous serving of humor, drama and suspense,
plus the magnificent scenery of Germany brilliantly captured in
DeLuxe Color and Panavision combine to make this United
Artists release a crowd-pleaser of the first order. It will grip and
excite viewers of all ages and tastes, females as well as males.

Sturges, certainly one of the industry's top action directors
("The Magnificent Seven," "Sergeants Three"), pours out the
thrills at every possible juncture. His film is a long one (168
minutes), but then he has a complex story to tell. His carefully
plotted first half (character developments and relationships) is
skillfully balanced by his absolutely seat-clutching conclusion.
From a standpoint of cliff-hanging piquancy, comparison to
"The Guns of Navarone" is in order.

The incidents portrayed are indeed incredible. 600 British
and American "escape artists" are brought to an "escape proof"
camp where they refuse to stay captured. Using ingenuity and
imagination, they embark upon the construction of three tun-
nels (in case one is discovered) sunk thirty feet to evade
German sound detectors and then extended hundreds of feet
through sand that requires shoring every foot of the way. Even
more fantastic is the fact that during this year of secret con-
struction, more than 400 passes and other documents are forged,
hundreds of compasses are made, numerous maps are prepared,
ind tattered uniform are transformed into civilian clothes and
tailored Nazi uniforms. And the final startling fact — 250 men
will participate in the breakout. "The Great Escape" may well
become the definitive film of its kind.

The characters are a colorful and varied lot, and everyone,
down to the last supporting player, turns in performances
ringing with verve and humaness. McQueen, a tough American
Air Force captain, known to his buddies as The Cooler King
wing to his frequent solitary confinements for infractions of
pamp rules; Garner, another American with the well-deserved
lickname of The Scrounger; Attenborough, leader of past
areakouts in other camps and the most hated on the Gestapo's
list; James Donald, the Senior British Officer; Charles Bronson,
i Polish RAF officer turned Tunnel King; Donald Pleasence, the
;xpert Forger, whose sight has been severely damaged by his
exacting work; James Coburn, a self-assured Australian, famous
lis the Manufacturer; and Hannes Messemer, the fair, polite
jjrofessional German soldier who is Commandant of the camp,
j Sturges and scripters James Clavell and W. R. Burnett have
instructed a believeable three-level drama. Section one depicts

Steve McQueen, ]ud Taylor, James Garner put on a
Fourth of July celebration for the prisoners of the camp.

the progress of the digging, despite constant German surveil-
lance. The Fourth of July arrives and the American prisoners
stage a drunken celebration of their holiday. A more somber
mood now develops. The Germans discover one of the tunnels
and an overwrought British officer is shot down while scramb-
ling up the fence. The second section concentrates on the sus-
penseful escape: McQueen, the first man out, discovers that the
tunnel is too short, and the men are forced to sneak out, one
by one, under the very noses of the Germans; Garner volunteers
to be the "eyes" for the almost-blind Pleasence; Bronson's
claustrophobia almost does him in; 76 men manages to escape
before the Germans turn on the lights. Now everything swings
into breathtaking high gear. Garner steals a German plane and
heads for Switzerland. He's forced to land just short of the
border and Pleasence is killed by the Germans. McQueen com-
mandeers a Nazi motorcycle and also heads for the Swiss Alps.
His hair-raising flight across country, with the Germans closing
in on all sides, will become one of the big talk-selling points of
the film, and is sure to keep everyone on edge. McQueen is
finally trapped in a maze of barbed-wire. Attenborough and
Gordon Jackson, his Intelligence Aide, elude the Germans on a
train and temporarily find safety in a city. They end up in
Gestapo hands where, along with 48 other escapes, they are
taken to a deserted hill and ruthlessly shot down ("while trying
to escape").

The ending finds McQueen, Garner and 21 prisoners returned
to the camp; Messemer relieved of duty; Bronson and side-kick
John Leyton boarding a Swedish freighter for freedom; and
Coburn, after surviving a street cafe assassination of three
German officers by the French underground, reaching the safety
of the Spanish border.

United Artists. 148 minutes. Steve McQueen, James Garner, Richard Attenborough
Produced and Directed by John Sturges.

Film BULLETIN April 15, 1963 Page IS

"Bye Bye Birdie"

'ScuUeu IZatutt O O O Plus

Zingy musical comedy adapted from stage hit. Surefire
entertainment, especially for the youthful set. Big
grosser in all markets.

The rock-and-roll set are colorfully spotlighted in this lots-
of-bounce musical based on the Broadway stage hit. Fred
Kohlmar's splashy Color-Panavision production is jam-packed
with entertainment goodies, especially for the teen-age-young
adult set. And there's also plenty of breezy fun for older
patrons. Very good grosses are in sight for this Columbia re-
lease, getting a big kick-off as the Easter attraction at New
York's Radio City. Irving Brecher's screenplay tells what
happens when motorcycle fanatic, caterwauling rock-and-roll
idol Conrad Birdie, about to be drafted, goes to Sweet Apple,
Ohio, to plant a finial civilian kiss on the quivering lips of a
Birdie-struck teen-age female. Comic Dick Van Dyke recreates
his stage role of a bankrupt songwriter whose financial fate is
linked to Birdie. Janet Leigh is his singing-dancing co-star, his
sharp long-time secretary and girl friend. Ann-Margret ("State
Fair") takes a big musical step forward as the lucky recipient
of the one last kiss (also the name of a song Van Dyke has
written for Birdie to croon on the Ed Sullivan show to be
televised from Sweet Apple). In supporting roles: Maureen
Stapleton, Van Dyke's possessive widow mother; singer Bobby
Rydell, Ann-Margret's boy friend who gets thrown over after
Birdie comes to town; Jessie Pearson, resplendent in a gold lame
suit, as the famous Birdie; Paul Lynde, also from the show,
repeating his portrayal of Ann-Margret's frustrated chemist-
hambone father. Director George Sidney is at his best when the
tunes and production numbers start rolling, which is when
"Birdie" lights up with pep and zing, including some mighty
clever filmic gimmicks. Songs such as "A Lot of Livin ," "How
Lovely to Be a Woman," "Honestly Sincere," "Kids" and "Put
On a Happy Face" emerges with fresh looks in their screen
trappings, while the new little tune shapes up as a strong
jukebox contender. Pearson's arrival sends the entire female
population of the town into such dizziness that Lynde decides
Pearson cannot stay in his home. Van Dyke and Miss Leigh
placate him by promising him an appearance on the Sullivan
show. On the day of the show, the producer informs Van Dyke
that Birdie's forty minute spot is going to be cut to less than
thirty seconds, with the extra time going to a Russian ballet.
Lynde feeds the Russian conductor speed-up pills. In the re-
sulting shambles, the world learns that Pearson has been rejected
by the army; Van Dyke finds the courage to tell off Miss Staple-
ton and marry Miss Leigh; Mama marries a local man; and
Ann-Margret and Rydell go back to playing post office.

Columbia. 112 minutes. Janet Leigh, Dick Van Dyke, Ann-Margret, Jesse Pearson.
Produced by Fred Kohlmar. Directed by George Sidney.

"The Man from the Diners' Club''

Su4cnedd /RctOft? O O O

Danny Kaye in merry slapstick romp. Sight gags will
delight mass audiences, youngsters. Good grosser all
markets on basis of heavy promotion campaign.

Slapstick, not subtlety, is the order of the day as Danny Kaye
romps merrily and madly as an absent-minded Diners' Club
clerk who becomes involved with a mobster awaiting trial for
tax evasion. It's a wild and roitous 96 minutes, peppered with
sight gags, frantic chases and the talented Kaye given a chance
to open wide his multifacted bag of tricks. With Columbia un-
leashing an all-out promotion campaign based on the assump-
tion that audiences cherish a good laugh, "Diners' Club" should

roll up good grosses in all situations. The mass audience, and
especially the youngsters, will eat it up, while sophisticates
usually can take Kaye in any style. Joining Danny in the bed-
lam are: Telly Savalas as the mobster hiding out in his health
club while trying to find a way to skip out of town; Cara
Williams, his slow-thinking, fast-drinking blonde stripper girl
who suggests Savalas get himself a Diners' Club Card, so he
can charge a flight out of the country; Martha Hyer, Kaye's
long-time fiancee who also happens to be secretary to Kaye's
employer; and Everett Sloane, the excitable boss. An assortment
of goons, health club attendants, and Diners' Club personnel
are also on hand. Frank Tashlin has directed Bill Blatty's script
at a madcap pace. Savalas, born with one foot longer than the
other, is looking for someone with the same type of feet so
that the victim can be cremated when the health club is blown
up and the investigating agents will think it is Savalas. Kaye
accidentally sends Savalas a Club Card, then rushes down to
try and intercept it. It is discovered that Kaye has the appro-
priate feet and Savalas gives him a job as an instructor. Savalas,
learning that his card is no good, steals Kaye's and sets the
stage for the cremation. Meanwhile, Kaye and Miss Williams
get involved in a beatnik party and end up in jail. More com-
plications follow before Kaye breaks away from his captors,
leads them on a merry chase on a bike, and ties up the Freeway
traffic so that Savalas and Miss Williams can be arrested. Wed-
ding bells finally ring for Kaye and Miss Hyer.

Columbia. 96 minutes. Danny Kaye, Cara Williams, Martha Hyer Telly Savalas.
Produced by Bill Bloom. Directed by Frank Tashlin.

"The Mind Benders"

Interesting melodrama dealing with "reduction of sen-
sation" experiment. Should draw science-fiction buffs,
art, class patronage.

From England comes this engrossing little melodrama with
science-fiction overtones about experiments in the "reduction
of sensation" recently carried out in the U. S. and in England.
Specifically, it tells what happens to a man's mind when he is
suspended in a tank full of water for several hours, completely
out of contact with all senses. As depicted here, after an ex-
tended period of isolation, a man vanishes into a world of his
own and is "persuaded" to change his most fundamental beliefs.
Not in the familiar American International horror vein, "The
Mind Benders" figures to attract a fair response in the art and
class markets, and it should draw science-fiction buffs, if ex-
ploited in the general market. Director Basil Dearden has played
it for suspense (the tank scenes are especially chilling), also
injecting romance, a dash of sex, plus a dramatic child-birth
climax. Dirk Bogarde portrays a scientist who enters the tank
in order to clear the name of his assistant, a former tank volun-
teer now a suicide victim after being accused of treason. Mary
Ure is Bogarde's wife, who almost loses her husband as a result
of the experiment. John Clements is the stone-faced security
officer investigating the suicide, Michael Bryant is Bogarde's
brilliant young assistant, and Wendy Craig is "the other
woman." James Kennaway's script finds Bogarde insisting that
the dead man was "brainwashed" by the enemy as a result of
the experiments. A skeptical Clements allows Bogarde to sub-
merge himself for five hours, then together with Bryant, sets
about undermining Bogardes love for Miss Ure. Bogarde turns
her life into a living hell (she's now pregnant) and Clements
becomes convinced of the validity of Bogarde's theory. Cle-
ments finds he is unable to return Bogarde to his normal self,
but this is accomplished when Bogarde is forced to deliver Miss
Ure's baby aboard Miss Craig's housebarge.

American International. 101 minutes Dirk Bogarde, Mary Ure. Produced by
Michael Relph. Directed by Basil Dearden.

Page 16 Film BULLETIN April 15, 1963

WHAT CAN EXHIBITORS DO TO COMBAT THE FILMS ON TV?

At the risk of being garroted by ex-
hibitors, I feel compelled to say a few
words about the distributors' latest
orgy of selling or leasing their feature
films to TV. My position, maybe, is due
to some little holdings in a company
which bravely heralded its forthcoming
red or rubric balance sheet. And for this
reason a substantial revenue will accrue
from showing its films on the home
screen with the comforting thought that
no gamble is involved. To get a hunk of
green-backs without worrying about
whether the public will accept the pic-
tures is like finding some errant jewels
in the attic.

The distributors argue, rather spec-
iously, that this bounty will enable them
to furnish exhibitors more and better
pictures. Of course, this makes no sense
whatsoever, but is less embarrassing
than saying that they lack the ingenuity
to develop a capacity for turning out
more pictures at less overhead.

Furthermore, the windfall from tele-
vision gives stout heart to stockholders
and, whether we like it or not, stock-
holders are important and at times can
be very annoying.

My quarrel with exhibitors is that
they have become so attached to the
wailing wall that they have lost the
ability to fight back. How can they
fight back? The question is from the
man in the back row.

Number one, they should appoint
Ben Stack, the Boston theatreman, to
head a committee that sets out to raise
an emergency fund on a regional basis
to conduct an advertising campaign
telling the public how much they are
missing by not paying their way into
a movie theatre. Mr. Sack is doing this
in Boston and placing such ads right
smack in the television section of the
newspaper.

Instead of joining in the proposed
MPA campaign to create a better image
for the industry (more about this later
on) the exhibitors should mobilize in
each state to create the image that
theatres have the new pictures and that
it is more fun to hold hands in a dark
movie house than in the living room
with the old folks and the kids yap-
ping around.

In each state, metropolitan news-
papers blanket wide areas. For example,
in Ohio, a state which presented to the
world a number of U.S. presidents and
your correspondent, between the Cleve-
land Pla'm Dealer, the Columbus, Dis-
patch and the Cincinnati Enquirer the
whole reading public can be reached
with a relatively modest expenditure.
The same holds true with many other

Iii Focus

ADAM WEILER

states and areas. I would like to see
this tried in Ohio because the Allied
organization there has an able young
man directing its community relations.

Such a campaign should be strictly
institutional. It should not only fight
the television competition; it should
combat all other competitors of the
boxoffice, because we know that tele-
vision is only one of the reasons the
boxoffice has declined. But under pro-
per professional guidance from a good
advertising agency, no exhibitor who
joins up would have to worry about
the strategy and tactics of this type of
campaign. It is my professional guess
that for ten thousand dollars a good
pilot campaign could be conducted.

At least such an approach is better
than crying about what the distributors
are doing to hurt business. We have to
sell the idea that the public should
again take up the movie habit, not at
home, but in a theatre.

If my theatre were going to hell, I
would rather make less money and make
a little more noise on my own initiative
and money. I'm not absolving the dis-
tributors, mind you. They should gladly
pitch in for any institutional campaigns
undertaken by any group of exhibitors.
The film companies will profit, too, if
the campaigns improve business.

Exhibitors, when they meet with
MPA on the forthcoming "improve our
image" campaign, should stoutly main-
tain the position that the best image
that can be created is the one reflected
at the boxoffice.

As a former image maker, I believe
that of all the nonsense that has crept
into our business through a vicarious
attachment to surveys and the like,
none can eclipse the random talk about
how to improve our image. But as long
as the MPA thinks something should
be done about it I gratuitously make a
few suggestions:

In Mr. Eric Johnston, the industry
has a most attractive spokesman. It is
unfortunate that Mr. Johnston has
limited his platform appearances to
special occasions. If Mr. Johnston would

devote one year to touring the country
and carry along on each trip a few
Hollywood creative persons, including
actors, producers and directors, I am
confident our image would improve in
a comparatively short time.

I appreciate Mr. Johnston's work in
foreign trade and acknowledge that he
has done an heroic job in consolidating
the American industry's position in this
sector. I also find his essays and lec-
tures on diverse subjects most helpful
and stimulating. I have greatly admired
his ambassadorial performances during
the Eisenhower administration. All of
this has indirectly benefited the indus-
try's image.

But this is not like getting out and
talking to just plain folks, as the late
Eddie Guest used to say. So may I sug-
set to the special committee of adver-
tising executives who are now talking
of re-fashioning the p.r. program that
they can accomplish a great deal of good
by urging Mr. Johnston and such other
celebrated emissaries as he can mobilize
for a series of tours to talk up the vir-
tues of movies and movie-going.

Bo Belinsky, the hedonic fast-ball
artist of the Los Angeles Angels, will
probably never be another Bob Feller,
but he certainly knows how to attract
the press and the ladies. At this writing
Bo (call me Beau) has announced his
engagement to Miss Mamie Van Doren,
a robust and handsome young lady who
works at intervals in pictures. She gained
a special niche by walking out on a
film because she wanted equal billing
with Miss Jane Mansfield.

Belinsky, who has been cited by his
manager for thinking more of breaking
training than conforming to the sports
regimen, revealed while in Phoenix for
spring training that he paid fifteen
bucks to get his hair done, not as you
would expect in a crew or en bross style
but really manicured in the Tony Curtis
fashion. Bo said he didn't want any
butchers cutting his hair and that's \\h\
he invested such a large sum with a
hair dresser.

The point is that Belinsky is good
screen material and has a personality
that really could shine in the Hollywood
milieu. He should give up hurling and
get an agent. If he did, I predict he
would mean money at t lie boxoffice, not
because he might become capable of
acting, but because he ne\ er \\ ould reach
this artistic point. He fits in with the
Adam Weiler two-year plan to take
non-actors and sell their faces and their
appeal to the younger generation.

Film BULLETIN April 15, 1963 Page 17

"The Yellow Canary"

SctUteM, IZatit? O O Plus

Crisp suspense yarn has exploitable elements, including
a startling "switch" role by Pat Boone. Will gross well
where sold.

20th Century-Fox has a splendid little thriller in this black-
and-white CinemaScope film, and given the right promotional
push it will pull in above-average grosses in all markets. First,
the crisp screenplay by Rod Serling has plenty of suspense and
this is fully amplified by the tight, imaginative direction by TV's
Buzz Kulik. Secondly, it presents Pat Boone in a startling his-
trionic turn-about, as an arrogant, selfish singing idol whose
successful world explodes into a nightmare after his infant son
is kidnapped. Boone carries off the role with surprising be-
lieveability. Further, "Canary" offers good performances from
the entire cast, a "hip" score by Kenyon Hopkins and effective
sets and Los Angeles location backgrounds. Barbara Eden por-
trays Boone's wife, about to divorce him because he's become a
number one heel. Steve Forrest is a sadistic ex-cop turned body-
guard for Boone, Jack Klugman is the policeman Boone reluc-
tantly calls in, Steve Harris is Boone's alcoholic valet and boy-
hood friend, and Jeff Corey is the owner of a beachside inn.
Boone bankrupts himself by gathering together the $200,000
ransom, then goes to a deserted beach for the payoff. The kid-
napper fails to show up. Harris now admits that he's been
embezzling from Boone (for gambling). The next day he's
found murdered. Harris takes Boone to Corey's inn to get a
lead on a "hot money man." Arriving at the latter's room, they
find him murdered. Additional complications brings Boone to
the realization that Forrest is the kidnapper, and also a manical
killer. Working on a hunch, Boone and Miss Eden go to Corey's
inn, Boone climbs through a back window, finds his son safe,
and returns him to Miss Eden. The ending sees Boone, his leg
injured after jumping from the roof, holding a gun on Harris.
The latter, convinced Boone is a spineless canary, rushes him.
Boone shoots and kills Forrest and emerges a wiser man from
the harrowing experience.

20th Century-Fox. 93 minutes. Pat Boone, Barbara Eden, Steve Forrest Jack Klug-
man. Produced by Maury Dexter. Directed by Buzz Kulik.

"Fiasco in Milan"

Su4i*ted4 ^eUttup O O Plus

Another amusing Italian import involving "Madonna
Street" gang of bumbling thieves. Good arty, class entry.

That bumbling gang from "Big Deal on Madonna Street" is
back again, this time participating in a "fool-proof multi-
million lire robbery of the soccer pool for the championship
match in Milan. Directed along farcical lines, with the accent
on sight gags and mugging, by Nanni Loy ("The Four Days
of Naples"), this sub-titled Italian-French co-production should
score well at art houses. It can also be booked as a supporting
dualler in class situations. Vittorio Gassman is back as the de-
lightful ex-prize fighter who can't stay on the right side of the
law. Others involved: Renato Salvatori, a handsome Roman
engaged to lovely Claudia Cardinale; Tiberio Murgia, Miss
Cardinale's puritan brother; Carlo Pisacane, an old man who
indulges his enormous appetite by eating well in good restau-
rants and then going to jail because he can't pay the bill. A sexy
addition is blonde strip-teaser Vicky Ludovisi, who cons the
pool's accountant (Gianni Bonagura) into faking the hold-up.
Gassman, impressed with Milanese sharpy Riccardo Garrone,
talks his friends into doing the job. Alibis are readied and the
gang travels to Milan. Gassman takes over after Garrone is
arrested for picking a pocket. After a number of hilarious bun-
gles, the inept hold-up comes off. All but Gassman return to

Rome with the money (in a suitcase), and Gassman, after hid-
ing in a garbage disposal, finds safety with Miss Ludovisi, who
has fallen for him. Gassman and Miss Ludovisi split up, Miss
Cardinale threatens to turn the gang over to the police, and
the checkroom ticket for the suitcase ends up with Pisacane,
who suddenly disappears. The old man is found dying in a hos-
pital from acute indigestion. Scared and unable to agree on
what to do with the money, the gang leaves the suitcase on a
park bench and phone the police. Relaxed at last, Gassman is
arrested for crossing against the lights.

Avion-Trans-Universe Pictures. 104 minutes. Vittorio Gassman, Claudia Cardinale.
Produced by Franco Cristaldi. Directed by Nanni Loy.

"Paranoiac"

Grisly, gory Hammer melodrama for horror fans. Lack
of color will limit it to dual bills in ballyhoo market.

This latest Hammer hair-raiser about a family of mad hatters
is an exploitable dual-bill attraction for the action-ballyhoo
market. A Universal release, it has its share of bizarre, gro-
tesque, gory shockers, but the absence of color will limit its
boxoffice potential. Although Jimmy Sangster's screenplay lacks
originality and the performances are routine, director Freddie
Francis (former photographer making his debut) keeps up a
gooseflesh crawling, guess-what's-going-to-happen-next atmos-
phere, enhanced by some excellent black-and-white photography.
Involved in the grisly happenings: Janette Scott, a young girl
suposedly on the verge of insanity as a result of her little
brother's death eight years before; Oliver Reed, her callous,
whiskey-loving brother, also possibly insane; Sheila Burrell,
their possibly sinister aunt; Alexander Davion, a stranger who
appears claiming to be the dead brother; Sheila Burrell, Miss
Scott's French nurse and Reed's mistress. The complicated script
finds Davion saving Miss Scott after she makes a suicide leap
off the top of a cliff and Miss Scott accepting Davion as her
brother, although the others are skeptical. Events now move
into high gear: Reed tries to kill Miss Scott via a car accident;
Miss Scott discovers Reed in the chapel playing the organ late
at night, a figure in a hideous mask standing beside him; the
figure attacking Miss Scott and revealed as Miss Burrell; Reed,
holding himself responsible for his little brother"s death, now
embarking on a completely insane rampage; Davion, only be-
cause Miss Scott has fallen in love with him, admitting that
he's an imposter, working with the family solicitor to steal Miss
Scott's fortune. The conclusion finds Davion uncovering the
dead body of the young brother, murdered by Reed; Miss Scott
saving Davion from death in the blazing chapel; Reed rushing
into the chapel, clutching the skeleton of his brother and dying
in the inferno.

Universal. 80 minutes. Janette Scott, Oliver Reed. Produced by Anthony Hinds.
Directed by Freddie Francis.

BULLETIN

reviews have one aim:
to give honest judgment
of entertainment merit
— and boxoffice value

Page 18 Film BULLETIN April 15, 1943

"The Ugly American"
Sualkcw Rati*? GOO

Has a message, but also plenty of rousing action. Brando
turns in strong performance. Needs heavy promotion to
draw mass audience.

If "The Ugly American" can overcome the general classifica-
tion of a "message" picture, it should enjoy boxoffice success.
Actually, it is a high-voltage drama of stature, but it requires a
strong kind of promotion to win the mass audience. Under the
creative reins of 35 year-old producer-director George Englund,
this story about an American diplomat thrown into the midst
of the cold, and sometimes hot, war in a mythical Southeast
Asian country emerges an exciting, important and highly enter-
taining film. Stewart Stern's intelligent script makes a number
of telling points, qualifying it as a "message" picture, but it's
also a literate thriller. With Marlon Brando as the marquee
lure, the popularity of the William J. Lederer- Eugene Burdick
novel as an exploitation element and controversy as a strong
word-of-mouth factor, "The Ugly American" figures to prove
an above-average grosser in most situations, with enthusiastic
response coming from discriminating metropolitan audiences.
For others, there's a touch of humor and romance, top-drawer
action sequences, handsome Eastman Color lensing in Thailand,
plus a sense of involvement with American prestige problems.
Brando, in his best delineation since "Waterfront", projects an
entirely different image than the characterization written in the
novel. As the newly apointed American Ambassador to Sark-
han, a country beset with conflicting political ideologies, he
emerges a man endowed with extraordinary tact and diplomacy,
while also remaining an identifiable human being. Also impres-
sive are Eiji Okada ("Hiroshima, Mon Amour"), a resistance
fighter- World War II buddy of Brando's, now the single most
popular man in Sarkhan; Pat Hingle, a dedicated engineer help-
ing to build Freedom Road; Jocelyn Brando, the latter's wife
who has set up a children's clinic at the edge of the jungle,
Arthur Hill, deputy head of mission at the U.S. Embassy, and
Sandra Church, Brando's wife. Englund's action sequences ring
i with blood, thunder and suspense — Red agents murdering na-
i fives working on the road; a chilling, blood-spilling demonstra-
tion when Brando arrives at the airport; an even bloodier revolu-
tion set off on the anniversary of Sarkhanese independence. The
long-awaited reunion between Brando and Okada ends in bitter-
ness with Brando convinced that the latter is now a Communist
(Okada wants Brando to stop the road). Brando visits Sarkha-
nese Prime Minister Kukrit Pramoj and asks him to shift the
route of the road. Pramoj agrees, but only after assurance of
American military support should plans go amiss. Red leaders
now convince Okada to lead a crusade for freedom, and prom-
ise no outside "volunteers." The revolution begins, red forces
move down from the north, and Brando must now live up to
his military aid promise. He reaches Okada's headquarters and
eventually convinces Okada that he's been duped. Okada agrees
to set up a coalition government, but his trusted aid (unmasked
as a red) fatally shoots him. Before he dies, Okada tells his fol-
lowers to trust Brando and the Americans. The fade-out (not
to be revealed here), however, is not a pat "happy" ending.

Universal. 120 minutes. Marlon Brando, Eiji Okada, Sandra Church, Pat Hingle.
Produced and Directed by George Englund.

"Landru"

GudcUted* IZatiK? O O O

Murder in the light vein, done with wit and touch of hor-
ror. French import should intrigue art, class audiences.

Joseph E. Levine's "Landru" is a minor gem — witty, imagina-
tive, diabolical and engrossing. The film is based on the true-
life story of the infamous Frenchman — Henri-Desire Landru —

who wooed and won some 283 women and disposed of at least
11 of them — in a kitchen range. It's a clever and fascinating
film to watch, thanks to director Claude Chabrol ("The
Cousins"), who has thrown the accent on predominantly light
blue and pastel pink shades (in marked contrast to the horror
of Landru's crimes), and played everything off against the hor-
rors of World War I; Francoise Sagan, who has scripted in a
delightful tongue-in-cheek manner; and Charles Denner (of the
French Theatre Populaire National), who brilliantly portrays
Landru. In French, with sub-titles, this Embassy release looms
a potent art house moneymaker, and when eventually dubbed,
it should score fairly well in the class market. Authenticity and
fantasy run throughout. The former the result of location lens-
ing and much of the actual transcript of the trial used in the
script; the latter stemming from Chabrol's unorthodox use of
color and unusual background music, and highly effective edit-
ing. The costumes and sets are definitely top-drawer. Actor
Denner apparently has a fine screen future ahead of him. Actu-
ally a youthful, good-looking man, he has been amazingly
transformed into the short, middle-aged, bald and bearded
Frenchman — a man with fantastic amatory prowess, and a great
charm and love for things cultural. His poor victims include
such international favorites as Michele Morgan, Danielle Dar-
rieux, Hildegarde Neff, Juliette Mayhiel and Mary Marquet.
The script finds impoverished petty swindler Denner inserting
"lonelyhearts" ads in the newspapers. From the replies, he selects
widows and old maids with nest-eggs and no relatives to inter-
fere. He rents a country home outside Paris, and there disposes
of at least eleven victims. Only the Armistice spares Miss Neff.
During this time, Denner manages to find time for a wife and
family he hates, and a mistress he adores. Eventually brought to
trial, Denner proves to be both witty and contemptuous at the
proceedings. Convicted on circumstantial evidence, he goes to
the guillotine stating: "I go to my death with a calm and inno-
cent soul. I can only hope, gentlemen, that the same can be
said for yours."

Embassy. 114 minutes. Michele Morgan, Danielle Darrieux, Charles Denner. Pro-
duced by Carlo Ponti and Georges de Beauregard. Directed by Claude Chabrol.

"Showdown"

Scouhcu ^atiHQ O Plus

Audie Murphy carries routine black-and-white oater.
Will get by as supporting dualler in action spots.

Audie Murphy is the sole selling factor in this Grade C west-
ern about a pair of aimless cowboys who become captives of a
sinister killer. Saddled with horse opera cliches and further
hampered by a low-budget black-and-white production, this
Universal release figures to squeak by as a bottom half dualler
in action situations. R. G. Springsteen's direction is uninspired,
despite a fair amount of gunplay, while Bronson Howitzer's
screenplay emerges a compilation of tired shoot-'em-up hap-
penings. Murphy and Charles Drake, after a bar fight in a
Mexican border town, find themselves chained and iron collared
to a post (there is no jail) beside killer Harold J. Stone. During
the night, they are forced to dig up the post and help Stone
and his band escape. In between bullet exchanges, Drake steals
negotiable securities, and the remainder of the plot centers
upon Stone's sadistic attempts to collect the cash. Kathleen
Crowley is the fern, Drake's former girl friend, now a hardened
dancehall girl, who ends up with the securities. Skip Homier
appears as a sadistic gang member. Drake is eventually killed
by Homier and Murphy and Miss Crowley make a run for it
across the open country. One by one. Murphy eliminates the
entire gang. After returning the securities, he and Miss Cr<>\\lc\
look forward to a new life together.

Universal. 79 minutes. Audie Murphy, Kathleen Crowley Produced by Gordon
Kay. Directed by R G. Springsteen.

Film BULLETIN April 15, 1963 Page 19

"The Yellow Canary"

SuMkcm IZatin? O O Plus

Crisp suspense yarn has exploitable elements, including
a startling "switch" role by Pat Boone. Will gross well
where sold.

20th Century-Fox has a splendid little thriller in this black-
and-white CinemaScope film, and given the right promotional
push it will pull in above-average grosses in all markets. First,
the crisp screenplay by Rod Serling has plenty of suspense and
this is fully amplified by the tight, imaginative direction by TV's
Buzz Kulik. Secondly, it presents Pat Boone in a startling his-
trionic turn-about, as an arrogant, selfish singing idol whose
successful world explodes into a nightmare after his infant son
is kidnapped. Boone carries off the role with surprising be-
lieveability. Further, "Canary" offers good performances from
the entire cast, a "hip" score by Kenyon Hopkins and effective
sets and Los Angeles location backgrounds. Barbara Eden por-
trays Boone's wife, about to divorce him because he's become a
number one heel. Steve Forrest is a sadistic ex-cop turned body-
guard for Boone, Jack Klugman is the policeman Boone reluc-
tantly calls in, Steve Harris is Boone's alcoholic valet and boy-
hood friend, and Jeff Corey is the owner of a beachside inn.
Boone bankrupts himself by gathering together the $200,000
ransom, then goes to a deserted beach for the payoff. The kid-
napper fails to show up. Harris now admits that he's been
embezzling from Boone (for gambling). The next day he's
found murdered. Harris takes Boone to Corey's inn to get a
lead on a "hot money man." Arriving at the latter's room, they
find him murdered. Additional complications brings Boone to
the realization that Forrest is the kidnapper, and also a manical
killer. Working on a hunch, Boone and Miss Eden go to Corey's
inn, Boone climbs through a back window, finds his son safe,
and returns him to Miss Eden. The ending sees Boone, his leg
injured after jumping from the roof, holding a gun on Harris.
The latter, convinced Boone is a spineless canary, rushes him.
Boone shoots and kills Forrest and emerges a wiser man from
the harrowing experience.

20th Century-Fox. 93 minutes. Pat Boone, Barbara Eden Steve Forrest, Jack Klug-
man. Produced by Maury Dexter. Directed by Buzz Kulik.

"Fiasco in Milan"

3u4UtC44 &<Zti*t$ O O Plus

Another amusing Italian import involving ''Madonna
Street" gang of bumbling thieves. Good arty, class entry.

That bumbling gang from "Big Deal on Madonna Street" is
back again, this time participating in a "fool-proof" multi-
million lire robbery of the soccer pool for the championship
match in Milan. Directed along farcical lines, with the accent
on sight gags and mugging, by Nanni Loy ("The Four Days
of Naples"), this sub-titled Italian-French co-production should
score well at art houses. It can also be booked as a supporting
dualler in class situations. Vittorio Gassman is back as the de-
lightful ex-prize fighter who can't stay on the right side of the
law. Others involved: Renato Salvatori, a handsome Roman
engaged to lovely Claudia Cardinale; Tiberio Murgia, Miss
Cardinale's puritan brother; Carlo Pisacane, an old man who
indulges his enormous appetite by eating well in good restau-
rants and then going to jail because he can't pay the bill. A sexy
addition is blonde strip-teaser Vicky Ludovisi, who cons the
pool's accountant (Gianni Bonagura) into faking the hold-up.
Gassman, impressed with Milanese sharpy Riccardo Garrone,
talks his friends into doing the job. Alibis are readied and the
gang travels to Milan. Gassman takes over after Garrone is
arrested for picking a pocket. After a number of hilarious bun-
gles, the inept hold-up comes off. All but Gassman return to

Rome with the money (in a suitcase), and Gassman, after hid-
ing in a garbage disposal, finds safety with Miss Ludovisi, who
has fallen for him. Gassman and Miss Ludovisi split up, Miss
Cardinale threatens to turn the gang over to the police, and
the checkroom ticket for the suitcase ends up with Pisacane,
who suddenly disappears. The old man is found dying in a hos-
pital from acute indigestion. Scared and unable to agree on
what to do with the money, the gang leaves the suitcase on a
park bench and phone the police. Relaxed at last, Gassman is
arrested for crossing against the lights.

Avion-Trans-Universe Pictures. 104 minutes. Vittorio Gassman, Claudia Cardinale.
Produced by Franco Cristaldi. Directed by Nanni Loy.

"Paranoiac"

Grisly, gory Hammer melodrama for horror fans. Lack
of color will limit it to dual bills in ballyhoo market.

This latest Hammer hair-raiser about a family of mad hatters
is an exploitable dual-bill attraction for the action-ballyhoo
market. A Universal release, it has its share of bizarre, gro-
tesque, gory shockers, but the absence of color will limit its
boxoffice potential. Although Jimmy Sangster's screenplay lacks
originality and the performances are routine, director Freddie
Francis (former photographer making his debut) keeps up a t
gooseflesh crawling, guess-what's-going-to-happen-next atmos-
phere, enhanced by some excellent black-and-white photography.
Involved in the grisly happenings: Janette Scott, a young girl
suposedly on the verge of insanity as a result of her little
brother's death eight years before; Oliver Reed, her callous,
whiskey-loving brother, also possibly insane; Sheila Burrell,
their possibly sinister aunt; Alexander Davion, a stranger who
appears claiming to be the dead brother; Sheila Burrell, Miss
Scott's French nurse and Reed's mistress. The complicated script I
finds Davion saving Miss Scott after she makes a suicide leap
off the top of a cliff and Miss Scott accepting Davion as her
brother, although the others are skeptical. Events now move
into high gear: Reed tries to kill Miss Scott via a car accident; »
Miss Scott discovers Reed in the chapel playing the organ late
at night, a figure in a hideous mask standing beside him; the
figure attacking Miss Scott and revealed as Miss Burrell; Reed,
holding himself responsible for his little brother"s death, now |
embarking on a completely insane rampage; Davion, only be- 1
cause Miss Scott has fallen in love with him, admitting that 1 J
he's an imposter, working with the family solicitor to steal Miss
Scott's fortune. The conclusion finds Davion uncovering the
dead body of the young brother, murdered by Reed; Miss Scott 1 I
saving Davion from death in the blazing chapel; Reed rushing |
into the chapel, clutching the skeleton of his brother and dying
in the inferno.

Universal. 80 minutes. Janette Scott, Oliver Reed. Produced by Anthony Hinds. ,
Directed by Freddie Francis.

BULLETIN

reviews have one aim:
to give honest judgment
of entertainment merit
— and boxoffice value

Page 18 Film BULLETIN April 15, 1943

"The Ugly American"
'ScuiKCd* 'Rati*? GOO

Has a message, but also plenty of rousing action. Brando
turns in strong performance. Needs heavy promotion to
draw mass audience.

If "The Ugly American" can overcome the general classifica-
tion of a "message" picture, it should enjoy boxoffice success.
Actually, it is a high-voltage drama of stature, but it requires a
strong kind of promotion to win the mass audience. Under the
creative reins of 35 year-old producer-director George Englund,
this story about an American diplomat thrown into the midst
of the cold, and sometimes hot, war in a mythical Southeast
Asian country emerges an exciting, important and highly enter-
taining film. Stewart Stern's intelligent script makes a number
of telling points, qualifying it as a "message" picture, but it's
also a literate thriller. With Marlon Brando as the marquee
lure, the popularity of the William J. Lederer- Eugene Burdick
novel as an exploitation element and controversy as a strong
word-of-mouth factor, "The Ugly American" figures to prove
an above-average grosser in most situations, with enthusiastic
response coming from discriminating metropolitan audiences.
For others, there's a touch of humor and romance, top-drawer
action sequences, handsome Eastman Color lensing in Thailand,
plus a sense of involvement with American prestige problems.
Brando, in his best delineation since "Waterfront", projects an
entirely different image than the characterization written in the
novel. As the newly apointed American Ambassador to Sark-
han, a country beset with conflicting political ideologies, he
emerges a man endowed with extraordinary tact and diplomacy,
while also remaining an identifiable human being. Also impres-
sive are Eiji Okada ("Hiroshima, Mon Amour"), a resistance
fighter- World War II buddy of Brando's, now the single most
popular man in Sarkhan; Pat Hingle, a dedicated engineer help-
ing to build Freedom Road; Jocelyn Brando, the latter's wife
who has set up a children's clinic at the edge of the jungle,
Arthur Hill, deputy head of mission at the U.S. Embassy, and
Sandra Church, Brando's wife. Englund's action sequences ring
with blood, thunder and suspense — Red agents murdering na-
tives working on the road; a chilling, blood-spilling demonstra-
tion when Brando arrives at the airport; an even bloodier revolu-
tion set off on the anniversary of Sarkhanese independence. The
long-awaited reunion between Brando and Okada ends in bitter-
ness with Brando convinced that the latter is now a Communist
(Okada wants Brando to stop the road). Brando visits Sarkha-
nese Prime Minister Kukrit Pramoj and asks him to shift the
route of the road. Pramoj agrees, but only after assurance of
American military support should plans go amiss. Red leaders
now convince Okada to lead a crusade for freedom, and prom-
ise no outside "volunteers." The revolution begins, red forces
move down from the north, and Brando must now live up to
his military aid promise. He reaches Okada's headquarters and
eventually convinces Okada that he's been duped. Okada agrees
to set up a coalition government, but his trusted aid (unmasked
as a red) fatally shoots him. Before he dies, Okada tells his fol-
lowers to trust Brando and the Americans. The fade-out (not
to be revealed here), however, is not a pat "happy" ending.

Universal 120 minutes. Marlon Brando, Eiji Okada, Sandra Church Pat Hinqle
Produced and Directed by George Englund.

"Landru"

SudcUeedd 'Rating Q O Q

Murder in the light vein, done with wit and touch of hor-
ror. French import should intrigue art, class audiences.

Joseph E. Levine's "Landru" is a minor gem — witty, imagina-
tive, diabolical and engrossing. The film is based on the true-
life story of the infamous Frenchman — Henri-Desire Landru —

who wooed and won some 283 women and disposed of at least
11 of them — in a kitchen range. It's a clever and fascinating
film to watch, thanks to director Claude Chabrol ("The
Cousins"), who has thrown the accent on predominantly light
blue and pastel pink shades (in marked contrast to the horror
of Landru's crimes), and played everything off against the hor-
rors of World War I; Francoise Sagan, who has scripted in a
delightful tongue-in-cheek manner; and Charles Denner (of the
French Theatre Populaire National), who brilliantly portrays
Landru. In French, with sub-titles, this Embassy release looms
a potent art house moneymaker, and when eventually dubbed,
it should score fairly well in the class market. Authenticity and
fantasy run throughout. The former the result of location lens-
ing and much of the actual transcript of the trial used in the
script; the latter stemming from Chabrol's unorthodox use of
color and unusual background music, and highly effective edit-
ing. The costumes and sets are definitely top-drawer. Actor
Denner apparently has a fine screen future ahead of him. Actu-
ally a youthful, good-looking man, he has been amazingly
transformed into the short, middle-aged, bald and bearded
Frenchman — a man with fantastic amatory prowess, and a great
charm and love for things cultural. His poor victims include
such international favorites as Michele Morgan, Danielle Dar-
rieux, Hildegarde Neff, Juliette Mayhiel and Mary Marquet.
The script finds impoverished petty swindler Denner inserting
"lonelyhearts" ads in the newspapers. From the replies, he selects
widows and old maids with nest-eggs and no relatives to inter-
fere. He rents a country home outside Paris, and there disposes
of at least eleven victims. Only the Armistice spares Miss Neff.
During this time, Denner manages to find time for a wife and
family he hates, and a mistress he adores. Eventually brought to
trial, Denner proves to be both witty and contemptuous at the
proceedings. Convicted on circumstantial evidence, he goes to
the guillotine stating: "I go to my death with a calm and inno-
cent soul. I can only hope, gentlemen, that the same can be
said for yours."

Embassy. 114 minutes. Michele Morgan, Danielle Darrieux, Charles Denner. Pro-
duced by Carlo Ponti and Georges de Beauregard. Directed by Claude Chabrol.

"Showdown"

SudlKCdd Rating O Plus

Audie Murphy carries routine black-and-white oater.
Will get by as supporting dualler in action spots.

Audie Murphy is the sole selling factor in this Grade C west-
ern about a pair of aimless cowboys who become captives of a
sinister killer. Saddled with horse opera cliches and further
hampered by a low-budget black-and-white production, this
Universal release figures to squeak by as a bottom half dualler
in action situations. R. G. Springsteen's direction is uninspired,
despite a fair amount of gunplay, while Bronson Howitzer's
screenplay emerges a compilation of tired shoot-'em-up hap-
penings. Murphy and Charles Drake, after a bar fight in a
Mexican border town, find themselves chained and iron collared
to a post (there is no jail) beside killer Harold J. Stone. During
the night, they are forced to dig up the post and help Stone
and his band escape. In between bullet exchanges, Drake steals
negotiable securities, and the remainder of the plot centers
upon Stone's sadistic attempts to collect the cash. Kathleen
Crowley is the fern, Drake's former girl friend, now a hardened
dancehall girl, who ends up with the securities. Skip Homier
appears as a sadistic gang member. Drake is eventually killed
by Homier and Murphy and Miss Crowlev make a run for it
across the open country. One by one. Murphy eliminates the
entire gang. After returning the securities, he and Miss Crowley
look forward to a new life together.

Universal. 79 minutes. Audie Murphy, Kathleen Crowley. Produced by Gordon
Kay. Directed by R. G. Springsteen.

Film BULLETIN April IS, 1 963 Page 19

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

October

CONVICTS 4 Ben Gazzara, Ray Walston, Stuart Whit-
man. Sammy Davis, Jr., Vincent Price, Rod Steiger.
Producer A. Ronald Lubin. Director Millard Kaufman.
Prison dama. 110 min.

November

BILLY BUDD CinemaScope. Peter Ustinov, Robert Ryan,
Melvyn Douglas, Terence Stamp. Producer-Director
Ustinov. Picturization of Herman Melville's sea classic.
123 min. 11/12/62.

March

DAY OF THE TRIFFIDS. THE CinemaScope. Color.
Howard Keel, Nicole Maurey. Producer Philip Yordan.
Director Steve Sekely. Science-fiction thriller. II? min.

A pril

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Loren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.

May

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
A Julian Wintle, Leslie Parkyn Production. Director
Michael Winner. Musical.

June

55 DAYS AT PEKING Technirama, Technicolor. Charl-
ton Heston, David Niven, Ava Gardner, Flora Robson,
Harry Andrews, John Ireland. Producer Samuel Bron-
ston. Director Nicholas Ray. Story of the Boxer uprising.

LONG CORRIDOR, THE Peter Breck, Constance Towers.
Producer-director Samuel Fuller. A Leon Fromkess
Presentation. A suspense drama.

July

GUNHAWK, THE Color. Rory Calhoun, Rod Cameron,
Ruta Lee, Rod Lauren. Producer Richard Bernstein.
Director Edward Ludwig. Outlaws govern peaceful town
of Sanctuary.

Coming

CAPTAIN MUST DIE, THE Producer Monroe Sachson.
Director Allen Reisner. Suspense thriller.

GUNFIGHV AT COMANCHE CREEK Color Cinema-
scope. Audie Murphy. Producer Ben Schwalb. Private
detective breaks up outlaw gang.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

RECKLESS PRIDE OF THE MARINES Producer Lester
Santom. Andrew Geer's book about a horse which
served as an ammunition carrier in Korea.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen. Producer Martin Jurow. Army comedy.

STREETS OF MONTMARTRE Lana Turner, Louis Jour-
dan. Producer-director Douglas Sirk. Based on two
books, "Man of Montmartre" and "The Valadon
Drama."

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

October

WARRIORS 5 Jack Palance, Jo Anna Ralli. Producer
Fulvio Lusciano. Director Mario Silvestra. Story of an
American G.I. who organized the underground resist-
ance in Italy. 82 min. 11/12/62.

November

REPTILICUS Color. Carl Ottosen, Ann Smyrner. Pro-
ducer-Director Sidney Pink. Giant sea monster's de-
struction of an entire city. 81 min.

December

SAMSON AND THE 7 MIRACLES OF THE WORLD

(Formerly Goliath and the Warriors of Genghis Kahn)
Color. CinemaScope. Gordon Scott, Yoko Tani. Samson
helps fight off the Mongol invaders. 80 min. 2/18/63.

January

February

BATTLE BEYOND THE SUN IFilmgroup) Color & Vista-
scope. Ed Perry, Aria Powell. 75 min.

NIGHT TIDE IFilmgroup) Dennis Hopper, Linda Law-
son. 84 min.

March

CALIFORNIA Jock Mahoney, Faith Domergue. Western.

April

ERIK, THE CONQUEROR (Formerly Miracle of the
Vikings). Color, Cinemascope. Cameron Mitchel. Action
drama. 90 min.

FREE, WHITE AND 21 (Formerly Question of Consent)

Frederick O'Neal, Annalena Lund. Drama. 102 min.

OPERATION BIKINI (Formerly Seafighters) Tab Hunter,
Frankie Avalon, Eva Six. Producer-director Anthony
Carras.

May

MIND BENDERS, THE Dick Bogarde. Mary Ure. Science

fiction.

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama.

June

DEMENTIA ^13 IFilmgroup) William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

TERROR, THE IFilmgroup) Color, Vistascope. Boris Kar-
loff. Horror.

July

BEACH PARTY Color, Panavision. Frankie Avalon.
Producer Lou Rusoff. Teenage comedy.

August

HAUNTED PALACE, THE Ray Milland. Edgar Allan

Poe classic.

"X"— THE MAN WITH THE X-RAY EYES Ray Milland.
Science fiction.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

COMEDY OF TERROR. A Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff. Horror.

DUNWICH HORROR Color. Panavision. Science Fiction.

GENGHIS KHAN 70mm roadshow.

IT'S ALIVE Color. Peter Lorre, Frankie Avalon. Teen,
horror, musical comedy.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

NIGHTMARE (Formerly Schizo) Leticia Roman, John
Saxon. Producer-director Mario Bava. Suspense horror.

UNDER 21 Color, Panavision. Teen musical comedy.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Producers Julian
Wintle, Leslie Parkyn. H. G. Wells classic.

December

BLACK FOX Marlene Dietrich. Producer-director Louis
Clyde Stoumen. Narration of true story of Adolph
Hitler. 89 min.

OUT OF THE TIGER'S MOUTH Loretta Hwong, David
Fang. Producer Wesley Ruggles, Jr. Director Tim
Whelan, Jr. 81 min.

OUARE FELLOW, THE Patrick McGoohan, Sylvia Sims.
Walter Macken. Producer Anthony Havelock-Allan.
Director Arthur Dreifuss. 85 min. 11/26/62.

January

RAVEN, THE Color. Panavision. Vincent Price, Peter
Lorre, Boris Karloff. Producer-director Roger Corman.
Edgar Allan Poe tale. 86 min. 2/4/63.

SWINDLE, THE Broderick Crawford, Giulietta Masina,
Richard Basehart. Director Federico Fellini. Melodrama.
92 min. I 1/12/62.

WORLD BEGINS AT 6 P.M. Jimmy Durante, Ernest Borg-
nine. Director Vittorio DeSica.

Coming

TOTO, PEPPINO and LA DOLCE VITA Toto. Peppino

TRIAL, THE lAstor Productions, Inc.) Anthony Perkirc
Jeanne Moreau. Director Orson Welles. Welles' versi<<
of Kafka novel. 118 min. 3/4/63.

October

ALMOST ANGELS Color. Peter Week, Sean Scull
Vincent Winter, Director Steven Previn. 93 min. 9/3/6

November

LEGEND OF LOBO, THE Producer Walt Disney. Liv 1
action adventure. 67 min. 11/12/62.

December

IN SEARCH OF THE CASTAWAYS Technicolor. Mauric
Chevalier, Hayley Mills, George Sanders. Produc«i
Walt Disney. Director Robert Stevenson. Based on th
Jules Verne story, "Captain Grant's Children." Ill
min. 1/7/63.

February

SON OF FLUBBER Fred MacMurray, Nancy Olsoi
Keenan Wynn. Walt Disney Production. Director Robe
Stevenson. Comedy. 100 min. 1/21/63.

April

MIRACLE OF THE WHITE STALLIONS Color. Robe. '
Taylor, Lili Palmer, Curt Jergens. A Walt Disney pre
duction. Director Arthur Hiller. Story of the rescue c
the famous white stallions of Vienna. 118 min. 4/l/t'.,

June

SAVAGE SAM Brian Keith, Tommy Kirk. Drama.

July

SUMMER MAGIC Hayley Mills, Burl Ives. Drama.

September

BEST OF ENEMIES, THE Technicolor, Technirama. Davi
Niven, Sordi, Michael Wilding. Producer Dino d .
Laurentiis. Director Guy Hamilton. Satirical corned t
on war. 104 min. 8/6/62.

DAMN THE DEFIANT (formerly H.M.S. DEFIANT) Color
Alec Guinness, Dirk Bogarde, Anthony Quayle. Pre
ducer John Brabourne. Director Lewis Gilbert. Se
adventure. 101 min. 8/20/62.

RING-A-DING RHYTHM Chubby Checker, Dukes o
Dixieland, Gary (U.S.) Bonds, Dell Shannon. Product'

Milton Subotsky. Director Dick Lester. Teenage com
edy. 78 min. 9/17/62.

October

REQUIEM FOR A HEAVYWEIGHT Anthony Quinn
Jackie Gleason, Mickey Rooney, Julie Harris. Produca
David Susskind. Director Ralph Nelson. Award winnin'
drama. 87 min. 9/17/62.

TWO TICKETS TO PARIS Joey Dee, Gary Crosby, Ka
Madford. Producer Harry Romm. Director Greg Gar

rison. Romantic comedy. 75 min. 11/26/62.

November

PIRATES OF BLOOD RIVER Color. Glenn Corbett, KerJ
win Mathews, Maria Landi. Producer Anthony Nelso- ;
Keys. Director John Gilling. Swashbuckling adventure'
87 min. 8/6/62.

WAR LOVER, THE Robert Wagner, Steve McQueen
Producer Arthur Hornblow. Director Philip Leacock
Drama of World War II in the sky. 105 min. 10/29/62 i

WE'Ll BURY YOUI Narrated by William Woodson
Producers Jack Leewood, Jack W. Thomas. Documen'
tary highlighting rise of Communism. 72 min. 10/15/62

December

BARABBAS Technicolor. Anthony Quinn, Silvana Man;
gano, Jack Palance, Ernest Borgnine, Katy Juradol
Douglas Fowley, Arthur Kennedy, Harry Andrews J
Vittorio Gassman. Producer Dino de Laurentiis. Direc
tor Richard Fleischer. Based on novel by Par Lager
kvist. 134 min. 9/3/62.

Film IULLETIN — THIS IS YOUR PRODUCT

February

DIAMOND HEAD Panavision, Eastman Color. Charlton
Heston, Yvotte Mimieux, George Chakiris, France
Nuyen, James Darren. Producer Jerry Bresler. Director
Guy Green. Based on Peter Gilman's novel. 107
min. 1/7/43.

April

MAN FROM THE DINER'S CLUB, THE Danny Kaye, Cara
Williams. Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin. Comedy. 96 min.

May

FURY OF THE PAGANS Edmund Purdom. Rosanna
Podesta.

June

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical. 120 min.

JASON AND THE ARGONAUTS (Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Novak. Pro-
ducer Charles H. Schneer. Director Don Caffey. Film
version of Greek adventure classic.

Ml Sc4

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Coming

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/42.

WEEKEND WITH LULU, A Bob Monkhouse, Leslie
Philips, Shirley Eaton, Irene Handl. Producer Ted
Lloyd. Director John Paddy Garstairs. 91 min. 6/11/42.

BEEQEHZiH

October

END OF DESIRE Color. Maria Schell, Christian Mar-
quand, Ivan Desny, Pascale Petit. Producer Agnes De-
Lahaie. Director Alexander Astruc. 91 min.

ncy Ob

KtOt IH

November

LONELINESS OF THE LONG DISTANCE RUNNER, THE

Michael Redgrave, Tom Courtenay, Avis Bunnage. Pro-
ducer-director Tony Richardson. Explores the attitudes
of a defiant young man sent to a reformatory for
robbery. 103 min. 10/1/42.

January

5 AVID AND LISA Keir Dullea, Janet Margolin, How-
ard Da Silva. Producer Paul M. Heller. Director Frank
"erry. Drama about two emotionally disturbed young-
iters. 94 min. 1/7/43.

HANDS OF THE STRANGLER Mel Ferrer, Danny Carrol.
Producers Stevan Pallos, Donald Taylor. Director Ed-
nond T. Grenville. Drama about a man twisted by a
trange obsession. 84 min. 8/20/42.

February

JREAT CHASE, THE Douglas Fairbanks, Sr., Buster
leaton, Lill ian Gish. Producer Harvey Cort. Silent
hase sequences. 77 min. 1/7/43.

March

VRONG ARM OF THE LAW. THE Peter Sellers,
ionel Jeffries.

OUR SHADOW IS MINE Jill Haworth, Michael Ruhl.

April

ALCONY, THE Shelly Winters, Peter Falk. Producers
oseph Strict, Ben Maddow. Director Strict. Unusual
lersion of Genet's fantasy play. 85 min. 4/1/43.

May

HIS SPORTING LIFE Richard Harris, Rachel Roberts.

win*

September

IVORCE— ITALIAN STYLE Marcello Mastroianni, Dan-
la Rocca, Stefania Sandrelli. Producer Franco Cris-
Idi. Director Pietro Germi. Satirical jabs at the
ores of our times. 104 min. 10/29/42.

« LOVE MAKERS (La Viaccia) Claudia Cardinale,
,-tif pan-Paul Belmondo, Pietro Germi. Producer Alfredo
ni. Director Mauro Bolognini. A drama of the tragic
fluences of the city upon a young farmer. 103 min.
* (t / 1 2/42 .

October

«IME DOES NOT PAY Danielle Darrieux, Richard
>dd, Pierre Brasseur, Gino Cervi, Gabriele Ferzetti,
mstian Marquand, Michelle Morgan, Jean Servais.
oducer Gilbert Bokanowski. Director Gerard Oury.
ench object lesson based on classic crimes. 159 min.
1/29/42.

i WONG DAY'S JOURNEY INTO NIGHT Katharine Hep-
,Jrn, Jason Robards, Jr., Sir Ralph Richardson, Dean
■'-■>• Rockwell. Producer Ely A. Landau. Director Sidney
imet. Film version of Eugene O'Neill's Pulitzer Prize-
Li-1 finning stage drama. 174 min. 10/29/62.

November

NIGHT IS MY FUTURE Mai Zetterling, Birger Malmsten.
Director Ingmar Bergman. Bergman reflects on the
theme of man's search for human contact and love in
a "hostile universe.'' 87 min. 1/7/43.

December

CONSTANTINE AND THE CROSS Color. Cornel Wilde,
Christine Kaufman, Belinda Lee. Producer Ferdinando
Feliciori. Director Lionello De Felice. Story of early
Christians struggling against Roman persecution. 120
min. 11/24/42.

January

SEVEN CAPITAL SINS Jean-Pierre Aumont, Dany Saval.
Directors Claude Chabrol, Edouard Molinaro, Jean-Luc
Godard, Roger Vadim, Jaques Demy, Philippe De
Broca, Sylvain Dhomme. A new treatment of the classic
sins with a Gallic flavor. 113 min. 11/24/42.

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,
Christian Doermer. Directors Francois Truffaut, Andrez
Wajda, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world. 113
min. 2/18/43.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French
Revolution. 104 min. 3/4/63.

March

FACE IN THE RAIN, A Rory Calhoun, Marina Bert:
Niall McGinnis. Producer John Calley. Director Irvin
Kershner. Suspenseful spy-chase drama. 90 min. 4/1/63.

April

LANDRU Charles Denner, Michele Morgan, Danielle
Darrieux. Producers Carlo Ponti-Georges de Beaure-
gard. Director Claude Chabrol. Tongue-in-cheek drama
of the infamous ladykiller.

mnnnnnnnsm

Current Releases

ANTIGONE (Ellis Films! Irene Papas, Manos Katra-
kis. Producer Sperie Perakos. Director George Tza-
vellas. 88 min. 10/29/62.

ARMS AND THE MAN (Casino Films) Lilo Pulver,
O. W. Fischer, Ellen Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
96 min.

BERNADETTE OF LOURDES (Janus Films) Daniele Ajoret
Nadine Alari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE (Lopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 68 min.

BLOODY BROOD, THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR, A (Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

CANDIDE (Union Films) Jean-Pierre Cassel, Pierre
Brausseur, Dahlia Lavi. Director Norbert Carbonnaux.
90 min. 1 1/26/62.

CLEOPATRA'S DAUGHTER (Medallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

COMING OUT PARTY A. James Robertson Justice.
Producers Julian Wintle, Leslie Parkyn. Director Kenn
Annakin. 90 min. 9/17/62.

CONNECTION. THE Warren Finnerty, Garry Good-
row, Jerome Raphel. Producer Lewis Allen. Director
Shirley Clarke. Off-beat film about dope addicts. 93
min. 10/29/42.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
74 min.

DAY THE SKY EXPLODED, THE (Excelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR. THE (Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL MADE A WOMAN. THE (Medallion) Color, To-
talscope. Sarita Montiel. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

ELECTRA (Lopert) Irene Papas, Aleka Catselli. Pro-
ducer-director Michael Cacoyannis. Version of classic
Greek tragedy. 110 min. 1/7/43.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE (Ultra Pictures) Anthony Ouinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/43.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS Technicolor, Totalvlsion.
Yoko Tani, Oldrick Lukes. 81 min.

MAY SUMMARY

May's release schedule shows a list-
ing of 15 films for the month, with a
possibility of additional product being
announced. M-G-M, with five features
leads the group, and American-Inter-
national follows with two. Eight com-
panies— United Artists, Warner Bros.,
20th-Fox, Universal, Columbia, Conti-
nental, Allied Artists, and Paramount —
promise one release. Thus far neither
Embassy nor Buena Vista list any new
product for May.

FIVE DAY LOVE3. THE (Kinosley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 84 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash. Gay
Forester, Pamela Mason, Donald Woods. 84 min.

FLAME IN THE STREETS (Atlantic) John Mills, Sylvia
Syms, Brenda DeBanzie. Producer-director Roy Baker.
93 min. 10/29/42.

FORCE OF IMPULSE (Sutton Pictures) Tony Anthony,
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

IMPORTANT MAN. THE (Lopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/42.

JOSEPH AND HIS BRETHREN (Colorama) Geoffrey
Home, Belinda Lee. Producers Ermanno Donati, Luigi
Carpentieri. Director Irving Rapper. 103 min. 2/12/42.

KIND OF LOVING, A (Governor Films) Alan Bates,
June Ritchie, Thora Hird. Producer Joseph Janni.
Director John Schlesinger. 11/12/42.

LAFAYETTE (Maco Film Corp.) Jack Hawkins, Orson
Welles Vittorio De Sica. Producer Maurice Jacquin.
Director Jean Oreville. 110 min. 4/1/43.

LA NOTTE BRAVA (MMIer Producing Co. I Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 94 min.

LAST OF THE VIKINGS (Medallion) Color, Totalscope.
Cameron Mitchell, Edmond Purdom. 102 min.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

LONG ABSENCE, THE (Commercial Films) Alida Valli,
Georges Wilson. Director Henri Colp. French drama.
85 min. I 1/24/42

LOVE AND LARCENY (Major Film Distribution) Vit-
torio Gassman, Anna Maria Ferrero, Peppino DiFilippo.
Producer Mario Gori. Director Dino Risi. Satire on
crime. 94 min. 2/18/43.

MARRIAGE OF FIGARO, THE (Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piar. Producer
Pierre Gerin. Director Jean Meyer. French import.
105 min. 2/18/43.

MATTER OF WHO, A (Herts-Lion International) Alex
Nicol, Sonja Ziemann. Producers Walter Shenson,
Milton Holmes. Director Don Chaffey. 90 min. 8/20/42.

MO hi DO CANE (Times Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/63.

NIGHT OF EVIL (Sutton) Lisa Gaye, Bill Campbell.
88 min.

NIGHT, THE (Lopert) Jeanne Moreau, Marcello
Mastroianni, Monica Vitti. Producer Emanuele Cassulo,
Director Michelangelo Antonioni. 120 min. 3/S/62.

NO EXIT (Zenith-International I Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.

PARADISE ALLEY (Sutton) Hugo Haas, Corinne Griffith.

PASSION OF SLOW FIRE, THE (Trans-Lux) Jean
DeSailley, Monique Melinand. Producer Francois
Chavene. Director Edouard Molinaro. 91 min. 11/12/62.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I 1 5 min.

RICE GIRL (Ultra Pictures) Elsa Martlnelli, Folco Lull!,
Michel Auclair. Producer Carlo Ponti. Director Raffa-
eilo Matarazzo. Dubbed Italian melodrama. 90 min.
2/4/63.

ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

SATAN IN HIGH HEELS (Cosmic). Meg Myles Gray-
son Hall, Mike Keene. Producer Leonard M. Burton.
Director Jerald Intrator. 97 min. 5/14/62.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

SECRETS OF THE NAZI CRIMINALS (Trans-Lux). Pro-
ducer Tore Sjoberq. Documentary recounting N*ii
crimes. 84 min. 10/15/62.

Film

BULLETIN — THIS IS YOUR PRODUCT

SLIMt rEOPLE, THE I Hutton-Robertson Prods ) Robert
Hurton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT. THE Robert Clarke, Francine
York. 85 min.

SON OF SAMSON (Medallion) Color, Totalscope. Mark
Forest, Chelo Alonso. 89 min.

STAKEOUT Ping Russell. Bill Hale. Eve Brent. 81 min.

SUNDAYS AND CYBELE I Davis-Royal I Hardy Kruger.
Nicole Courcel, Patricia Gozzi. Producer Romain Pines.
Director Serge Bourguignon. 110 min. 11/24/62.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THRONE OF BLOOD (Brandon Films) Tothino Mifooe,
Isuzu Yamada. Director Akira Kurosawa 108 min.
1/8/42.

TROJAN HORSE, THE Colorama. Steve Reeves, John
Drew Barrymore, Edy Vessel. Director Giorgio Ferroni.
105 min. 7/23/42.

VARAN THE UNBELIEVABLE .vtyron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Times Films Eng.) Color. Pro-
ducer-director Marion Gering.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FCR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

YOJIMBO (Seneca-lnternationall Toshiro M, Fune, Kyu
Sazanka, Nakadai. Director Akiro Kurosana. 101 min.
9/17/42.

METRO -GOLD WYN-MAYER

October

VERY PRIVATE AFFAIR, A Brigitte Bardot, Marcello
Mastnianni. Producer Christine Gouze-Renal. Director
Louis Malle. Story of the meteoric career of a young
screen star who becomes a sex symbol for the world.
94 min. 10/1/42.

November

ESCAPE FROM EAST BERLIN Don Murray, Christine
K-^ufmann. Producer Walter Wr>oH rtiror+or Robert
Siodmak. Drama of the escape of 28 East Germans to
West Berlin under the wall via a tunnel. 93 min.
10/29/42.

KILL OR CURE Terry-Thomas, Eric Sykes, Dennis Price,
Moira Redmond. Producer George Brown. Director
George Pollack. Detective tale. 88 min. 11/24/42.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh Griffith. Pro-
ducer Aaron Rosenberq. Director Lewis Milestone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/43.

PERIOD OF ADJUSTMENT Tony Franciosa, Jane Fonda,
Jim Hutton. Producer Lawrence Weingarten. Director
George Roy Hill. Screen version of Tennessee Williams'
Broadway play. 112 min. 10/29/42.

TRIAL AND ERROR Peter Sellers, Richard Attenbor-
ough. Producer Dimitri de Grunwald. Director James
Hill. Comedy about a henpecked murderer and his
ineffectual lawyer. 99 min. 11/24/42.

December

ARTURO'S ISLAND Reginald Kernan, Key Meersman,
Vanni De Maigret, Ornella Vanomi. Producer Carlo
Ponti. Director D. Damiani. Based on noted Italian
novel. mm. 1/2 1/63.

BILLY ROSE'S JUMBO Doris Day, Stephen Boyd, Jimmy
Durante, Martha Raye. Producer Joe Pasternak. Direc-
tor Charles Walters. Martin Melcher. Based on the
Broadway musical Tolialgo. 125 min. 10/12/42.

SWORDSMAN OF SIENA Eastman Color. Stewart
Granger, Christine Kaufmann. Producer Jacques Bar.
Director Etienne Pertier. Adventure drama. 92 min.
1 1/24/42.

January

CAIRO George Sanders, Richard Johnson. Producer
Ronald Kinnoch. Director Wolf Rilla. Drama of attempt

to rob the Cairo Museum. 91 min. 2/4/43.

PASSWORD IS COURAGE, THE Dirk Bogarde. Pro-
ducer-Director Andrew L. Stone. One man's war against

the Nazis during World War II. 114 min. 1/7/43.

February

HOOK, THE Kirk Douglas. Nick Adams. Producer Wil-
liam Perlberg. Director George Seaton. Drama set

against background of the Korean War. 98 min.
1/21/63.

March

COURTSHIP OF EDDIE'S FATHER, THE Glenn Ford,
Shirley Jones. Producer Joe Pasternak. Director Vin-

cente M'nnelli. Romemic comedy revolving about a
young widower and his small son. 117 min. 3/18/63.

FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
Randell, Russ Tamblyn, Janis Paige. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy. 95 min. 3/4/63.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy

Mate. Based on the life of Sir Francis Drake. 95 min.
3/18/43.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatoli de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.

IT HAPPENED AT THE WORLD'S FAIR Panavision,

Color, clvis cresley. Producer led Richmond. Romantic
comedy.

RIFIFI IN TOKYO Karl Boehm, Barbara Lass, Charles
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo. 89 min. 4/1/63.

May

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris

Sagal. Race track comedy. 94 min. 4/1/43.

DRUMS OF AFRICA Fr^nkie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.

IN THE COOL OF THE DAY ClnemaScope. Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Errz.

SLAVE, THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites the slaves to
revolt against the Romans.

June

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West.

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ro»-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

MAIN ATTRACTION, THE ClnemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,

Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy.

DAY AND THE HOUR, THE (Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

TARZAN'S THREE CHALLENGES Jock Mahoney. Woody
Strode.

TICKLISH AFFAIR, A (Formerly Moon Walk) Shirley
Jones. Producer Joe Pasternak. Director George Sid-
ney. Romantic comedy based on a story in the Ladies
Home Journal.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

August

THE NATIVES ARE RESTLESS TONIGHT (Formerly
Tamahine) Nancy Kwan, Dennis Price. Producer John
Bryan. Director Philip Leacock. Romantic comedy of a
Tahitian girl and her impact on an English public
school.

Coming

COUNTERFEITERS OF PARIS Jean Gabin, Dany Carol.
Producer Jacques Bar. Director Gilles Grangier. 99
min.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

HOW THE WEST WAS WON Cinerama, Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/24/42.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/63.

MURDER AT THE GALLOP Margaret Rutherford, Paul
Robson. Agatha Christie mystery.

OF HUMAN BONDAGE IMGM-Seven Arts) Laurence
Harvey, Kim Novak. Producer James Woolf. Director
Henry Hathaway. Film version of classic novel.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

V.I.P.'s, THE Color. Elilabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama.

WHEELER DEALERS. THE James Garner, Lee Remick.
Producer Martin Ransohoff. Director Arthur Hiller.
Story of a Texan who takes Wall Street by storm.

YOUNG AND THE BRAVE. THE Rory Calhoun, Willi*.
Bendix. Producer A. C. Lyles. Director Francis [
Lyon. Drama of Korean S.I. I and orphan boy.

November

GIRLSI GIILSI GIRLSI Panavision, Technicolor. Elv
Presley. Stella Stevens. Producer Hal Wallis. Directc

Norman Taurog. Romantic comedy. 106 min.

December

IT'S ONLY MONEY Jerry Lewis, Joan O'Brien, Zacbar
Scott. Jack Weston. Producer Paul Jones. Directc
Frank Tashlin. Comedy. 84 min. 9/17/62.

January

WHERE THE TRUTH LIES Juliette Greco, Jean-Mar
Bory, Lisolette Pulver.

February

GIRL NAMED TAMIKO, A Technicolor. Laurence Hai
vay. France Nuyen. Producer Hal Wallis. Director Joh
Sturges. A Eurasian "man without a country" courts a
American girl in a bid to become a U.S. citizen.

WHO'S GOT THE ACTION Panavision. Technicolor
Dean Martin, Lana Turner, Eddie Albert, Walter Mai
hau, Nita Talbot. Producer Jack Rose. Director Dealt
Mann. A society matron becomes a "bookie" to ctir
her horse-playing husband. 93 min. 10/1/42.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleason

Glynis Johns. Producer Jack Rose. Director Georg
Marshall. Comedy-drama based on childhood of silen
screen star Corinne Griffith. 98 min. 2/18/43.

April

MY SIX LOVES Technicolor. Debbie Reynolds, CHI
Robertson, David Jannsen. Producer Garet Gaither

Director Gouer Champion. Broadway star adopts si
abandoned children. 105 min. 3/18/43.

May

HUD Paul Newman, Patricia Neal, Melvyn Douglas
Producers Irving Ravetch, Martin Rirt. Director Ritl
Drama set in modern Texas. 122 min. 3/4/63.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmons
Pat Hingle. Producer David Susskind. Director Ale
Segol. Film version of play and novel.

COME BLOW YOUR HORN Technicolor. Frank Sinatra
Barbara Rurh, Lee J. Cobb. Producer Howard Koch. Di
rector Bud Yorkin. A confirmed bachelor introduces hi
young brother to the playboy's world.

DONOVAN'S REEF Technicolor. John Wayne, Lee Mir
vin. Producer-director John Ford. Adventure drama I
the South Pacific.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil
liam Holden, Audrey Hepburn. Producer George Axel
rod. Director Richard Quine. Romantic-comedy filme<
on location in Paris.

WONDERFUL TO BE YOUNG Cliff Richard, Rober

Morley. 92 min.

20TH CENTURY-FOX

October

LONGEST DAY. THE John Wayne, Richard Todd
Peter Lawford, Robert Wagner, Tommy Sands, Fabian
Paul Anka, Curt Jurgens, Red Buttons, Irina Demich
Robert Mitchum, Jeffrey Hunter, Eddie Albert, Ra'
Danton, Henry Fonda, Edmond O'Brien, Robert Ryan
Producer Darryl Zanuck. Directors Gerd Oswald
Andrew Marton, Elmo Williams, Bernard Wicki, Ka«
A/inakin. 180 min.

November

LOVES OF SALAMMBO Deluxe. Jeanne Valerie, Jacque
Sernas. Edmund Purdom. Director Sergio Grieco
Adventure drama. 72 min. 11/12/42.

December

GIGOT DeLuxe Color. Jackie Gleason, Katharine Kath
Gabrielle Dorziat. Diane Gardner. Producer Ken Hy
man. Director Gene Kelly. Story of a mute and a fitti
girl he befriends. 104 min. 4/25/42.

January

SODOM AND GOMORRAH Stewart Granger, Pier An
geli, Stanley Baker, Rossana Podesta. Producer Go!
fredo Lombardo. Director Robert Aldrich. Biblical tale

154 min. 1/21/43.

YOUNG GUNS OF TEXAS Cinemascope, De Luxe Color
James Mitchum, Alana Ladd, Jody McCrea. Producer
director Maury Dexter. Western tale of restless youth
85 min. 1 1/12/42.

February

DAY MARS INVADED EARTH, THE Cinemascope. Ken
Taylor. Marie Windsor. Producer-director Maury De»'
ter. Science-fiction drama. 70 min.

Film BULLETIN — THIS IS YOUR PRODUCT

LION. THE Cin«maScope, Da Luxe Color. William Hol-
dan, Trevor Howard, Capucine. Producer Samuel
Engel. Director Jack Cardiff. Based on best-teller
about a girl's love for a wild lion. 96 min. 9/3/62.

ROBE, THE Re-release.

March

NINE HOURS TO RAMA CinemaScope, DeLuie Color.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robton. Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy.
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

April

STRIPPER, THE (Formerly A Woman in July) Joanne
Woodward, Richard Beymer, Gypsy Rose Lee, Claire
Trevor.

May

YELLOW CANARY. THE Pat Boone. Barbara Eden.
Drama.

Coming

CLEOPATRA Todd-AO Color. Elizabeth Taylor. Richard
Burton, Rex Harrison. Producer Walter Wanger.
Director Joseph Mankiewicz. Story of famous queen.

LEOPARD, THE Burt Lancaster, Claudia Cardinale.

QUEEN'S GUARDS, THE CinemaScope, DeLuie Color.
Daniel Massey, Raymond Massey Robert Stephens.
Producer-Director Michael Powell. A tale of the
tradition and importance of being a Guard.

UNITED ARTISTS

October

HERO'S ISLAND James Mason. Neville Brand. Ka*<?
Manx, Rip Torn. Producer-Director Leslie Stevens. Ad-
venture drama. 94 min. 9/17/62.

PRESSURE POINT Sidney Poitier, Bobby Darin, Peter
Falk. Producer Stanley Kramer. Director Hubert Corn-
field. Drama dealing with racial prejudice in U.S. 91
min. 9/17/62.

THREE ON A SPREE Jack Watling, Carole Lesley,
Colin Gordon. Producer George Fowler. Director Sid-
ney J. Furie. 83 min. 10/2/61.

November

MANCHURIAN CANDIDATE, THE Frank Sinatra, Laur-
ence Harvey. Janet Leigh, Angela Lansbury, Henry
Sllva. Producers George Axelrod, John Frankenheimer.
Director Frankenheimer. Suspense melodrama 126 min
10/29/62.

January

CHILD IS WAITING. A Burt Lancaster, Judy Garland
Stephen Hill, Gena Rowland. Producer Stanley Kramer'.
Director John Cassavetes. Drama dealing with retarded
'children. 102 min. 1/21/63.

TARAS BULB A Tony Curtis, Yul Brynner, Brad Dexter
Sam Wanamaker, Vladimir Sokoloff, Akim Tamiroff
Christine Kaufmann. Producer Harold Hecht. Director
jJ- Lee Thompson. Action spectacle. 122 min. 12/10/62.

February

TWO FOR THE SEESAW Robert Mitchum, Shirley Mac-
lame. Producer Walter Mirisch. Director Robert Wise
Based on the Brodaway hit. 119 min. 10/29/62.

March

FIVE MILES TO MIDNIGHT Sophia Loren, Anthony
Perkins, Gig Young, Jean-Pierre Aumont. Producer-
director Anatole Litvak. Suspense drama about an
*^mencan in Eurooe who srh->mes to defraud an insur-
ance company. 110 min. 3/4/63.

.OVE IS A BALL Technicolor, Panavision. Glenn Ford
Hope Lange, Charles Boyer. Producer Martin H Poll'
director David Swift. Romantic comedy of the interna-
ional set. 1 1 1 min. 3/4/63.

April

COULD GO ON SINGING Eastmancolor Panavision
'udy Garland, Dick Bogarde, Jack Klugman. Producers
• tuart Millar, Lawrence Turman. Director Ronald
Seame. Judy returns in a dramatic sinqinq role 99
nin. 3/18/63.

May

•R. NO Technicolor. Sean Connery, Ursula Andress
oseph Wiseman, Jack Lord. Producers Harry Saltz-
lan, Albert R. Broccoli. Director Terence Young. Action

,/?m/Ubased on ,he novel bY lan Fleming. Ill min.
J 1 8/63 .

Coming

EAUTY AND THE BEAST Joyce Taylor, Mark Damon
dward Franz, Merry Anders. 77 min.

:ALL ME BWANA Bob Hope, Anita Ekberg Edie
>dams. Producers Albert R. Broccoli, Harry Saltzman.
Mrector Gordon Douglas.

'IARY OF A MADMAN Vincent Price, Nancy Kovak
roducer Robert E. Kent. Director Reginald Le Borq
tt mm. 3/4/63.

GREAT ESCAPE, THE Deluxe Color, Panavision. Steve
McQueen, James Garner, Richard Attenborouqh. Pro-
ducer-director John Sturges. Based on true prisoner of
war escape.

IRMA LA DOUCE Color. Jack Lemmon. Shirley Mac-
Laine. Producer-director Billy Wilder. Comedy about
the "poules" of Paris, from the hit Broadway play.

CARETAKERS, THE Robert Stack, Polly Bergen, Joan
Crawford. Producer-director Hall Bartlett.

CEREMONY, THE Laurence Harvey, Sarah Miles. Rob-
ert Walker, John Ireland. Producer-director Laurence
Harvey.

mnnsnmm

October

NO MAN IS AN ISLAND Color. Jeffrey Hunter. Pro-
ducer-Directors Richard Goldstone. John Monk, Jr.
War melodrama. 114 min. 8/6/62.

November

IF A MAN ANSWERS Color. Sandra Dee, Bobby Darin.
Producer Ross Hunter. Director Henry Levin. Romantic
comedy. IU2 mm. 1/i/bi.

STAGECOACH TO DANCERS' ROCK Warren Stevens,
Martin Landau, Jody Lawrence, Don Wilbanks, Del
Morre, Bob Anderson, Judy Dan. Producer-Director
Earl Bellamy Western. 72 min. 10/15/62.

January

FREUD Montgomery Cliff, Susannah York, Larry Parks.
Producer Wolfgang Reinhardt. Director John Huston.
Story of Freud's initial conception of psychoanalysis.
139 min. 12/24/62.

February

40 POUNDS OF TROUBLE Color, Panavision. Tony Cur-
tis, Phil Silvers, Suzanne Pleshette. Producer Stan Mar-

ginles. Director Norman Jewison. oomedy. tui mm.
12/24/62.

MYSTERY SUBMARINE Edward Judd, Laurence Payne,
James Robertson Justice. Producer Bertram Oster.
Director C. Pennington Richards. 92 min. 1/21/63.

March

TO KILL A MOCKINGBIRD Gregory Peck. Producer
Alan Pakula. Director Robert Mulligan. Based on
Harper Lee's novel. 129 min. 1/7/63.

April

BIRDS, THE Technicolor Rod Taylor, Jessica Tandy,
Suzanne Pleshette, Tippi Hedren. Producer-Director Al-
fred Hitchcock. Suspense drama. 120 min. 4/1/63.

UGLY AMERICAN. THE Color. Marlon Brando, Sandra
Church, Yee Tak Yip. Producer-Director George Eng-

lund. Drama based on best-selling novel.

May

PARANOIC Janette Scott, Oliver Reed. Producer An-
thony Hinds. Director Freddie Francis. 80 min.

Coming

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN, M.D. Gregory Peck, Tony Curtis,
Angie Dickinson, Bobby Darin, Eddie Albert. Producer
Robert Arthur. Director David Miller.

CHALK GARDEN. THE Technicolor. Deborah Kerr,
Hayley Mil's, John Mills. Producer Ross Hunter. Direc-
tor Ronald Neame.

CHARADE Color Panavision. Cary Grant, Audrey Hep-
burn. Producer-Director Stanley Donen.

DARK PURPOSE Color. Shirley Jones. Rossano Brazzi,
George Sanders, Micheline Presle, Georgia Moll. Pro-
ducer Steve Barclay. Director George Marshall.

FOR LOVE OR MONEY (Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon.

GATHERING OF EAGLES, A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven. Producers Robert Arthurs, Stanley Sha-
piro. Director Ralph Levy.

LANCELOT AND GUINEVERE Color. Panavision. Cornel
Wilde. Jean Wallace. Producers Cornel Wilde, Bernard
Luber. Director Wilde.

LIST OF ADRIAN MESSENGER. THE Georqe C. Scott,
Dana Wynter. Producer Edward Lewis. Director John
Huston.

MAN'S FAVORITE SPORT Color. Rock Hudson, Maria
Perschey, Paula Prentiss. Producer-director Howard
Hawks.

MONSIEUR COGNAC Color. Tony Curtis. Producer
Harold Hecht. Director Michael Anderson.
SHOWDOWN (Formerly The Iron Collar) Audio Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen. 79 min.

TAMMY AND THE DOCTOR Color. Sandra Dee, Peter
Fonda. Producer Ross Hunter. Director Harry Keller.
THRILL OF IT ALL. THE Color. Doris Day, James Gar-
ner Arlene Francis. Producers Ross Hunter, Martin
Melcher. Director Norman Jewison.

WARNER BROTHERS

November

GAY PURR-EE Technicolor. Voices of Judy Garland,
Robert Goulet, Red Buttons, Hermione Gingold. Pro-
ducer Henry G. Saperstein. Director, Abe Levitow.
Animated comedy feature of Parisian cats. 86 min.
10/29/62.

WHAT EVER HAPPENED TO BABY JANE? Bette Davis,
Joan Crawford. Producer-Director Robert Aldrich.
Shock thriller. 132 min. 10/29/62.

January

GYPSY Technicolor, Technirama. Rosalind Russell, Nat-
alia Wood, Karl Maiden. Producer-Director, Mervyn
LaRoy. From Broadway musical hit based on Gypsy

Rose Lee's career. 149 min. 10/1/62.

February

DAYS OF WINE AND ROSES Jack Lemmon, Lee
Remick. Producer Martin Manulis. Director Blake
Edwards. A drama of the effects of alcoholism in a
modern marriage. 117 min. 12/10/62.

TERM OF TRIAL Laurence Olivier, Simone Signoret. Pro-
ducer James Woolf. Director Peter Glenville. Drama of
young girl's assault charge against teacher. 113 min.
1/21/63.

March

GIANT Re-release.

April

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min. 4/1/63.

May

AUNTIE MAME Re-release.

ISLAND OF LOVE [Formerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston. Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece. 101 min.
SUMMER PLACE. A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family. 119 min. 3/4/63.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens, Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend.

PANIC BUTTON Maurice Chevalier, Eleanor Parker,
Jayne Mansfield. Producer Ron Gorton. Director
George Sherman. Comedy set in Rome.

RAMPAGE. Technicolor. Robert Mitchum. Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama.

YOUNGBLOOD HAWKE Technicolor. Warren Beatty,
Suzanne Pleshette. Producer-director, Delmer Daves.
From Herman Wouk's best-selling novel.

DEPENDABLE SERVICE!

CLARK
TRANSFER

Member National Film Carriers
Philadelphia, Pa.: LOcust 4-3450
Washington, D. C: DUpont 7-7200

Film

BULLETIN — THIS IS YOUR PRODUCT

I

JOSEPH E. LEVINE

is proud to announce that
Embassy Pictures Corp.

will distribute in the United States and Canada

FEDERICO FELLINFS

Academy Award Nominee— Best
Actor for "Divorce -Italian Style"

Screenplay by FEDERICO FELLINI • TULLIO PINELLI • ENNIO FLAIANO
BRUNELLO RONDI ■ Story by ENNIO FLAIANO • FEDERICO FELLINI

Produced by

AN EM;
PICTURES

BULLETIN

Opinion, of the Industry

APRIL 29, 1963

CRACK THE TALENT FREEZE

NEW FACES
&

OLD PROS

■

Viewpoint

Take Movies
Oft Prime Time

A REALISTIC SOLUTION TO THE PROBLEM

euievus

55 DAYS AT PEKING

THE STRIPPER
COME FLY WITH ME
ISLAND OF LOVE
THE BLACK FOX
IT HAPPENED AT THE WORLD'S FAIR
DRUMS OF AFRICA
OPERATION BIKINI
MAGNIFICENT SINNER
LAZARILLO

Universal has Rock Hudscl

Towering Action -Roman!
Book it Now for a Gloriol

co-starring Rod Taylor • Mary Peach • Barry Sulliv

Leora Dana and Leif Erickson • Screenplay by Robert Pirosh • Directed by Delbert

i A Gathering of Eagles

LHE RAVES HAVE STARTED

"With '8%', Federico Fellini tops even his trendseti
ting 'La Dolce Vita' in his artistry. And he confirms
himself one of the few undisputed masters of thd
visual -dramatic medium. For here is the authod
director picture par excellence, an exciting, stimu
lating, monumental creation. Commercially;
Fellini's new film should fare royally. It is one of
the most visually striking of all films." —Variety

Joseph E. Levine will present
the American Premiere of

FEDERICO FELLINI'S

rm m

Opening attraction at New York's newest theatre-

the FESTIVAL— 57th St. and Fifth Ave. day-and-date with the NEW EMBASSY— 47th St. and Broadway

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Whit Tky'te Talking About

□ □ □ In the Movie Business □ □ □

BRANDO & CRITICS. If you want to know less
than ever about what makes critics tick,
read the reviews on "The Ugly American" and
Marlon Brando's performance in same. It is

difficult to recall a film or a performance of
recent years that drew such widely divergent
opinions. The two leading newsweeklies,
Time and Newsweek, were rough. Both were
dismayed by the picture's departure from the
novel and both were unkind to Brando. Time
slaughtered him: "He attempts an important
voice, but most of the time he sounds like a
small boy in a bathtub imitating Winston
Churchill." The Saturday Review's Arthur
Knight cited it as another bad example of stars'
control over movie-making today. The New
York newspapers, on the other hand, almost
unanimously had words of praise for both the
film and Brando. Crowther in the Times:
"Mr. Brando moves through the whole picture
with authority and intelligence." Judith Crist
in the Herald Tribune had some reservations
about the film, but found that Brando rose
above it. Archer Winsten in the Post said it is a
picture that "appeals more to the mind than
the feelings." Perverse critters, the critics.

■

BYE BYE' RECORDS. It's likely that the
Columbia Pictures executives are as surprised
as anyone else about the enormous success
Deing enjoyed by "Bye Bye Birdie" at the
=?adio City Music Hall. They knew, of course,
:hat it was a lively film version of the sock
stage success, but hardly a soul would have
Deen willing to wager that a musical, in this day
and age, would smash all Music Hall b.o.
'ecords. The first three weeks have been
ittle short of astounding. After a $233,000
[second (holiday) week, the third week went
over $200,000, and the lines continue long.

"Birdie" and Warners' success with "Gypsy"
-another surprise-seem to indicate a swing in
public taste toward lighter stuff. Look for more
musicals to be rushed into production.

■

FILMS-ON-TV RAPPORT. While no firm
commitments were made by any of the film
companies about future sales of features to
television, the joint TOA-Allied committee
that has been conferring on the subject with
chief executives of the major film firms is
confident that progress has been made.
At every meeting the exhibition leaders were
listened to with sympathetic ear, and in every
office, except one, they were promised that
the problem would be re-examined and given
close consideration. Recent experience, it
seems, has convinced most of the film
company heads that prime time TV showing
of important features is cutting heavily into
boxoffice grosses.

■

'FREE WHITE, 21'. American International has
come up with a slick exploitation campaign to
sell "Free, White and 21", and it sounds like
money. The gimmick is a subpoena
summoning the audience to vote on the rape
issue that is the focal point of the plot. A report
has it that the Fox, Detroit, got this little
"Adults Only" film off to a big opening last week
by utilizing every facet of the campaign.

■

GENERAL EXPANSION. Twin theatres is the
new expansion theme of General Drive-In Corp.
The Boston-based, Smith Management circuit
is planning construction of a number of dual-
auditorium theatres (one entrance, a single
refreshment stand, combined facilities)
principally located in suburban shopping
centers. This splitting of the auditorium into
two sections allows for plenty of flexibility in
operation. Strong boxoffice attractions can be
shown in both sections on a staggered
schedule, or each of the twin theatres can
offer a different feature-thus catching the
double feature-minded part of the audience
twice. New York's Rugoff Theatres has its
Cinema I and Cinema II operating effectively
on this basis. General Drive-In opens its first
dual-auditorium house in Peabody, Mass., by
the end of May. It has several others on
the drawing board.

MGM Marketing Mode
To Meet New Needs

Moving to cope with "the varying
demands of the theatrical market
place", M-G-M president Robert H.
O'Brien last week reshuffled the com-
pany's promotional manpower to set
up a "tightly integrated new marketing
concept."

RAMSAY TERRELL

Clark Ramsey, formerly advertising
manager at the studio, shifts to New
York and will function as executive
assistant to the president in charge of
marketing. Dan Terrell, becomes execu-
tive director of advertising, publicity
and promotion, and will coordinate the
department's world-wide activities.
Howard Strickling continues as adver-
tising-publicity vice president at the
studio. The new marketing program
headed by Ramsay will follow ever)'
Metro film from the selection of the
subject through to release, including
market testing and research.

President O'Brien's explanation for

CAST &
CREDITS
■

Report on the Industry's
PEOPLE and EVENTS

the move: "Our motion picture audi-
ence today is not so much mass as it is
a complex of masses. With the excep-
tion of certain special attractions we
shall design pictures for these mass seg-
ments and seek every possible method
of reaching them more effectively and
efficiently."

Zanuck Colors 20th
Book 'Encouraging'

"We are emerging from a difficult
period and believe that our prospects are
encouraging."

These up-beat words were addressed
by president Darryl F. Zanuck to the
stockholders of 20th-Century-Fox in the
face of the enormous loss of almost $40
million for the year 1962. His first an-
nual message as chief executive officer
noted these accomplishments since he
took office last July 25:

"Substantial progress has been made"

ZANUCK

in reversing the downward trend of the
company.

"An experienced team of key execu-
tives, who, with their areas of respon-
sibility clearly defined, are providing
dynamic force and direction in all
phases of world-wide activities."

"New operating procedures are being
developed to improve efficiency and
reduce costs." Executive salaries have
been cut by approximately 50%.

"I am pleased to report that this
month we are resuming production."
(On April 23 the first new film since
last August "Take Her, She's Mine,"
with James Stewart, Sandra Dee, started
shooting.) Fourteen features are sched-
uled to be made for the balance of '63
and the first quarter of 1964.

President Zanuck (his life is insured
for $1,000,000 by the company) also
informed the shareholders that "Cleo-
patra" will probably bring a minimum
of $15 million into the companys cof-
fers prior to its premiere showing on
June 12, that "The Longest Day" has
enjoyed excellent roadshow engage-
ments throughout the world and will go
into general release in July.

The annual stockholders meeting will
be held May 21 at New York's Town
Hall.

Gold To Produce

A new theatrical and TV production
firm, Mesal Productions, Inc., was an-
nounced last week by Melvin L. Gold.
He will be joined in the enterprise by
Sally Perle, president of Central Casting
Corp., and Elias A. Stoler, an account-
ant. Gold will be president.

The firm's first planned film project
is to be "Not for Love", from a novel
by Virginia McMannis. Budgeted at
$200,000, it will be filmed in New York.

Shapiro Joins RK0

Ernest Shapiro, former editorial rep-
resentative of Film BULLETIN in New
York, joined the RKO Theatres pub-
licity staff. Prior to joining this publi-
cation in 1959, Shapiro was a freelance
writer in Paris.

P. R. — as in
Stanley Warner

A sample of top-drawer public re-
lations was furnished by Stanley War-
ner Theatres recently, and it brought
a tribute to the entire industry from a
U. S. Senator who has, at times, had
some harsh words for movie people.

The circuit, coincidentally with the
opening of its new College Theatre in
Storrs, on the campus of the Univer-
sity of Connecticut, announced it is
sponsoring two annual scholarships to
the school. SW president S. H. Fabian,
speaking at the dedication of the thea-
tre, told a capacity audience: "We look
forward to a long residence at Storrs
as students of your tastes in screen
entertainment. ... It is our ambition,
ifter not too many semesters, to achieve
graduate status and earn a summa cum
laude in your affections."

FABIAN

As guest of honor, Senator Thomas
J. Dodd had this to say: "I understand
that this is the first new theatre to be
opened in Connecticut in more than
10 years. So we have here something
of a gamble; a demonstration of the
new spirit of resurging confidence in
an industry which has had its growing
pains in recent years . . . The motion
picture is at once a distinct and sophis-
ticated art form and, as well, the pop-
ular art of the American people ... I
am grateful for the opportunity to be
here and I wish each of you the first
of many, many, memorable evenings
within its walls."

Page 6 Film BULLETIN April 29, 1963

V,

APRI

Aewpotnts

L 29, 1963 » VOLUME 31, NO. 9

Take UonV>v ©// Prime Time TV HepetMt Poticy

Exhibition and distribution are striv-
ing to reach an accommodation on the
issue of films on television. If the prob-
lem is approached with an appreciation
of the economic realities, it could, con-
ceivably, be solved to everyone's satis-
faction.

Initial, off-the-record hints dropped
by members of the joint TOA-Allied
committee which is exploring the matter
with the heads of the film companies
indicate that both sides are taking the
reasonable view of the other's problems,
so there is hope. The exhibition spokes-
men admit that the income realized from
the sale of films to television is vital to
the film companies, and it would be
fruitless to demand a halt to such sales;
the film men now seem to realize that
home showings of important, relatively
recent features on prime time can prove
disastrously damaging to the boxoffice,
and that their income from theatres will
be seriously affected if that policy con-
tinues.

Theatremen know they must learn to
live with features on television. Their
complaint is that some of the film exec-
utives have displayed shocking short-
sightedness in selling off to the TV
networks multi-million dollar produc-
tions of comparatively recent vintage
without any restriction on when they
might be shown. When such pictures
are exhibited in millions of homes dur-
ing the very hours when moviegoers
might be contemplating a visit to a
movie theatre, that is a form of hara-kiri.

Considering the enormous appetite of
television for attractions to fill its
screens, one would imagine that the
owners of libraries of valuable feature
films are in position to dictate some of
the terms on which their movies are
offered to TV. And, considering also
that that medium has proved its poten-

tial grossing power in late hours (the
"Tonight" show is one of the most
profitable programs on TV), it seems
that the owners of the film libraries
could logically insist that the networks
withhold feature film shows from the 7
to 10 p.m. period so crucial to the thea-
tre boxoffice. This might take some
bargaining, but TV needs the movies,
and the film companies need the thea-
tres. Without theatres, there would be
no motion picture industry to speak of.

The realization that they cannot keep
films off TV screens has doused some of
the ire that stoked the theatremen's
flare-up against the film companies in
recent months. For their part, most of
the film men, we are told, now see that
they have fostered a frankenstein in
allowing films at home to compete with
films in theatres at prime movegoing
hours.

This is the crux of the movies-on-TV
problem. A solution based on realities
is possible and not too complicated. It
remains to be seen if the heads of the
film companies will act with force and
wisdom and reasonable promptness to
reaffirm that their basic and major
source of income is the theatre boxoffice
— and to preserve that status.

MO WAX

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 123? Vine
Street, Philadelphia 7, Pa., LOcust 8-0950, 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manager; Max Garelick,
Business Manager; Robert Heath, Circulation
Manager. BUSINESS OFFICE: 5S0 Fifth Ave-
nue, New York 36, N. Y., Circle 5-0124;
Ernest Shapiro, N.Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
S3. 00 in the U. S.; Canada, $4.00;
Europe, $5.00. TWO YEARS. $5.00 in
the U. S.J Canada, Europe, $9.00.

To the Editor,
Film BULLETIN.

Dear Sir:

It seems that at every turn the film
companies are devising new ways and
means to complicate the problems of
exhibitors and diminish their chances of
survival.

For instance, they are supplying their
new films to the promoters of pay-
television in Toronto and in Hartford,
Connecticut, for what must be a mere
pittance. And they're selling their older
(and some not so old) pictures to free
television for really small potatoes
(with plenty of re-run privileges).

Your "Bulletin" has had plenty to
say on its editorial pages about these
problems, and I'm wondering if you are
aware of a new development, one that
might shock you still more.

Universal Pictures, which we have al-
ways regarded as one of the more rea-
sonable distributor, recently advised us
— and, I suppose, all other exhibitors —
that the company must now get percent-
age terms for repeat runs on many of
their old features which theatres have
been buying flat. Anyone who books
subsequent run houses (as we do) finds
it necessary to play many repeats as a
solution to the product shortage. While
these pictures have been almost milked
dry, they help us fill out the booking
gaps and enable us to stay open.

Universal claims its reason for this
policy is to avoid "overexposing" its
stars. That's sheer nonsense, because
some of the stars they want to keep
under cover are being overexposed to
death on TV. It seems more like a
policy to hurt the theatres that can
least bear more burdens. It is unfair
and shortsighted.

I hope you will bring this matter to
the attention of the exhibition body,
and urge Universal to rescind this new
policy on repeat bookings.

1 III I / R] M I \

Film BULLETIN April 29, 1943 Page 7

The Vieu ffrw OutAtfe

^BBM by ROLAND PENDARIS IHBHHB^HH

About Rackmil . . . and ECA

When the Motion Picture Pioneers singled out Universal
president Milton R. Rackmil as the 1962 Pioneer of the Year,
they chose an optimist, and, apparently, a man with vision. In
acknowledging the industry's accolade, Mr. Rackmil said: "I
refuse to acknowledge for a minute that our industry does not
have the resources of manpower — of intelligence — of enthusi-
asm— of showmanships — not to mention money, to go forward
to greater heights of leadership in the entertainment world."
In these phrases, he was expressing the philosophy of the
shrewd management, coupled with the imagination and courage
that have made of Universal, under the Rackmil executiveship,
one of the most consistently successful film organizations.

Now joined with MCA, another judiciously operated enter-
tainment company, Universal appears set to "go forward to
greater heights". Not content to draw only upon the roster of
stars, like Rock Hudson, Tony Curtis, Cary Grant, Doris Day,
whose careers the company did so much to build, Universal is
assuming aggressive leadership in fostering a "new wave" of
American film talent.

When Mr. Rackmil told the Pioneers' dinner audience last
year, "As far as we are concerned, our plans are for expansion
and not for contraction — -for going forward, not backward — for
growth, not decay," these were not empty phrases in the
mouth of an industry orator. Apparently, the blueprint had
already been drawn for the recently announced program of
hiring young people and providing them with the wherewithal
to turn out unusual, low budget films.

Milton Rackmil had urged upon his fellow members of the
industry optimism and courage instead of pessimism and de-
featism. With this "new wave" program, he has demonstrated
that he, for one, intends to attack the industry's problems with
imagination and courage.

Few film production ventures have begun with as much of
an aura of excitement and confidence as the recent and now
abruptly terminated Entertainment Corporation of America,
which merged the executive and showmanship talents of Max
Youngstein, Jerry Pickman, Charles Simonelli and Arthur
Mayer. The enthusiasm which so many people in the industry
felt for this team seemed at the outset to be a happy augury
of its quick and impressive assumption of a leading role in
film production. But things didn't turn out that way at all.

The normal aftermath of the suspension of a project which
has captured the attention of the industry is a painful and per-
sistent post-mortem. Inevitably, such an examination is accom-
panied by charges and countercharges, rumors and counter-
rumors. Without giving these rumors and charges the dignity
of print, it is possible to contemplate the facts of the situation
and emerge with a moral.

Isn't it rather surprising that, on the one hand, ACE, the ex-
hibitor group, has been unable to arrive at a satisfactory arrange-
ment for putting its funds to work in the production of films,
while, on the other hand, energetic and film-wise men like
Youngstein, Pickman and Simonelli were somehow unable to
find any source for the amount of money they needed? I find it
saddening, considering exhibition's urgent need for product.

Page 8 Film BULLETIN April 29, 1963

Few things in the history of the motion picture industry
strike me as more incredible than the dismal record of exhibi-
tor financing of motion picture production. Exhibitors raise
money — nowhere near as much money as they might, but
still in the millions of dollars — and do little or nothing about
it. ACE certainly has hardly compiled a track record of pro-
ductive accomplishment with its kitty. And through all the
years of product shortage there has not been a single instance
of successful bankrolling by any group of exhibitors for any
cohesive slate of motion pictures. My memory may be faulty,
but I cannot recall any real impact of exhibition upon produc-
tion financing since the First National days, and those days
were a long time back.

Production people have always contended that exhibitor*
simply would not put their money where their mouths were.
Exhibitors have always regarded production people as pro-
fligate, and even if that were an entirely correct characterization
it would not vitiate the failures of exhibition. To my way of
thinking the exhibitors have muffed one golden opportunity
after another to give film production some sound backing.

I think I know the answer. I believe that too many exhibitors
are neither showmen nor gamblers. This statement should not
be construed as a condoning of roulette, crap shooting or high-
stake poker as a set of business practises. Show business is a
compound of showmanship and speculation. If producers oper-
ated the way too many exhibitors do — unwilling to risk sub-
stantial money on the long-odds chance of coming up with a
hit — there would be no pictures of substance at all. The exhibi-
tor has fixed charges to contend with and he seems inclined to
hope for steady and regular income. He doesn't want to risk
capital in film production. Yet if he doesn't risk his capital,
how can be expect other people to risk theirs in supplying him
with product?

Some other time I would like to salute the outstanding show
men of exhibition. I believe you will find that every one ol
today's success stories in theatre operation involves a man whc
has been willing to take a chance — to risk substantial money ir
new theatres, in promotion, in things that weren't being done
before. But too many exhibitors can recall instance aftet
instance where some group of them set out to raise a pro
duction kitty, raised enough to claim success, and then nevet
did a thing to increase production. One of the unfortunate
things that seems to happen with production kitties raised b;
exhibitor group subscriptions is that the administrators dis
cover they can make a safe 5% elsewhere instead of running
the chance of losing their capital by putting it into film produc
tion — and the immediate return is apparently more tempting
than the prospect of a show business gamble.

I do not contend that the ECA production slate would havi
come up with smash hits in its first efforts. But Youngstein':
group had lined up some promising properties and some first
rate talent. I do most strongly contend that they would have
come up with worthwhile product and would have been en
couraged to turn out more and more pictures thereafter — i
only one third of these pictures ended up in the black the gooc
effects upon theatre business would still have justified an invest
ment in the new company. ECA should have received the
maximum support from exhibition. It got only an inadequate
minimum.

I

White the Search fyeA en far Veto JaceJ

What Ever
Happened To
The Old Pros?

Betle Davis and joan Crawford in
"What Ever Happened to Baby Jane?"

A few months back the whole indus-
try was startled by the amazing box-
office success of a film titled "What
Ever Happened to Baby Jane?"

As the details are recalled, Robert
Aldrich, producer-director, came across
a story in which the principal characters
were a couple of ageing, "has-been"
movie actresses. He took it to Jack L.
Warner, who promptly agreed to pro-
vide the fianancing and facilities for
the production. Who should play the
leading roles? The keen Mr. Aldrich
sent copies of the script to Bette Davis
and Joan Crawford, and, thus, two
fine performers whom Hollywood had
almost totally forgotten came back to
be the stars of the year's boxoffice
"sleeper." At last report, "What Ever
Happened to Baby Jane?" appeared
headed for a $5 million gross. And its
budget was far, far below the block-
buster category.

Just a few months ago Charles Laugh-
ton and Thomas Mitchell died within
a single week, and in reading their
obituaries one was struck by the fact
that their film appearances in the past
few years had been few and far between.
These were superbly talented, veteran
professionals for whom movie makers
could find very little use in recent years.

Is there no place in the American
movie scene for the old pros?

Shades of "Min and Bill"! This in-
dustry seems to have forgotten com-
pletely how the old Metro-Goldwyn-
Mayer of 30-odd years ago ventured
the production of a feature about a pair
of tugboat characters, gave the leads

to a couple aging performers whose hey-
day had been in silent films years be-
fore, and started brand new careers for
Marie Dressier and Wallace Beery. They
were not pretty young people, but they
delighted audiences in many films
thereafter, and were solid boxoffices
attractions.

The film studios in this country are
forever in search of "new faces." Pass-
ing through the casting mills every year
are countless young, pretty, bland-faced
boys and girls. Hope springs eternal
that among them will be found another
Marilyn Monroe, another Clark Gable.
Each of the studios, from time to time,
have announced new training programs
for young players, but the butterflies
that usually emerge are quickly burned

Beery and Dressier as "Mitt and Bill"

out by the glare of the kleig lights.

A far more concrete project in the
development of a fresh supply of talent
was proclaimed a few weeks back by
Universal Pictures. This company plans
to appropriate a budget for the produc-
tion of films by qualified newcomers,
thus encouraging the development of
behind-the-camera talents as well as
on-screen personalities. Studio head
Edward Muhl described the program,
in part as providing an opportunity for
"the many fine young talents who pres-
ently exist in the United States but are
reported to be finding difficulty in in-
teresting major studios." It is Univer-
sale answer to the European "new
wave" which has seen the development
of much promising movie talent abroad.
Surely, the fund of talent must be con-
stantly refreshed with new faces if the
motion picture is to survive as a popu-
lar entertainment medium. And the sta-
tistics do show that by far the largest
segment of today's audience is youthful.
This has convinced the movie makers
to think almost exclusively in terms of
youthful talent. They search for young
faces, seek vehicles for young players,
merchandise their pictures to attract
young audiences. What it boils down to
is that they are conceding, by default,
the over-35 part of the population to
television.

How well-founded is this theory that
the older audience is lost and best for-
gotten? Theatremen have said that
"Baby Jane" brought out people who
hadn't been to the movies in a dog's
(Continued on Pttge 10)

Film BULLETIN April 29. 1943 Page 9

What Ever Happened To the Did Pros?

( Continued from Page 5 )
age. The lure obviously was not the
macabre, fright-provoking story; it was
the presence of two personalities who
had long been favorites of the older
audience. Much to the surprise of the
business, Bette Davis and Joan Craw-
ford still were attractions. It proved
that it is possible to lure people over
35, and over 50, into the theatre. And
since much of the "Baby Jane" audi-
ence was also of the younger element, it
also proved that the latter are not in-
terested alone in the Troy Donahue,
Sandra Dee mould of performers.

In all showbusiness, not movies alone,
variety is the key to success. Is it not
possible that movie audiences in the
U. S. are surfeited with pretty and hand-
some faces and would welcome some
older and more unusual personalities?

Anyone aged 40 and over has vivid
recollections of being enthralled by the
silent era's "Man of a Thousand Faces."

Ever Happened to Baby Jane?", so it's
hardly likely that they will be breaking
down the doors of Bette Davis or Joan
Crawford to sign them for more films.

The film capital is populated by beau-
tiful women and handsome men, and
all the rest are supporting players. One
wonders what chance those rollicking
British performers, Alec Guinness, Peter
Sellers, Terry-Thomas, would have had
to achieve stardom in Hollywood. It is
not unlikely that even a Humphrey
Bogart would find it difficult to get very
far in today's talent market. He was not
handsome by conventional movie stand-
ards, and it took him many long, hard
years to make it to the top.

The problem for the old pros, or the
unusual personalities, in Hollywood
can be traced to a lack of imagination
among American movie makers. There
is an insistent demand by the theatre-
going public these days for novel sub-
jects, but this is interpreted by many

Lewis Stone and Walter Bren-
nan typified the finest type of
character actors, and for many
years they graced countless films
with their talents. Nor could
their value at the boxoffice be
denied. Stone is gone, perma-
nently. Brennan has passed on,
to television, where as the
loader of "The Real McCoys",
he transferred his drawing power
and delights millions every
week. His movies are now rare.

Lon Chaney was not a heart-throb; his
specialty was make-up that converted
him into grotesque, horrifying human
creatures. He was a great boxoffice
name for many years.

About a dozen years ago, a couple
of shrewd film makers, Charles Brack-
ett and Billy Wilder, conceived the idea
of putting Gloria Swanson, glamour
girl of the silents, into a picture called
"Sunset Boulevard". Chances are if you
were to ask someone today who they
remember in that picture, they will
mention Miss Swanson and perhaps
Eric von Stroheim, and they may not
recall that William Holden played the
lead. The picture was quite a success,
but the studios quickly forgot about
Gloria Swanson, apparently assuming
that "Sunset Boulevard" was a freak
attraction. Some film men have told us
they feel the same way about "What

producers to mean a hunger for the
Tennessee Williams' brand of depravity
or scandalous skylarking involving
teenage performers. Only occasionally
does someone give a thought to vary-
ing the sex symbol plot, featuring col-
lar-ad boys and cover girls, with stuff
that fits the talents of veteran per-
formers. The literary files are crowded
with appropriate vehicles for the many
professional players who find little em-
ployment in movies. Produced on reas-
onable budgets, isn't it possible that
such films — as did "Baby Jane" — would
draw some of those millions of mature
adults who are the occasional or rare
movie-goers of today?

The aim here is not to knock the
"new faces" bit, it is merely to remind
this business that it is neglecting a great
reservoir of talent in the old pros.

—PENDARIS

A PICTURE OF NU -DIMENSIONS

PAMELA GREEN

featuring A BEVY OF BEAUTIES AU NA 7UREL I

IN REVEALING

EASTMAN

COLOR

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ORIGINAL
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* CROWN
/f^^ INlfRNAIIONAI

P.iqe 10 Film BULLETIN April 29, 1963

FINANCIAL REPORT

Film Stocks Slip, but Columbia
Bullish on Hot B.O. Performance

In Wall Street they say stocks, like the sap in the trees, go
up in the spring. Perusal of the chart of film and theatre issues
below, covering closing prices from April 11 to April 25
reveals that industry shares, with only a few exceptions, ran
counter to this adage. And if the normally bearish month of
May runs true to form, look for further declines in our next
two fortnightly reports.

It is interesting to observe how closely traders seem to follow
the performance of current film product. This is manifest in
the case of Columbia, one of the few companies whose shares
showed a rise in the past two weeks. Riding the crest of its
big-grossing, Oscar-winning roadshow attraction, "Lawrence
of Arabia", and "Bye Bye Birdie", which shattered all Music
Hall records in its first three weeks, Columbia seems to be the
current darling of investors. At the close on April 25 the com-
mon was selling at 27^, fractionally close to the year's high.
The preferred also showed a rise of 1% on its last listed trading
day, and some buyer interest even seemed to rub off on the
Columbia subsidiary, Screen Gem, which was up 1%.

In the theatre division, four of the five issues listed showed
declines. Only Stanley Warner was up fractionally. American
Broadcasting-Paramount continued to be heavily traded, but on
the downside. This, despite a report that some of the leading
funds were buying AB-PT.

Paramount Reports Loss, IRS Problem

The following report on its 1962 earnings was issued by
Paramount Pictures:

"Paramount Pictures Corporation reports an esimated net
loss of $3,410,000 for the 1962 fiscal year. This loss compares
with net income of $5,668,000 for 1961. Apart from these
results, sales of investments and other assets provided a profit
of $1,642,000 during 1962 as compared with $1,480,000 profit
in 1961 from sales of investments in that year.

"Gross income in 1962 totaled $106,286,000 as compared
with $115,514,000 in the year ending December 30, 1961.

"The Internal Revenue Service has been examining the cor-
poration's tax returns for the years 1953 through I960. The
:ompany stated that it is in complete disagreement with the
service's position on certain adjustments proposed and that it
will contest such adjustments through all available avenues.
However, the company added that in the interests of prudent
management, a provision was made in 1962, out of retained
earnings, in an amount of $5,000,000 for possible additional
taxes of the prior years involved."

Up! Up! Up! — Wometco Story

Wometco Enterprise, Inc., the widely diversified, Florida-
based theatre-TV-vending outfit, continues to follow the up-
ward path in earnings. Net for the first quarter ended March
'p was $524,647 (360 per share), as compared to $449,088
(310) for the same period in 1962, an increase of 16.8%. Gross
ncome for the 12-weeks period was $5,035,824, compared to
14,436,441 for the '62 period. Wometco is traded over the
ounter.

Reisini Sees '63 Bigger Cinerama Year

Nicolas Reisini,
president and board
chairman of Cine-
rama, told the Wall
Street Journal that
his company will
show only a small
profit for 1962, but that prospects for the current and future
years are much brighter largely on the strength of the high-
grossing "How the West Was Won".

In 1961 the company showed a profit of $335,000, and Rei-
sini told the Journal that the '62 net might fall below this
figure. However, he estimated net earnings of at least $3 million
(over $1 per share) on revenue of $20 million this year.

He expressed the opinion that "West" would gross in excess
of $60 million in its first three years, after distribution costs.
Cinerama co-produced the wide-screen spectacle on a 50-50
basis with M-G-M. The Reisini firm takes the first 10 percent
of the gross as distributor.

Reisini anticipates a minimum of $1.5 million for Cinerama
as its distribution fee this year and at least another $6 million
as its split with Metro of the producers' share. He told the
financial paper that "How the West Was Won" is presently
playing in 33 U. S. and Canada theatres, with 14 more engage-
ments abroad. The total of Cinerama theatres at year's end, he
expects, will be 145 internationally.

FILM & THEATRE STOCKS

Close Close

Film Companies 4/11/63 4/25/63 Change

ALLIED ARTISTS 2% 2% -

ALLIED ARTISTS (Pfd.) 9% - -

CINERAMA 15 14% - %

COLUMBIA 26V2 27% +1

COLUMBIA (Pfd.) 80% 81V2 +Wa

DECCA 45% 46 • %

DISNEY 33% 32V2

FILMWAYS 6% 6% —

MCA 55V4 53% 178

MCA (Pfd.) 36 36 —

M-G-M 323/4 31 18 -1%

PARAMOUNT 38% 37 -1%

SCREEN GEMS 21% 23% +1%

20TH-FOX 31% 30% - %

UNITED ARTISTS 29% 27% -2%

WARNER BROS 13% 13 y4 y4

* * *

Theatre Companies

AB-PT 33% 31% -2

LOEWS 17% 17% - V4

NATIONAL GENERAL 10% 10% - %

STANLEY WARNER 22% 23% + i/4

TRANS-LUX 13 12% - %

* * *

( Allied Artists, Cinerama, Screen Gems, Trans-Lux, American
Exchange; all others on New York Stock Exchange.)

* * *

4/11/63 4/25/63

Over-the-counter Bid Asked Bid Asked

GENERAL DRIVE-IN 9 9% 9% 10

MAGNA PICTURES 2% 3 2% 3

MEDALLION PICTURES 5% 6% 5% 6%

SEVEN ARTS 9% 10 8% 9%

UA THEATRES 7% 8% 7% 8%

Universal No quotation No quotation

WALTER READE STERLING . . . 2% 2% 2% 2%

WOMETCO 22% 24% 23% 25%

(Quotations courtesy National Assn. Securities Dealers. Inc.)

Film BULLETIN April 29, 1963 Page 11

MR. WEILER FILES SOME COMPLAINTS ABOUT THE OSCAR SHOW

This late comment on the "Oscar"
telecast may be justified only for the
reason that something as important as
this furbelow should be studied by ex-
hibitors and distributors so that maybe
next year's show might include a com-
mercial or two for the industry which
it is supposed to reflect. It's good that
the Academy feels the need to help
protect our children's teeth against cavi-
ties, but I wonder if it would not be
possible to protect the movie business
by inserting a couple of commercials
to the effect that a number of good pic-
tures are just around the corner.

The writers did inject a few words
and thoughts in the opening and clos-
ing remarks of Mr. Sinatra, but some
of this material was so intramural that
millions of viewers either were com-
pletely confused or simply did not care
about how those wicked old bankers
and those sterile old movie executives
have stifled the creative forces of Holly-
wood. As this was enunciated, one had
the feeling that the cadre which kept
this business alive over the years (and,
for that matter, which started it in the
first place) were petulant, unimagina-
tive dopes who got their kicks by
chaining artists to the studio gates.

The cryptic references to the former
assembly line mores seemed to signify
that the new pattern of movie-making
would not be hampered by this mass
culture libido and that the liberation of
the creative forces signified the dawn-
ing of an artistic epoch second only to
the age of Sophocles, da Vinci and
Dante.

If you remember, in Mr. Sinatra's
prologue, he indulged in a parable
about the crowds that flocked to see
the Mona Lisa, emphasizing that real
art needs no wide screen dimension to
induct customers. The Academy folks
should have remembered that it was
Mr. Skouras' Cinemascope and "The
Robe" (no dwarf) that gave this busi-
ness a new impetus at the time when
its descent was nothing short of sen-
sational. Also, some one (at least the
master of ceremonies himself) should
have remembered that it was the late
Harry Cohn, an old-fashioned "movie
mogul ", who was responsible for "From
Here to Eternity", the picture that cata-
pulted Mr. Sinatra from his then low
state of popularity to his present sta-
ture as a major boxoffice star.

The tendency to denigrate the many
worthy accomplishments of the old
regimes, as evidenced on the Academy
telecast, plus all the current blather

ADAM WEILER

about how the disintegration of the
traditional studio operation is the great-
est boon to the business since the com-
ing of sound is something the paying
public doesn't give a hoot in hell about.

Instead of using the telecast as a
vehicle to disparage all that went be-
fore, it might have been a better idea
to let the younger generation get a peep
into the history of our business. David
Woloer, in his television documentaries,
established the certainty, it was glamor-
ous and exciting — and these are essen-
tials of Show Business.

And there was something quite ironic
in Mr. Sinatra's script about the trans-
cendence of the Mona Lisa, despite its
small size, when a giant of a movie
"Lawrence of Arabia" walked away
with so many of the Oscars.

I'm all for the new day that is dawn-
ing in Hollywood, but I'm not quite
so sure that the sun has set has com-
pletely set on the old studio system.
The Academy which sometimes be-
comes so immured by its solipsism that
it forgets some of the fundamentals of
both entertainment and courting cus-
tomers, should make another pitch for
the industry to finance this telecast. If
the industry lacks the resources to do
this, then at least the Academy should
make a deal with the commercial spon-
sors to let the industry get in a few
words between the toothpaste ballyhoo.

To quote the New York Times: "So
far as the entertainment portion of the
show was concerned, Hollywood proved
once more that the more dignified it
tries to be, the more stuffy it becomes.
Frank Sinatra, as master of ceremonies,
put aside his congenial Las Vegas man-
ner to strike a pose as Hollywood's
middle-aged statesman and delivered a
couple of short lectures on the movie
industry."

To sum up, why not do what comes
naturally? I ain't against the new wave,
but that old ocean looks mighty good
from an amateur historian's perspective.

MCA's Lou Wasserman for a num-

ber of years has had his eye on the new
techniques emanating from the world
of technology. Mr. Wasserman is a most
perceptive gent, and one who is not
afraid to continue his education, the
formal phase of which ended when he
signed up as an usher in a Cleveland
theatre. It was no surprise, then, to
read that he has installed a calculating
colossus in the Revue establishment
and anticipates much more efficiency in
all facets of that operation.

Congratulations are in order and we
send them along knowing that Mr.
Wasserman will use this "added" brain
to good purpose. Maybe he can revolu-
tionize the archaic system used in dis-
tributors' home offices and in their
exchanges which has perpetuated the
most esoteric forms in the sale of mo-
tion pictures. When I visited branch
offices in the not so long ago I tried
to figure how a film salesman could
peddle his merchandise and at the same
time grapple with those dull, prosaic
sheets which were intended to convey
intelligence to the New York bosses.

And what about those contract
forms? Now that Universal is moving
into this type of efficiency, perhaps Mr.
Wasserman can scan the obsolete meth-
ods of distribution with the view of
getting them attuned to the spirit of
the 1960's. It is my contention that a
film salesman should be a harbinger of
happy days and not a dupe to silly
conventions that should have gone out
with silent pictures.

What we need are film salesmen who
can give a fervent pitch about the film
he is selling without worrying about
how this should be indicated on form
367 or something. Once upon a time a
film salesman would discuss showman-
ship with his customers, and it was
not unusual for him to show the exhibi-
tors how the picture could be sold in
his area. This was one advantage to
block-booking. A theatre operator could
plan his selling tactics within a reason-
able time. Today, his chances of really
going to work on a picture are as lim-
ited as the salesmen's enthusiasm.

What we need, of course, is a good
training course for exhibitors as well
as salesmen, and it might be a good
idea to put Mr. Wasserman's "think
machine" to this use.

A final word on Mr. Wasserman: he
has shown his confidence in the future
of the industry by investing about ten
million bucks in new structures on the
Revue acreage. We wonder how this
appeals to those who are crossing the
film studios out of existence.

Page 12 Film BULLETIN April 29, 943

"55 Days at Peking"

SutiKCte IZctfu? Q Q O Pius

Big, colorful, actionful historical drama offers plenty to
mass audience. Story does not match visual scope. Hes-
ton, Gardner, Niven head big cast. Big summer grosser.

China, at the turn of the century, was an empire in turmoil.
Undisciplined bands of fanatic Boxer rebels roamed the coun-
tryside killing foreign missionaries (who were wresting Chris-
tian converts from Buddha), businessmen and diplomats (rep-
resenting European powers greedily seeking new markets).
Events reached a bloody climax in the summer of 1900 when
500 men and women from the eleven foreign embassies located
in Peking's Legation City held off for 55 days the sadistic
Boxers along with the Chinese Imperial Army. From this excit-
ing page of history, producer Samuel Bronston has mounted a
big-scale, DeMi lie-type action film in breathtaking Super Tech-
nirama 70 and Technicolor, which Allied Artists is releasing.
"55 Days at Peking" is a blockbuster in size, but its story does
not match its visual scope. Nonetheless, it is a great big enter-
tainment treat for mass market consumption. And, since it is
going into general release this Summer, it should be a great big
grosser. Charlton Heston is an American Marine major sent to
guard the American Embassy during the Boxer Uprising, and
his co-stars include Ava Gardner, at her loveliest as a sensu-
ous, free-living Russian Baronessa who finds her visa revoked
by her jealous Russian minister brother-in-law (Kurt Kasznar),
and David Niven, the steely British minister. Leading the long
list of talented supporting players are Flora Robson, the ruth-
less Dowager Empress of China; John Ireland, Heston's tough
sergeant; Harry Andrews, a priest who becames a brave soldier;
Leo Genn, the peace-seeking General of the Chinese Imperial
Army; Robert Helpman, the sinister Boxer leader; Paul Lukas, a
skilled surgeon. Director Nicholas Ray has staged some memor-
able action sequences, and when the emphasis is on the siege,
the film abounds in thunder and visual thrills. Unfortunately,
the Philip Yordan-Bernard Gordon screenplay tends to the
stereotyped and the cliche, taking away from the many physical
riches the film offers. This shortcoming will affect grosses in
the class situations, but others will be amply rewarded by plus
factors like the magnificent sets and costumes (the Forbidden
City and the walled Peking are award-worthy) and a rousing
score by pro Dimitri Tiomkin. Heston and Miss Gardner are
immediately attracted to each other. After the German Ambas-
sador is slain by Boxers, Miss Robson sends a declaration of
war to all the embassies. The seige begins at 5 p.m. on June 20
and the people of the eleven nations reluctantly unite in de-
fense and decide to hold out until help arrives. After five days
of bitter fighting, they learn that the expected reinforcements
have been cut off. Miss Gardner goes to work for Lukas, Niven
institutes a spectacular offensive by blowing up the Chinese
arsenal, and Heston makes an unsuccessful trip for help outside
of the city. The Chinese launch a giant rocket attack which the
defenders counter with a make-shift catapult filled with blaz-
ing bottles of kerosene. Miss Gardner is eventually wounded
and dies. On April 14, help reaches Peking. Miss Robson flees
with her troops as wild jubiliation fills the Compound. The
homeless Heston rides off with the 12-year-old half-Chinese
daughter of one of his captains, killed during the battle.

Mlied Artists. 150 minutes. Charlton Heston, Ava Gardner, David Niven Produced
jy Sam Bronston. Directed by Nicholas Ray.

"Operation Bikini"

Names to draw youth trade give this routine war-action
meller fair b.o. power.

Bolstered by a cast that includes some attractive names for
the teenage set, this American International release should do
fairly well. The "bikini" referred to in the title is the island in
the Pacific (circa, World War II), not the almost-garb made
famous on the French Riviera. As for the film itself, it emerges
a run-of-the-mill action meller containing enough combat to
satisfy devotees of such fare. A sensible running time makes it
suitable for booking at either end of a general market double
bill. John Tomerlin's screenplay traces the efforts of an Ameri-
can underwater demolition team to destroy a recently sunk
submarine with secret radar equipment before it falls into
Japanese hands. The first half deals with personal conflicts
aboard the Bikini-headed sub; the latter half, the destruction.
Anthony Carras' direction is competent but uninspired, and one
wishes he had left out several silly dream sequencies obviously
injected to give Frankie Avalon a chance to croon a few songs.
Tab Hunter heads the cast as the lieutenant in charge of the
UDT team. Also on deck: Scott Brady, the sub captain; Jim
Backus, Hunter's veteran Chief Bosun's Mate; Gary Crosby, a
daredevil seaman; and dark-haired, full-bosomed Eva Six, as a
member of the guerrilla band on Bikini. After a Japanese depth
bomb attack, the UDT men land on Bikini where a romantic
attachment develops between Miss Six and Hunter. Hunter and
his men set about their mission while the Japanese move a
salvage vessel into position. During the climactic operation,
Miss Six is killed, the sub is destroyed, and the UDT men return
to the American sub where they destroy an enemy fleet.

American International. 84 minutes. Tab Hunter, Frankie Avalon, Scott Brady.
Gary Crosby, Eva Six. Produced by James Nicholson and Lou Rusoff. Directed by
Anthony Carras.

"Drums of Africa"

Mild jungle meller, in color, fair dualler for action market.

A jungle safari produced in Metrocolor, this meller works up
some mild excitement about treachery and the pitfalls of nature,
but its boxoffice appeal will be limited. It just figures to get by
as a dualler in the action market. Some promotional mileage
with the teeage set might be made out of the appearance of
Frankie Avalon. Loosely scripted by Robin Estridge, "Drums"
tells about the building of a new railroad route through the
jungle, ruthless white men selling natives to Arabians, and a
romantic entanglement between a pretty mission worker and
the not-so-sincere railroad engineer, and director James B. Clark
has managed to inject some visual thrills into the familiar hap-
penings. Avalon portrays the railroad owner's nephew and he
croons a pleasant song entitled "The River Love" in the course
of discovering how inept he is at jungle living. Lloyd Bochner
is the engineer, Mariette Hartley is the mission girl, and Torin
Thatcher rounds out the cast as a white hunter opposed to the
railroad and secretly in love with Miss Hartley. When Thatcher
refuses to lead Avalon and Bochner to where the railroad is
being built, the twosome start out with a guide. The latter
deserts them, and Miss Hartley and Thatcher come to the rescue.
Thatcher agrees to lead the safari if Bochner gives up Miss Hart-
ley. Further complications sees Avalon and Miss Hartley cap-
tured by the slavers, Avalon escaping and returning with Boch-
ner and Thatcher, the slavers defeated, and Bochner sincerely
declaring his love for Miss Hartley.

M-G-M. 92 minutes. Frankie Avalon, Mariette Hartley, Lloyd Bochner Torin
Thatcher. Produced by Al Zimbalist and Philip N. Krasne Directed bv James
B. Clarke.

ReCku> Rating

• POOR • • FAIR

• • • GOOD • • • • TOPS

Film BULLETIN April 29. 1963 Page 13

"The Stripper"

SutiHCM Rati*? O O

Aimless plot and characters without real dimension re-
tard this, despite good performance by Joanne Wood-
ward. Tepid b.o.

This is going to be a tough property to sell to the general
public, and its boxoffice prospects are dim. Adapted from Wil-
liam Inge's play, "A Loss of Roses", 20th-Fox obviously took
the flashy title to drum up interest, and it might in the ballyhoo
situations. The film achieves moments of dramatic intensity,
thanks to a standout performance by Joanne Woodward as a
member of a second-rate vaudeville act who ends up stranded
in the small Kansas town where she was born, and soon becomes
involved with a love-struck youth. But neither the screenplay by
Meade Roberts nor the direction of Franklin Shaffner do much
to develop the plot or the characters in depth. It's all pretty
shallow. The late Jerry Wald's last production, in black-and-
white CinemaScope, will need a strong promotion campaign,
but the generally downbeat tone of the rather aimless plot is
likely to draw adverse word-of-mouth. Richard Beymer adds a
youthful name for the marquee, and he's adequate as the young
man who falls for Miss Woodward after she seeks temporary
refuge in his mother's home. Claire Trevor is excellent as the
latter, a widow who clings to Beymer because her dependence
upon her late husband has prevented her from having a full,
active life. Carol Lynley is Beymer's teen-age girl friend, Robert
Webber, Miss Woodward's scheming lover-manager, and Gypsy
Rose Lee appears briefly as a washed-up vaudeville star. Miss
Woodward moves in with Beymer-Trevor after Webber skips
town with the money. Miss Trevor is disturbed by Beymer's
infatuation with Miss Woodward, though the latter treats him
like a younger brother. Webber returns and beats Miss Wood-
ward into accepting a job as a stripper for a stag show. Beymer
runs Webber off and confesses his love to Miss Woodward. She
gives herself to Beymer, but her new-found happiness is shat-
tered when Beymer realizes his rash promises were made in the
heat of passion. Miss Woodward takes the stripper job. Beymer
goes to see her perform, and sickened by the "entertainment,"
proposes marriage. Miss Woodward turns him down, but with
new-found courage, she walks out on Webber and decides to
face the uncertain future with confidence.

20th Century-Fox. 95 minutes. Joanne Woodward, Richard Beymer, Claire Trevor,
Carol Lynley. Produced by Jerry Wald. Directed by Franklin Schaffner.

"The Black Fox"

Oscar-winning documentary highly effective. Needs
selling to realize boxoffice impact.

By far the most imaginative, fascinating and unusual docu-
mentary on the rise and fall of Hitler and Nazi Germany, this
1962 Oscar winner is a must-see. It will need heavy promotion
to achieve boxoffice strength. Written, directed and produced
by Louis Clyde Stoumen, a former film award winner and asso-
ciate producer of the TV series "Winston Churchill — The Vali-
ant Years," the film is a dramatically gripping experience. Ex-
pertly narrated by Marlene Dietrich, "The Black Fox" unfolds
through dissolves, fades, montages, animation and optical and
editing effects. Included are rare photographs of the young
Hitler in the First World War, footage from inside the concen-
tration camps and the Warsaw ghetto, the private albums of
Goering, Heinrich Hoffman and Eva Braun, and original draw-
ings illustrating Hitler's "beer hall putsch" of 1924 and his
final breakdown and suicide in the underground bunker. Gra-
phic arts is used extensively: (1) surrealistic drawings from

Page 14 Film BULLETIN April 29, 1963

Dante's "Inferno" are animated to depict Hitler's chilling plan
for world conquest as written in "Mein Kampf;" (2) 19th cen-
tury animal drawings from Goethe's folk tale "Reynard the
Fox" illuminate by allegory the jungle that was Nazi Germany.
Effective, off-beat music is provided by the New York Chamber
Orchestra and the Juilliard String Quartet. The story intertwines
the ruthless careers of Reynard and Hitler. As the fox, through
guile and demagogy uses every ruse and gimmick to persuade
the other animals of his righteousness and his right to be their
leader, so Hitler is shown from his beginnings as a cunning con-
spirator and effective orator playing on the bitterness and pas-
sions of the defeated German people. Hitler's accession to the
German chancellorship, his maneuverings vis-a-vis Communism,
and his indulgence in savagery toward helpless victims are given
an ironic counterpoint in the story of Reynard's dealings with
the animal community. Hitler's destructive career is seen through
World War II and his flaming death in a Berlin bunker, and
an estimate of his impact on modern civilization is symbolically
represented (the atom bomb) as the film comes to its end.

Capri Films. 89 minutes. Produced, directed and written by Louis Clyde Stoumen.

"Magnificent Sinner"

Su4iKC44 1Qati*up O Plus

Slow-paced historical drama will find going heavy.

The last years in the life of Russian Emperor Alexander II
(who believed in greater freedom for the serfs) are depicted
in this dubbed EastmanColor film beins^ released by Film-Mart,
Inc. Part love story, part history, the film is opulent in its sets
and costumes, but awkward and slow-moving in its dramatic
unfolding. Robert Siodmak's direction is too liesurely to hold
the average spectator's interest, although he has captured the
splendor of mid-nineteenth century Russia. The best this can i
expect is a limited second-feature play-off in non-action houses,
but it needs a rousing top attraction. There are two names for
the marquee — Romy Schneider and Curt Jurgens, the latter
portraying Alexander, a liberal ruler with high ideals, while
Miss Schneider is the beautiful, liberal young daughter of an
impoverished noble family whose love for Jurgens moves him to
take her as his mistress. Assorted French players portray min-
isters, members of Miss Schneider's family, and hot-blooded
peasants and students intent on assassinating Jurgens. After
Jurgens' wife dies, he marries Miss Schneider and, as a wedding
gift, plans to present her with the first proclamation of a new
constitution. Miss Schneider arranges a truce with the peasant1
leaders, but the ministers assassinate three of them. Jurgens is
blamed and assassinated (a bomb is thrown into his open car)
on the day of Miss Schneider's coronation.

Film-Mart, Inc. 91 minutes. Romy Schneider, Curt Jurgens. Directed by Robert
Siodmak.

BULLETIN

reviews have one aim:
to give honest judgment
of entertainment merit
— and boxoffice value

i

MERCHANDISING 1 ,

Above: Crowd jams front of Hollywood Para-
mount at "Birdie" opening. Merchants' signs
salute film, stars. Below: Chamber of Commerce
executive Frank Westsmith (left) presents proc-
lamation to Fred Kohlmar, stars Ann-Margret
and Jesse Pearson. George Sidney.

'Birdie' Flying High Out West
Backed by Ballyhoo Campaign

The record-shattering performance of
"Bye Bye Birdie" at the Radio City Music
jHall has overshadowed the Fred Kohlmar-
George Sidney musical's other pre-national
release engagement at the Hollywood Para-
mount, where it is likewise making impor-
tant boxoffice news.

Backed by a smashing tie-up and bally-
hoo campaign, engineered by Columbia's
ijoxofficers, "Birdie" virtually took over
the movie capital. The Chamber of Com-
nerce proclaimed the premiere week "Bye
Bye Birdie" Week and the town's leading
nerchants, as well as schools, radio and
TV stations, plunged into the promotion
lrive. Opening day events brought out a
luge crowd and got "Birdie" off winging.

)ocumentary To Plug 'Peking'

Samuel Bronston's "55 Days at Peking"
vill get wide television exposure via a
pecial 30-minute color documentary, which
eveals interesting facets of the filming in
pain. Titled "Peking in Madrid ", the sub-
ect will be shown over ABC, June 9. It
> narrated by Charlton Heston.

Prior to its TV showing, the promo-
onal documentary will be previewed for
ritics and other newspaper writers in
lose major cities throughout the U. S. and
Canada which will participate in the pre-
miere of "55 Days at Peking" on May 29.

Viewpoint

By ADAM WEILER

The Associated Press carried a Lon-
don dispatch the other week in which
a Professor Dennis Gabor rated the
prospect of human leisure as one of
the greatest perils facing man. From
what I gather, the eminent professor
was suggesting that the longer we live
the more chance we have to die from
boredom.

Increased leisure, says he, accounts
for lots of crime and lots of alcohol-
ism. Furthermore, as more people be-
come unemployed due to the rise of
automation, things will even be worse.

Is this good or bad for the movie
business? My guess is that more leisure
can be directed to movie theatres. Each
year we have about a million and a
half young folks reaching the age of
eighteen. Now we see the war babies
grown into manhood and womanhood.
It's a shame we have done so little extra
work to get them into the movie habit,
but it's not too late. If it makes sense
to give reduced admission rates to
Golden Agers over sixty, why not do
something like this for the teen-ager.
Why should he have to pay the same
tariff as mama and papa? He can't af-
ford it.

It could well be that one of the
smartest promotional and public rela-
tions campaigns this business could
invoke would be a national, industry-
wide price pitch to the teenage set
(say, ages 13 to 17). Some half-empty
theatres might thus be filled up.

'NEW FACES' TREND

Two promising starlets were among the
extras as cameras rolled on an ice-skating
sequence for MGM-Seven Arts produc-
tion, "Sunday in New York". The gals
are Teri and Abby Schwartz, daughters of
Metro's Fred Schwartz. The older face
between them belongs to Si Seadlcr, fig-
ure skating champion and widely known
for his showmanship talents.

Florida State Showmen Give
'West' Flashy Miami Premiere

"How the West Was Won," opened
with one of the flashiest premieres ever
staged in Miami Beach at the Sheridan,
Florida State Theatres key house.

Fully capitalizing the host of talent
available in the famed winter resort city,
Florida State's promotion force steadily
plugged the MGM-Cinerama epic via radio
and television for four days and nights
from the Wednesday, April 10 invitational
opening through the premiere weekend.

George Peppard, one of the stars of
"West", was on hand for numerous inter-
views and p.a.'s. He was flanked by civic
leaders and many of show business' top
performers, who were playing Miami. The
opening night's festivities were telecast
live from the Sheridan by WIOD, the
NBC affiliate. Among those present: Flori-
da State president Louis J. Finske, Sidney
Cooper, Cinerama sales manager, and
Harry Botwick, FST regional supervisor.

Armed and eager-looking guards protect model
wearing one of Liz Taylor's garments from
"Cleopatra". The costumes, created by Iron
Sharaff, were revealed to the press aboard tin
Italian liner Christoforo Colombo. 20th's press
agents aver that the 55 pieces of apparel an
valued at $55,000. They will be toured nation-
ally to ballyhoo the costly film.

Film BULLETIN April 29, 1963 Page 15

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

April

DAY OF THE TRIFFIDS, THE CinemaScope. Color.
Howard Keel, Nicole Maurey, Janette Scott, Keiron
Moore. Producer Philip Yordan. Director Steve Sekely.
Science-tiction thriller. 119 min.

May

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Lauren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.

55 DAYS AT PEKING Technirama, Technicolor— 70.
Charlton Heston, David Niven, Ava Gardner, Flora
Robson, Harry Andrews, John Ireland. Producer Samuel
Bronston. Director Nicholas Ray. Story of the Boxer
uprising .

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
A Julian Wintle, Leslie Parkyn Production. Director
Michael Winner. Musical.

June

LONG CORRIDOR. THE Peter Breck, Constance Towers.
Producer-director Samuel Fuller. A Leon Fromkess
Production. A suspense drama.

July

GUNHAWK, THE Color. Rory Calhoun, Rod Cameron,
Ruta Lee, Rod Lauren. Producer Richard Bernstein!
Director Edward Ludwig. Outlaws govern peaceful town
of Sanctuary.

Coming

GUNFIGHT AT COMANCHE CREEK Color. Cinema-
scope. Audie Murphy. Producer Ben Schwalb. Private
detective breaks up outlaw gang.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen. Producer Martin Jurow. Army comedy.

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL^

October

WARRIORS 5 Jack Palance, Jo Anna Ralli. Producer
Fulvio Lusciano. Director Mario Silvestra. Story of an
American G.I. who organized the underground resist-
ance in Italy. 82 min. 11/12/62.

November

REPTILICUS Color. Carl Ottosen, Ann Smyrner. Pro-
ducer-Director Sidney Pink. Giant sea monster's de-
struction of an entire city. 81 min.

December

SAMSON AND THE 7 MIRACLES OF THE WORLD

(Formerly Goliath and the Warriors of Genghis Kahn)
Color. CinemaScope. Gordon Scott, Yoko Tani. Samson
helps fight off the Mongol invaders. 80 min. 2/18/63.

January

RAVEN, THE Color. Panavision. Vincent Price, Peter
Lorre, Boris Karloff. Producer-director Roger Corman.
Edgar Allan Poe tale. 86 min. 2/4/63.

February

BATTLE BEYOND THE SUN (Filmgroup) Color & Vista-
scope. Ed Perry, Aria Powell. 75 min.

NIGHT TIDE (Filmgroup) Dennis Hopper, Linda Law-
son. 84 min.

March

CALIFORNIA Jock Mahoney, Faith Domergue. Western.

April

FREE, WHITE AND 21 (Formerly Question of Consent}

Frederick O'Neal. Annalena Lund. Drama. 102 min.

OPERATION BIKINI (Formerly Seafighters) Tab Hunter,
Frankie Avalon, Eva Six. Producer-director Anthony
Carras.

May

MIND BENDERS. THE Dick Bogarde, Mary Ure. Pro-
ducer Michael Relph. Director Basil Dearden. Science
fiction. 101 min. 4/15/63.

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drcima.

June

DEMENTIA #13 'Filmgroup William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK. THE CONQUEROR (Formerly Miracle of the
Vikings). Color, Cinemascope. Cameron Mitchel. Action
drama. 90 min.

TERROR, THE (Filmgroup) Color, Vistascope. Boris Kar-
loff. Horror.

July

BEACH PARTY Color. Panavision. Frankie Avalon
Robert Cummings, Janet Blair, Annette Funicello. Pro-
ducer Lou Rusoff. Teenage comedy.

August

HAUNTED PALACE, THE Vincent Price, Lon Chaney,
Debra Paget. Edgar Allan Poe classic.

"X" — THE MAN WITH THE X-RAY EYES Ray Milland.

Science fiction.

September

NIGHTMARE (Formerly Schizo) Leticia Roman, John
Saxon. Producer-director Mario Bava. Suspense horror.

SUMMER HOLIDAY Technicolor, Technirama. Cliff
Richards, Lauri Peters. Teenage musical comedy.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

BLACK SABBATH Color. Boris Karloff, Mark Damon.
Michele Mercier. Horror.

COMEDY OF TERROR, A Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff. Horror.

DUEL, THE Color, Scope. Fernando Lamas, Tina Lou-
ise. Action.

DUNWICH HORROR Color. Panavision. Science Fiction.
GENGHIS KHAN 70mm roadshow.

IT'S ALIVE Color. Peter Lorre, Frankie Avalon. Teen,
horror, musical comedy.

MAGNIFICENT LEONARDO, THE Color, Cinemascope.
Ray Milland.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

UNDER 21 Color, Panavision. Teen musical comedy.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Producers Julian
Wintle, Leslie Parkyn. H. G. Wells classic.

December

BLACK FOX Marlene Dietrich. Producer-director Louis
Clyde Stoumen. Narration of true story of Adolph
Hitler. 89 min.

OUT OF THE TIGER'S MOUTH Loretta Hwong, David
Fang. Producer Wesley Ruggles, Jr. Director Tim
Whelan, Jr. 81 min.

OUARE FELLOW. THE Patrick McGoohan, Sylvia Sims.
Walter Macken. Producer Anthony Havelock-Allan.

Director Arthur Dreifuss. 85 min. 11/26/62.

January

SWINDLE, THE Broderick Crawford, Giulietta Masina,
Richard Basehart. Director Federico Fellini. Melodrama.
92 min. 1 1/12/62.

WORLD BEGINS AT 6 P.M. Jimmy Durante, Ernest Borg-
nine. Director Vittorio DeSica.

Coming

TOTO, PEPPINO and LA DOLCE VITA Toto, Peppino.

TRIAL, THE (Astor Productions, Inc.) Anthony Perkins,
Jeanne Moreau. Director Orson Welles. Welles' version
of Kafka novel. 118 min. 3/4/63.

October

ALMOST ANGELS Color. Peter Week, Sean SeullJ
Vincent Winter. Director Steven Previn. 93 min. 9/3/6;J

November

LEGEND OF LOBO. THE Producer Walt Disney. Liv.J
action adventure. 67 min. 11/12/62.

December

IN SEARCH OF THE CASTAWAYS Technicolor. MauricJ
Chevalier, Hayley Mills, George Sanders. Product'
Walt Disney. Director Robert Stevenson. Based on th i
Jules Verne story, "Captain Grant's Children." Ill
min. 1/7/63.

February

SON OF FLUBBER Fred MacMurray, Nancy OlsOl .1
Keenan Wynn. Walt Disney Production. Director Robei*
Stevenson. Comedy. 100 min. 1/21/63.

April

MIRACLE OF THE WHITE STALLIONS Color. Rober
Taylor, Lili Palmer, Curt Jergens. A Walt Disney pre i
duction. Director Arthur Hiller. Story of the rescue c;
the famous white stallions of Vienna. 118 min. 4/1/6:

June

SAVAGE SAM Brian Keith, Tommy Kirk. Drama.

July

SUMMER MAGIC Hayley Mills, Burl Ives. Drama.

September

BEST OF ENEMIES, THE Technicolor, Technirama. Davi.
Niven, Sordi, Michael Wilding. Producer Dino d
Laurentiis. Director Guy Hamilton. Satirical corned
on war. 104 min. 8/6/62.

DAMN THE DEFIANT (formerly H.M.S. DEFIANT) Color
Alec Guinness, Dirk Bogarde, Anthony Quayle. Pre
ducer John Brabourne. Director Lewis Gilbert. Sef

adventure. 101 min. 8/20/62.

RING-A-DING RHYTHM Chubby Checker, Dukes 0
Dixieland, Gary (U.S.) Bonds, Dell Shannon. Produce

Milton Subotsky. Director Dick Lester. Teenage com
edy. 78 min. 9/17/62.

October

REQUIEM FOR A HEAVYWEIGHT Anthony Quinn
Jackie Gleason, Mickey Rooney, Julie Harris. Produce
David Susskind. Director Ralph Nelson. Award winnin'
drama. 87 min. 9/17/62.

TWO TICKETS TO PARIS Joey Dee, Gary Crosby, Ka
Medford. Producer Harry Romm. Director Greg Gai

rison. Romantic comedy. 75 min. 11/26/62.

November

PIRATES OF BLOOD RIVER Color. Glenn Corbett, Kei
win Mathews, Maria Landi. Producer Anthony Nelso
Keys. Director John Gilling. Swashbuckling adventure
87 min. 8/6/62.

WAR LOVER, THE Robert Wagner, Steve McQueer
Producer Arthur Hornblow. Director Philip Leacock
Drama of World War II in the sky. 105 min. 10/29/63

WE'LL BURY YOUI Narrated by William WoodiOf
Producers Jack Leewood, Jack W. Thomat. Documer
tary highlighting rise of Communism. 72 min. 10/15/6:

December

BARABBAS Technicolor. Anthony Quinn, Silvana Mar
gano, Jack Palance, Ernest Borgnine, Katy Juradc
Douglas Fowley, Arthur Kennedy, Harry Andrews
Vittorio Gassman. Producer Dino de Laurentiis. Direc
tor Richard Fleischer. Based on novel by Par Lagei
kvist. 134 min. 9/3/62.

February

DIAMOND HEAD Panavision, Eastman Color. Charlto
Heston, Yvette Mimieux, George Chakiris, Franc"
Nuyen, James Darren. Producer Jerry Bresler. Directc
Guy Green. Based on Peter Gilman's novel. 10'
min. 1/7/63.

Film BULLETIN — THIS IS YOUR PRODUCT

MAY SUMMARY

The number of releases for May has
been increased since our last tabula-
tion, by the addition of two new fea-
tures. M-G-M remains out in front,
offering five films. Allied Artists, con-
tributing the additional product, now
has three releases, and American Inter-
national follows promising two. Seven
firms — United Artists, Warner Bros.,
Universal, 20th-Fox, Columbia, Conti-
nental and Paramount — each list one
feature. No new product for May has
been announced by either Embassy or
Buena Vista.

April

MAN FROM THE DINER'S CLUB, THE Danny Kaye. Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin. Comedy. 94 min. 4/15/43.

May

FURY OF THE PAGANS Edmund Purdom, Rosanna
Podesta.

June

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical. 112 min. 4/15/43.

JASON AND THE ARGONAUTS (Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Novak. Pro-
ducer Charles H. Schneer. Director Don Caffey. Film
version of Greek adventure classic.

Coming

GIDGET GOES TO ROME James Darren, Cindy Carol,
Jody Baker. Producer Jerry Bresler. Director Paul
Wendkos.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/42.

October

END OF DESIRE Color. Maria Schell, Christian Mar-
quand, Ivan Desny. Pascale Petit. Producer Agnes De-
Lahaie. Director Alexander Astruc. 91 min.

January

GREAT CHASE, THE Douglas Fairbanks, Sr., Buster
Keaton, Lillian Gish. Producer Harvey Cort. Silent
chase sequences. 77 min. 1/7/43.

LONELINESS OF THE LONG DISTANCE RUNNER. THE

Michael Redgrave, Tom Courtenay, Avis Bunnage. Pro-
ducer-director Tony Richardson. Explores the attitudes
of a defiant young man sent to a reformatory for
robbery. 103 min. 10/1/42.

LOVERS OF TERUEL. THE [French, subtitled) Color.
Ludmila Teherina. A famous legend is transformed into
a dance-ballet drama. 93 min.

February

DAVID AND LISA Keir Dullea, Janet Margolin, How-
ard Da Silva. Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed younq-
sters. 94 min. 1/7/43.

March

JALCONY, THE Shelley Winters, Peter Falk. Producers
loseph Strick, Ben Maddow. Director Strick. Unusual
version of Genet's fantasy play. 85 min. 4/1/43.

April

IrVRONG ARM OF THE LAW. THE Peter Sellers
.lonel Jeffries. Sellers uses Scotland Yard in pulling off
he laugh crime of the century. 91 min.

May

"HIS SPORTING LIFE Richard Harris, Rachel Roberts.

June

fOUR SHADOW IS MINE Jill Haworth, Michael Ruhl.
v European girl, raised by an Indo-Chinese family, has
o choose between her native sweetheart and the
ociety of her own people. 90 min.

September

IVORCE— ITALIAN STYLE Marcello Mastroianni, Dan-
sla Rocca, Stefania Sandrelli. Producer Franco Cris-
sldi. Director Pietro Germi. Satirical jabs at the
lores of our times. 104 min. 10/29/42.

HE LOVE MAKERS (La Viaccia) Claudia Cardinale
ean-Paul Belmondo, Pielro Germi. Producer Alfredo
ini. Director Mauro Bolognini. A drama of the tragic
I /" 2/62 * °f *',e C'*y UP°" 3 v°ung *armer- '03 min.

October

; RIME DOES NOT PAY Danielle Darrieux, Richard
2dd, Pierre Brasseur, Gino Cervi, Gabriele Fenetti,
hnstian Marquand, Michelle Morgan, Jean Servais.
roducer Gilbert Bokanowski. Director Gerard Oury.
■ench object lesson based on classic crimes. 159 min.
V29/42.

ONG DAY'S JOURNEY INTO NIGHT Katharine Hep-
. urn Jason Robards, Jr., Sir Ralph Richardson, Dean
ockwell. Producer Ely A. Landau. Director Sidney
Jtnet. Film version of Eugene O'Neill's Pulitzer Prize-
inning stage drama. 174 min. 10/29/42.

November

NIGHT IS MY FUTURE Mai Zetterling, Birger Malmsten.
Director Ingmar Bergman. Bergman reflects on the
theme of man's search for human contact and love in
a "hostile universe.'' 87 min. 1/7/43.

December

CONSTANTINE AND THE CROSS Color. Cornel Wilde,
Christine Kaufman, Belinda Lee. Producer Ferdinando
Felicioni. Director Lionello De Felice. Story of early
Christians struggling against Roman persecution. 120
min. 11/24/42.

January

SEVEN CAPITAL SINS Jean-Pierre Aumont, Dany Saval.
Directors Claude Chabrol, Edouard Molinaro, Jean-Luc
Godard, Roger Vadim, Jaques Demy, Philippe De
Broca, Sylvain Dhomme. A new treatment of the classic
sins with a Gallic flavor. 113 min. 11/24/42.

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,
Christian Doermer. Directors Francois Truffaut, Andrez
Wajda, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world. 113
min. 2/18/63.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French
Revolution. 104 min. 3/4/43.

March

FACE IN THE RAIN, A Rory Calhoun, Marina Berti,
Niall McGinnis. Producer John Calley. Director Irvin
Kershner. Suspenseful spy-chase drama. 90 min. 4/1/43.

April

LANDRU Charles Denner, Michele Morgan, Danielle
Darrieux. Producers Carlo Ponti-Georges de Beaure-
gard. Director Claude Chabrol. Tongue-in-cheek drama
of the infamous lady killer. 114 min. 4/14/43.

LAW, THE Marcello Mastroianni, Melina Mercouri, Yves
Montand, Gina Lollobrigida. Producer, Jacques Bar.
Director, Jules Dassin. Romantic drama. 114 min.

Current Releases

ANTIGONE I Ellis Films) Irene Papas, Manos Katra-
kis. Producer Sperie Perakos. Director George Tza-
vellas. 88 min. 10/29/42.

ARMS AND THE MAN (Casino Films) Lilo Pulver.
O. W. Fischer, Ellen Schwiers, Jan Hendriks. Producers
H R. Soeal, P. Goldbaum. Director Franz Peter Wirth.
94 min.

BERNADETTE OF LOURDES (Janus Films) Daniele Ajoret
Nadine Alari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.

90 min.

BIG MONEY, THE ILopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 48 min.

BLOODY BROOD. THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR. A (Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

CANDIDE (Union Films) Jean-Pierre Cassel, Pierre
Brausseur, Dahlia Lavi. Director Norbert Carbonnaux.
90 min. 1 1/24/42.

CLEOPATRA'S DAUGHTER (Medallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

COMING OUT PARTY A. James Robertson Justice.
Producers Julian Wintle, Leslie Parkyn. Director Kenn
Annakin. 90 min. 9/17/42.

CONNECTION, THE Warren Finnerty, Garry Good-
row, Jerome Raphel. Producer Lewis Allen. Director
Shirley Clarke. Off-beat film about dope addicts. 93
min. 10/29/42.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
74 min.

DAY THE SKY EXPLODED, THE (Excelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR, THE (Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL MADE A WOMAN, THE (Medallion) Color, To-
talscope. Sarita Montiel. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE (Ultra Pictures) Anthony Quinn. Kerima.
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/43.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS Technicolor, Totalvision.
Yoko Tani, Oldrick Lukes. 81 min.

FIVE DAY LOVER, THE IKinasley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 84 min.

FIVE MINUTES TO LIVE ISutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 84 min.

FLAME IN THE STREETS (Atlantic) John Mills, Sylvia
Syms, Brenda DeBanzie. Producer-director Roy Baker.
93 min. 10/29/42.

FORCE OF IMPULSE ISutton Pictures) Tony Anthony,
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

IMPORTANT MAN. THE ILopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/42.

JOSEPH AND HIS BRETHREN (Colorama) Geoffrey
Home, Belinda Lee. Producers Ermanno Donati. Luigi
Carpentieri. Director Irving Rapper. 103 min. 2/12/42.

KIND OF LOVING. A (Governor Films) Alan Bates,
June Ritchie, Thora Hird. Producer Joseph Janni.
Director John Schlesinger. 11/12/42.

LAFAYETTE (Maco Film Corp.) Jack Hawkins, Orson
Welles, Vittorio De Sica. Producer Maurice Jacquin.
Director Jean Oreville. 110 min. 4/1/43.

LA NOTTE BRAVA (Miller Producing Co.) Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 94 min.

LAST OF THE VIKINGS (Medallion) Color, Totalscope.
Cameron Mitchell, Edmond Purdom. 102 min.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoui, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

LONG ABSENCE. THE (Commercial Films) Alida Valli,
Georges Wilson. Director Henri Colp. French drama.
85 min. 11/24/42

LOVE AND LARCENY (Major Film Distribution) Vit-
torio Gassman, Anna Maria Ferrero, Peppino DiFilippo.
Producer M^rio Gori. Director Dino Risi. Satire on
crime. 94 min. 2/18/43.

MARRIAGE OF FIGARO, THE (Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin. Director Jean Meyer. French import.
105 min. 2/18/43.

MATTER OF WHO. A (Herts-Lion International) Alex
Nicol, Sonja Ziemann. Producers Walter Shenson,
Milton Holmes. Director Don Chaffey. 90 min. 8/20/42.

MONDO CANE (Times Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/43.

NIGHT OF EVIL ISutton) Lisa Gaye, Bill Campbell.
88 min.

NIGHT, THE ILopert) Jeanne Moreau, Marcello
Mastroianni, Monica Vitti. Producer Emanuele Cassulo,
Director Michelangelo Antonioni. 120 min. 3/5/42.

NO EXIT (Zenith-International) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala.
Hector Olivera. Director Tad Danielewski. 1/7/43.

PARADISE ALLEY ISutton) Hugo Haas, Corinne Griffith.

PASSION OF SLOW FIRE. THE (Trans-Lux) Jean
DeSailley, Monique Melinand. Producer Francois
Chavene. Director Edouard Molinaro. 91 min. 11/12/42.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I 1 5 min.

RICE GIRL (Ultra Pictures) Elsa Martinelli, Folco Ltifli,
Michel Auclair. Producer Carlo Ponti. Director Raffa-
eilo Matarazzo. Dubbed Italian melodrama. 90 min.
2/4/43.

ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

SATAN IN HIGH HEELS (Cosmic). Meg Myles, Gray-
son Hall, Mike Keene. Producer Leonard M. Burton.
Director Jerald Intrator. 97 min. 5/14/42.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Slat-
ten, 82 min.

SECRETS OF THE NAZI CRIMINALS (Trans-Lux). Pro-
ducer Tore Sjoberg. Documentary recounting Nazi
crimes. 84 min. 10/15/42.

Fll-j BULLETIN — THIS - TOM PRODVCT

SLIMfc rEOPLE, THE ( Hutton-Robertson Prods I Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hut*on.

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

SON OF SAMSON (Medallion) Color, Totalscope. Mark
Forest, Chelo Alonso. 8' min.

STAKEOUT Ping Russell. Bill Hale, Eve Brent. 81 min.

SUNDAYS AND CYBELE I Davis-Royal ) Hardy Kruger,
Nicole Courcel, Patricia Gozzi. Producer Romain Pines.
Director Serge Bourguignon. 110 min. 11/26/62.

THEN THERE WERE THREE lAlexander Films) Frank
Latimore, Alex Nicol, Barry Ca hill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THRONE OF BLOOD (Brandon Films) To»hino Mifone,
Isuzu Yamada. Director Aklra Kurosawa 108 min.
1/8/62.

TROJAN HORSE. THE Colorama. Steve Reeves, John
Drew Barrvmore, Edy Vessel. Director Giorgio Ferroni.

105 min. 7/23/62.

VARAN THE UNBELIEVABLE Myron Healy. Tsuruko Ko-
bayashl. 70 min.

VIOLATED PARADISE (Times Films Eng.) Color. Pro-
ducer-director Marion Gering.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hi Ilia rd .

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION [Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqnrne. Director C'aude Chabrol. 97 min.

WILD FOR KICKS ITimes Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

YOJIMBO ISeneca-lnternational) Toshiro M. Fune, Kyu
Sazanka, Nakadai. Director Akiro Kurosana. 101 min.

9/17/62.

METRO-GO LDWYN -MAYER

October

VERY PRIVATE AFFAIR, A Brigitte Bardot Marcello
Mastnianni. Producer Christine Gouze-Renal. Director
Louis Malle. Story of the meteoric career of a young
screen star who becomes a sex symbol for the world.
94 min. 10/1/62.

November

ESCAPE FROM EAST BERLIN Don Murray, Christine

!' i,'-^-,n Pr^dui-"'- Walter W^ort nirector Robert
Siodmak. Drama of the escape of 28 East Germans to
West Berlin under the wall via a tunnel. 93 min.
10/29/62.

KILL OR CURE Terry-Thomas, Eric Sykes, Dennis Price,
Moira Redmond Producer George Brown. Director
George Pollack. Detective tale. 88 min. 11/26/62.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GriffTfti. Pro-
ducer Aaron Posenberg. director Lewis Milestone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/63.

PERIOD OF ADJUSTMENT Tony Franciosa, Jane Fonda,
Jim Hutton. Producer Lawrence Weingarten. Director
George Roy Hill. Screen version of Tennessee Williams'
Broadway play. 112 min. 10/29/62.

TRIAL AND ERROR Peter Sellers, Richard Attenbor-
ough. Producer Dimitri de Grunwald. Director James
Hill. Comedy about a henpecked murderer and his
ineffectual lawyer. 99 min. 11/26/62.

December

A?T'"RrVS ISLAND P-ginald Kernan, Key Meersman,
Vanni De Maigret, Ornella Vanomi. Producer Carlo
Ponti. Director D. Damiani. Based on noted Italian

novel. m.n. 1/21/63.

BILLY ROSE'S JUMBO Doris Day, Stephen Boyd, Jimmy
Durante, Martha Raye. Producer Joe Pasternak. Direc-
tor Charles Waltprs Martin Melcher. Based on the
Broadway musical Tolialgo. 125 min. 10/12/62.

SWORDSMAN OF SIENA Eastman Color. Stewart
Granger, Christine Kaufmann. Producer Jacques Bar.
Director Etienne Pertier. Adventure drama. 92 min.
11/26/62.

January

CAIRO George Sanders, Richard Johnson. Producer
Ronald Kinnoch. Director Wolf Rilla. Drama of attempt

to rob the Cairo Museum. 91 min. 2/4/63.

PASSWORD IS COURAGE, THE Dirk Bogarde. Pro-
ducer-Director Andrew L. Stone. One man's war against

the Nazis during World War II. 116 min. 1/7/63.

February

HOOK, THE Kirk Douglas, Nick Adams. Producer Wil-
liam Perlberg. Director George Seaton. Drama set

against background of the Korean War. 98 min.
1/21/63.

March

COURTSHIP OF EDDIE'S FATHER. THE Glenn Ford,
Shirley Jones. Producer Joe Pasternak. Director Vin-

cente Minnelli. Romantic comedy revolving about a
young widower and his small son. 117 min. 3/18/63.

FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
Randell, Russ Tamblyn, Janis Paiae. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy. 95 min. 3/4/63.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate. Based on the life of Sir Francis Drake. 95 min.
3/18/63.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatoli de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.

IT HAPPENED AT THE WORLD'S FAIR Panavision,

Color, fciv.s rresley. Producer led Richmond. Romantic
comedy.

RIF F! IN TOKYO Karl Boehm, Barbara Lass, Charles
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo. 89 min. 4/1/63.

May

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris

Sagal. Race track comedy. 94 min. 4/1/63.

DRUMS OF AFRICA Frankie Avalon. Produrers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.

IN THE COOL OF THE DAY CinemaScope, Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz.

SLAVE, THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites the slaves to
revolt against the Romans.

June

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West.

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

MAIN ATTRACTION. THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min.

July

CAPTAIN SINDBAD Guy Williams. Pedro Armendariz,
Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy.

DAY AND THE HOUR, THE I Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode.

TICKLISH AFFAIR, A (Formerly Moon Walk) Shirley
Jones. Producer Joe Pasternak. Director George Sid-
ney. Romantic comedy based on a story in the Ladies
Home Journal.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

August

THE NATIVES ARE RESTLESS TONIGHT I Formerly
Tamahine) Nancy Kwan, Dennis Price. Producer John
Bryan. Director Philip Leacock. Romantic comedy of a
Tahitian girl and her impact on an English public
school.

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy.

Coming

COUNTERFEITERS OF PARIS Jean Gabin, Dany Carol.
Producer Jacques Bar. Director Gilles Grangier. 99
min.

FOUR DAYS OF NAPLES, THE Jean Sorel, Lea Messari,
Producer Goffredo Lombardo. Director Nanni Loy.
GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

HOW THE WEST WAS WON Cinerama, Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.
MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/63.
MURDER AT THE GALLOP Margaret Rutherford, Paul
Robson. Agatha Christie mystery.

OF HUMAN BONDAGE IMGM-Seven Arts) Laurence
Harvey, Kim Novak. Producer James Woolf. Director
Henry Hathaway. Film version of classic novel.
VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women who»e
thirst for power leads to their downfall.
V.I.P.'s, THE Color. Elilabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama.

WHEELER DEALERS. THE James Garner, Lee Remick
Producer Martin Ransohoff. Director Arthur Hiller
Story of a Texan who takes Wall Street by storm.

November

GIRLS! GltLSI GIRLSI Panavision, Technicolor Elvis
Presley. Stella Stevens. Producer Hal Wallis. Director

Norman Taurog. Romantic comedy. 106 min.

December

IT'S ONLY MONEY Jerry Lewis, Joan O'Brien. Zachary
Scott, Jack Weston. Producer Paul Jones. Director
Frank Tashlin. Comedy. 84 min. 9/17/62.

January

WHERE THE TRUTH LIES Juliette Greco, Jean-Marc
Bory, Lisolette Pulver.

February

GIRL NAMED TAMIKO, A Technicolor. Laurence Har-
vey, France Nuyen. Producer Hal Wallis. Director John
Sturges. A Eurasian "man without a country" courts en
American girl in a bid to become a U.S. citizen.

WHO'S GOT THE ACTION Panavision. Technicolor.
Dean Martin, Lana Turner, Eddie Albert, Walter Mat-
hau, Nita Talbot. Producer Jack Rose. Director Daniel
Mann. A society matron becomes a "bookie" to cure
her horse-playing husband. 93 min. 10/1/62.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleason

Glynis Johns. Producer Jack Rose. Director George
Marshall. Comedy-drama based on childhood of silent
screen star Corinne Griffith. 98 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cli
Robertson, David Jannsen. Producer Garet Gaither.

Director Gower Champion. Broadway star adopts six
abandoned children. 105 min. 3/18/63.

May

HUD Paul Newman, Patricia Neal. Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director Rift
Drama set in modern Texas. 122 min. 3/4/63.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmons,
Pat Hingle. Producer David Susskind. Director Aloi
Segol. Film version of play and novel.

COME BLOW YOUR HORN Technicolor. Frank Sinatra,
Barbara Ruth, Lee J. Cobb. Producer Howard Koch. Di-
rector Bud Yorkin. A confirmed bachelor introduces his
young brother to the playboy's world.

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar
vin. Producer-director John Ford. Adventure drama I
the South Pacific.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy film'
on location in Paris.

WONDERFUL TO BE YOUNG Cliff Richard, Robert
Morley. 92 min.

20TH CENTURY-FOX

October

LONGEST DAY, THE John Wayne, Richard Todd,

Peter Lawford, Robert Wagner, Tommy Sands, Fabian,
Paul Anka, Curt Jurgens, Red Buttons, Irina Demieh,
Robert Mitchum, Jeffrey Hunter, Eddie Albert, Ray
Danton, Henry Fonda, Edmond O'Brien, Robert Ryan.
Producer Darryl Zanuck. Directors Gerd Oswald,
Andrew Marton, Elmo Williams, Bernard Wicki, Ken
A/inakin. 180 min.

November

LOVES OF SALAMMBO Deluxe. Jeanne Valerie, Jacques
Sernas. Edmund Purdom. Director Sergio Grieco.
Adventure drama. 72 min. 11/12/62.

December

GIGOT DeLuxe Color. Jackie Gleason, Katherine Kath.
Gabrielle Dorziat, Diane Gardner. Producer Ken Hy-
man. Director Gene Kelly. Story of a mute and a tittle
girl he befriends. 104 min. 6/25/62.

January

SODOM AND GOMORRAH Stewart Granger, Pier Aj-
geli, Stanley Baker, Rossana Podesta. Producer Gof-
fredo Lombardo. Director Robert Aldrich. Biblical tale.

154 min. 1/21/63.

YOUNG GUNS OF TEXAS Cinemascope, De Luxe Color.
James Mitchum, Alana Ladd, Jody McCrea. Producer-
director Maury Dexter. Western tale of restless youth.
85 min. 1 1/12/62.

February

DAY MARS INVADED EARTH, THE Cinemascope. Kent
Taylor. Marie Windsor. Producer-director Maury Dex-
ter. Science-fiction drama. 70 min.

Film BULLETIN — THIS IS YOUR PRODUCT

LION. THE CinemaScope, D» Luxe Color. William Hol-
den, Trevor Howard, Capucine. Producer Samuel
Engel. Director Jack Cardiff. Based on best-seller
about a girl's love for a wild lion. 96 min. 9/3/62.

ROBE, THE Re-release.

M arch

NINE HOURS TO RAMA CinemaScope, DeLuxe Color.
Horst Buchholi, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy.
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

April

STRIPPER, THE (Formerly A Woman in July) Joanne
Woodward, Richard Beymer, Gypsy Rose Lee, Claire
Trevor.

May

YELLOW CANARY. THE Pat Boone, Barbara Eden.
Producer Maury Dexter. Director Bun Kulik. Suspense
drama. 93 min. 4/15/63.

Coming

CLEOPATRA Todd-AO Color. Elizabeth Taylor. Richard
Burton, Rex Harrison. Producer Walter Wanger.
Director Joseph Mankiewicz. Story of famous queen.

LEOPARD, THE Burt Lancaster, Claudia Cardinale.

UEEN'S GUARDS. THE CinemaScope. DeLuxe Color,
aniel Massey, Raymond Massey, Robert Stephens
Producer-Director Michael Powell. A tale of the
tradition and importance of being a Guard.

UNITED ARTISTS

November

MANCHURIAN CANDIDATE, THE Frank Sinatra, Laur-
ence Harvey. Janet Leigh, Angela Lansbury, Henry
Sllva. Producers George Axelrod, John Frankenheimer.
Director Frankenheimer. Suspense melodrama. 126 min.
10/29/62.

January

CHILD IS WAITING, A Burt Lancaster, Judy Garland,
Stephen Hill, Gena Rowland. Producer Stanley Kramer.
Director John Cassavetes. Drama dealing with retarded
children. 102 min. 1/21/63.

TARAS BULBA Tony Curtis, Yul Brynner, Brad Dexter,
Sam Wanamaker, Vladimir Sokoloff, Akim Tamiroff,
Christine Kaufmann. Producer Harold Hecht. Director
J. Lee Thompson. Action spectacle. 122 min. 12/10/62.

February

TWO FOR THE SEESAW Robert Mitchum, Shirley Mac-
Maine. Producer Walter Mirisch Director Robert Wise.
Based on the Brodaway hit. 119 min. 10/29/62.

M arch

FIVE MILES TO MIDNIGHT Sophia Loren, Anthony
Perkins, Gig Young, Jean-Pierre Aumont. Producer-
director Anatole Litvak. Suspense drama about an
'American in Eurone who schemes to defraud an insur-
ance company. 110 min. 3/4/63.

LOVE IS A BALL Technicolor, Panavision. Glenn Ford,
Hope Lange, Charles Boyer. Producer Martin H. Poll.
D'rector David Swift Romantic comedy of the interna-
tional set. Ill min. 3/4/63.

April

COULD GO ON SINGING Eastmancolor, Panavision.
ludy Garland, Dick Bogarde, Jack Klugman. Producers
ituart Mill - r, Lawrence Turman. D;rector Ronald
^leame. Judy returns in a dramatic singing role. 99
nin. 3/18/63.

May

)R. NO Techn:color. Sean Connery, Ursula Andress,
oseph Wiseman, Jack Lord. Producers Harry Sallz-
lan, Albert R. Broccoli. Director Terence Young. Action
Irama based on the novel by Ian Fleming. Ill min.
/I8/63.

Coming

EAUTY AND THE BEAST Joyce Taylor, Mark Damon,
dward Franz, Merry Anders. 77 min.

:ALL ME BWANA Bob Hope, Anita Ekberg, Edie
.dams. Producers Albert R. Broccoli, Harry Saltzman.
'irector Gordon Douglas.

'IARY OF A MADMAN Vincent Price, Nancy Kovak.
roducer Robert E. Kent. Director Reginald Le Borg.
6 min. 3/4/63.

>REAT ESCAPE, THE Deluxe Color, Panavision. Steve
tcQueen, James Garner, Richard Attenborough. Pro-
ucer-d'rector John Sturqes. Based on true prisoner of
ar escape. 168 min. 4/15/63.

*MA LA DOUCE Color. Jack Lemmon. Shirley Mac-
.aine. Producer-director Billy Wilder. Comedy about
ie "poules" of Paris, from the hit Broadway play.

ARETAKERS, THE Robert Stack, Polly Bergen, Joan
I Irawford. Producer-director Hall Bartlett.

CREMONY, THE Laurence Harvey, Sarah Miles, Rob-
rt Walker, John Ireland. Producer director Laurence
arvey.

November

IF A MAN ANSWERS Color. Sandra Dee, Bobby Darin.
Producer Ross Hunter. Director Henry Levin. Romantic
comedy. 102 min. 9/3/62.

STAGECOACH TO DANCERS' ROCK Warren Stevens,
Martin Landau, Jody Lawrence, Don Wilbanks, Del
Morre, Bob Anderson, Judy Dan. Producer-Director
Earl Bellamy Western. 72 min. 10/15/62.

January

FREUD Montgomery Clift, Susannah York, Larry Parks.
Producer Wolfgang Reinhardt. Director John Huston.
Story of Freud's initial conception of psychoanalysis.
139 min. 12/24/62.

February

40 POUNDS OF TROUBLE Color, Panavision. Tony Cur-
tis, Phil Silvers, Suzanne Pleshette. Producer Stan Mar-

G nles. Direcior Norman Jewison. i^omeay. Ii/s in,n.
12/24/62.

MYSTERY SUBMARINE Edward Judd, Laurence Payne,
Jerries rtobcr.son Justice. Producer Bertram Ojter.
Director C. Penningtcn Rch.rd;. 92 min. 1/21/63.

March

TO KILL A MOCKINGBIRD Gregory Peck. Producer
Alan Pakula. Director Robert Muligan. Based on
Harper Lee's novel. 129 m!n. 1/7/63.

April

BIRDS, THE Technicolor Rod Taylor, Jessica Tandy,
Suzanne Pleshette, Tippi Hedren. Producer-Director Al-
fred Hitchcock. Suspense drama. 120 min. 4/1/63.

UGLY AMERICAN, THE Color. Marlon Brando. Sandra
Church, Yee Tak Yip. Producer-Director George Eng-
lund. Drama based on best-selling novel. 120 min.
4/15/63.

May

PARANOIC Janette Scott. Oliver Reed. Producer An-
thony Hinds. Director Freddie Francis. Horror. 80 min.
4/15/63.

Coming

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN, M.D. Gregory Peck, Tony Curtis,
Angie Dickinson, Bobby Darin. Eddie Albert. Producer
Robert Arthur. Director David Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,

Hayley M'l s, Jc hn Mills. Producer Ross Hun.er. Direc-
tor Ronald Neame.

CHARADE Col^r P.inav:'ion Cary Grant, Audrey Hep-
burn. Producer-Director Stanley Donen.

DARK PURPOSE Color. Shirley Jones, Rossano Brazzi,
George Sanders, Micheline Presle, Georgia Moll. Pro-
ducer Steve Barclay. Director George Marshall.

FOR LOVE OR MONEY I Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon.

GATHERING OF EAGLES. A C->lor. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven. Producers Robert Arthurs, Stanley Sha-
piro. Director Ralph Levy.

lAMCEir)T AMD GUINEVERE Color. Panavision. Cornel
Wilde, Jean Wallace. Producers Cornel Wilde, Bernard
Luber. Director Wilde.

LIST OF ADRIAN MESSENGER. THE Geo-qe C. Scott.
Dana Wynter. Producer Edward Lewis. Director John
Huston.

MAN'S FAVORITE SPORT Color. Rock Hudson, Maria
Perschey, Paula Prentiss. Producer-director Howard
Hawks.

MONSIEUR COGNAC Color. Tony Curtis. Producer
Harold Hecht. Director Michael Anderson.

SHOWDOWN I Formerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen. Western. 79 min. 4/15/63.

TAMMY ft.NO THF DOCTOR Color. Sandra Dee P»ter
Fonda. Producer Ross Hunter. Director Harry Keller.

THRILL OF IT ALL. THE Color. Doris Day. James Gar-
ner, Arlene Francis. Producers Ross Hunter, Martin
Melcher. Director Norman Jewison.

WARNER BROTHERS

November

GAY PURR-EE Technicolor. Voices of Judy Garland,
Robert Goulet, Red Buttons, Hermione Gingold. Pro-
ducer Henry G. Saperstein. Director, Abe Levitow.
Animated comedy feature of Parisian cats. 86 min.
10/29/62.

WHAT EVER HAPPENED TO BABY JANE? Bette Davis,
Joan Crawford. Producer-Director Robert Aldrich.
Shock thriller. 132 min. 10/29/62.

January

GYPSY Technicolor, Technirama. Rosalind Russell, Nat-
alie Wood, Karl Maiden. Producer-Director, Mervyn
LeRoy. From Broadway musical hit based on Gypsy

Rose Lee's career. 149 min. 10/1/62.

February

DAYS OF WINE AND ROSES Jack Lemmon, Lee
Remick. Producer Martin Manulis. Director Blake
Edwards. A drama of the effects of alcoholism in a
modern marriage. 117 min. 12/10/62.

TERM OF TRIAL Laurence Olivier, Simone Signoret. Pro-
ducer James Woolf. Director Peter Glenville. Drama of
young girl's assault charge against teacher. 113 min.
1/21/63.

M arch

GIANT Re-release.

A pril

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 mm. 4/1/63.

May

AUNTIE MAME P°-release.

ISLAND OF LOVE I Formerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa
Comedy set in Greece. 101 min.
CUMMER PLACE, A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
J;m Barrett Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda.
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family. 119 min. 3/4/63.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

CASTILIAN. THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors, 129 min.

INCREDIBLE MR. LIMPET. THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens, Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend.

PANIC BUTTON Maurice Chevalier, Eleanor Parker,
Jayne Mansfield. Producer Ron Gorton. Director
George Sherman. Comedy set in Rome.

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama.

YOUNGBLOOD HAWKE Technicolor. Warren Beatty,
Suzanne Pleshette. Producer-director, Delmer Daves.
From Herman Wouk's best-selling novel.

To Better Serve You . . .

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8

Film IULLETIN — THIS IS YOUR PRODUCT

THIS
PAGE
RESERVED

for a film company
that has a release
worth advertising

to the owners, the buyers,
the bookers of over 12,000 of
the most important theatres
in the U.S. and Canada

. . . and 517 financial
and brokerage houses

1%
BULLETIN

Opinion of the Industry

MAY 13. 1963

OPEN LETTER TO DARRYL ZANUCK

The Industry Press

Is Entitled To
Preview 'Cleopatra'

STUDIO MERGER-

What9 s its Sifjnific€inco*?

eviewi

LANCELOT AND GUINEVERE
IN THE COOL OF THE DAY

COME FLY WITH ME
TAMMY AND THE DOCTOR
THE DAY OF THE TRIFFIDS
IT HAPPENED AT THE WORLD'S FAIR
ISLAND OF LOVE
BLACK ZOO
THE YOUNG AND THE BRAVE
LAZARILLO

Universal pictures proudly announce

flEW
ENGAGEMENT

THAT "THE LIST OF ADRIAN MESSENGER"
HAS BEEN SELECTED BY TOA AS A
HOLLYWOOD PREVIEW ENGAGEMENT.

THE PRE-RELEASE EXCITEMENT WILL BEGIN ON MAY 21

The Most Bizarre Murder Mystery ever Conceived1. I

Directed by JOHN HUSTON starring

GEORGE C. SCOTT/ DANA WYNTER / CLIVE BROOK

«,sta„in8 HERBERT MARSHALL / GLADYS COOPER .„h MARCEL DALIO/ JACQUES R0UX||

5 Great Stars Challenge You to Guess the Disguised Roles they Play!

Screenplay by ANTHONY VEILLER Produced by EDWARD LEWIS A Joel Production • A Universal Release

What They're hiking About

□ □ □ In the Movie Business □ □ n

THE STAR SYSTEM. No facet of movie
naking is more widely discussed, and none
produces a less conclusive answer than the
perennial argument about merits of the Star
System. Are stars worth the bother? Do
hey retard the artistic values of motion
pictures? Are they really worth their weight
n gold at the boxoff ice? Questions come from
:housands of sources within and without the
ndustry - ever more since the widely
publicized star problems that beset the
production of the two costliest films ever
nade, "Cleopatra" and "Mutiny on the
3ounty." The subject came in for fresh
jxamination in recent weeks with the
innouncement by Universal Pictures that it
Las establishing a special unit for the
production of films utilizing exclusively
iew talents. Last December's "Journal" of
he Screen Producers Guild carried a

Iymposium on Hollywood's Star System,
ffering a variety of opinions from a
,ross-section of people who have observed
|r had direct contact with the Star System in
'ne way or another. Since SPG's "Journal"
; not circulated as widely as it might be, some
f the observations culled from its pages, even
t this late date, will make interesting reading
or those who missed them:

lenry King, veteran director: "Prophets
precasting the end of the 'star system' will
bin the Hindu astrologers who recently
jredicted the end of the world . . . Instead
w trying to play down our stars or
ircumscribe them with taboos and
rotations, we should return to our old policy
f glorifying them. Whatever happened to the
>ig Build-up'? Remember when studios spent
:erally millions to promote their stable of
:ars? I should not say 'spent'. The word is

'invested'. The returns were lasting and
fabulous. If our present economic structure
of free-lance stars and independent producers
precludes such build-ups, then in
self-preservation we must invent a new
economic structure which will be mutually
profitable. Let our bankers and backers work
on this problem, since they are so determined
to insist on the 'insurance' of big names."

Robert L. Lippert, film producer and exhibitor:
"Many Hollywood stars are committing
suicide with their ruthless drive to get rich
quick. And they're taking all Hollywood along
with them in a suicide pact. . . . We need a
drastic, modern reappraisal of the star system
— policies, promotion, proportion, and above
all prices . . . Too many high-priced and
highly touted stars don't draw flies at the
box-office. Some of them won't pull alone in
a good picture. Even some of the best won't
pull their weight unless the picture is tops . . .
In the final analysis, the story has to be
good if you want a big money-maker."

Charles Schnee, film writer, producer:
"Attacking the star system is like fighting City
Hall. One difference is that reform movements
sometimes succeed — while if the movie
industry ever 'threw the rascals out' it would
be the end of Hollywood's City Hall . . . As a
screen writer I should maintain the story's the
thing. And it is. But without stars a great
story is words full of sound and fury and not
signifying what they should ... In this era
of independents scrabbling for a foothold, too
many producers make concessions that are
self-defeating. Too many stars (or their
agents) jockey themselves into a precarious
position. Let's get back to an era of
common sense in these matters."

Joan Crawford: "Pictures (today) suffer
because, no one being under contract, a
star's financial demands are so exorbitant
that producers have to pass up the cast they
want for fear their price is too high . . .
Actors are demanding prices that are not only
non-realistic, but are debilitating to the
industry. It's as if they'd forgotten the parts
and were interested only in the profit."

Viewpoints

MAY 13, 1963 t VOLUME 31, NO. 10

Let the Tract** Press See mTleopatra

Mr. Darryl F. Zanuck. President
20th-Century-Fox Film Corporation

Dear Mr. Zanuck:

We are disturbed by the fact that the
industry press will not be given an
opportunity to preview "Cleopatra"
prior to its public opening in New York
June 12. Even the report that press
representatives will be granted an op-
portunity to view this major property
one day before it opens does not miti-
gate the actuality of their effective ex-
clusion from prior access to informa-
tion about a major industry event, and
this, we contend, renders the trade press
immune to the customary fulfillment of
its obligation to maintain an informed
readership. Surely you realize that the
gesture, coming a mere few hours be-
fore the public opening, diminishes the
effectiveness of trade journalism in its
mission to the whole industry, namely
the communication of information and
opinion as a tool for management de-

. cision, particularly in the exhibition

i branch.

Certainly, we are aware of the exten-
i uating circumstances involved in the
* production of "Cleopatra", the delays
in getting the vast material organized,
and the prodigious burden cast upon
; you to bring in a final print of this
; costliest of motion pictures. We can
! even appreciate a corporate or sales
i management viewpoint which might
! contend that the special economics of
' "Cleopatra" places it beyond the pale
of press influence upon initial theatre
bookings. We fully comprehend 20th-
Century-Fox's problems in preparing
for the public openings — problems
which, we feel certain, will be melted
away in the feverish heat of public in-
terest in the film. And we are not in-
; considerate of your likely desire to safe-

guard this prize investment from any
untoward external elements that might,
before the public views it, cast a shadow
over its now exhilarating image.

The case we argue, however, goes be-
yond "Cleopatra". This is only another
instance (albeit an understandable one)
of tampering with what should be clear
cut ground rules for allowing the in-
dustry press to serve its function.

In recent years there has been a grow -
ing tendency among film distributors to
withhold trade screenings on certain
films until the latest possible hour. In
other cases, when they do allow the
trade press to see their new pictures
reasonably far in advance of release,
they have resorted to the tactic of
restricting publication of reviews to a
date proximate to the first run dates.

In a very real sense this constitutes a
type of "management" of news and
opinion that limits the efficacy of the
industry publications in serving the ex-
hibitors. Lest the response to this view
be that it makes little difference, since
most first-run buyers see the films for
themselves, let us assure you that we
frequently receive requests from impor-
tant theatremen for our opinion about
new films. As a matter of fact, a promi-
nent exhibitor with substantial holdings

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 123? Vine
Street, Philadelphia 7, Pa., LOcust 8-0750, 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manager; Max Garelick,
Business Manager; Robert Heath, Circulation
Manager. BUSINESS OFFICE: 550 Fifth Ave-
nue, New York 36, N. Y.. Circle 5-0124;
Ernest Shapiro, N.Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
S3. 00 in the U. S.; Canada, $4.00;
Europe, $5.00. TWO YEARS, $5.00 in
the U. S.; Canada, Europe, $9.00.

phoned this office about two months
ago to solicit our views on the guar-
antee your firm was asking from him for
"Cleopatra" and to inquire if we had
seen any portion of the film. We cite
this only to emphasize the need to keep
our channels of information open to
our subscribers and to urge all film
executives, if you will forgive the para-
phrasing, never underestimate the pow er
of the trade press.

While we reserve the right to praise
and pan in our reviews, the industry
press generally serves as a launching
pad for new pictures. Apart from the
advertising space that is purchased by
the film companies, considerable space
in all the publications is devoted to
constructive advice to theatremen on
how even unfortunately inadequate
movies can be exploited and mer-
chandized. The lay press may say of an
unworthy film, "stay home!" The in-
dustry press might criticize, but then
says, "now here's how to sell it."

You might fairly ask why this letter
is addressed to you, in view of our
acknowledgement of the difficulties in
making a print of "Cleopatra" available
for press previewing far in advance of
the opening. We fear that in the very
light of the prestige of "Cleopatra"
your decision not to accord the industry
press the privilege of seeing it in ad-
vance and writing about it in advance
will encourage further abridgement of
our rights and our functions by others
in the future. We urge you to counter-
mand the order of "no press previews"
and reveal at the earliest possible date
your celebrated production to those who
have a job to perform for the whole
industry.

Sincerely,

PHILIP R. WARD

Film BULLETIN May 13, 1943 Page 5

Allied Warns: 'Caveat
Emptor7 on Big MGM's

Caveat Emptor. The warning, "let
the buyer beware", was being issued by
Allied States Association to its mem-
bers in connection with M-G-M's gen-
eral release sales policy on its two road-
show specials, "Mutiny on the Bounty"
and "The Wonderful World of the
Brothers Grimm."

Metro's sales chief, Morris Lefko, had
frankly informed Allied president Jack
Armstrong that the deals on the two
films will be "firm" and that all theatre-
men are being advised there will be no
adjustments. The terms: for "Mutiny"
initial engagements will be for a mini-
mum of three weeks at 60% for the
first week, 50% second week, 40%
third; for "Grimm", 60% for the first
week, 50%, for the second. Allied stated
that Lefko "left open" the possibility
that under certain circumstances the first
week of "Bounty" might be scaled down
to 50%.

Terming the company's policy, "heads
I win, tails you lose," Allied claimed
the no-adjustment rule manifested the
distributor's lack of faith in the "ability
of the picture to justify the terms."

In an indirect reply to the exhibitor
organization's "lack of faith" charge,
Lefko and Mel Maron, head of road-
show attractions, revealed that present
figures indicate "Mutiny" will be the
third largest grosser in the company's
history, headed only by "Ben Hur" and
"Gone With the Wind."

New Light Source
Tested by Interstate

You may go to the movies, but never
again to the "flicks," if a new gadget
being tried out in Texas is as good as
they say it is. It's a little thing called a
Norelco-Pulse-Light, and when it is
put in a motion picture projector it
works wonders.

The tiny lamp, made by Phillips of
Holland, has been adapted to motion
picture projection by James C. Skinner
of Modern Sales and Service, a Dallas-
based theatre equipment and service
company and has been used on a test

CAST &
CREDITS

Report on the Industry's
PEOPLE and EVENTS

basis since last October by the Circle
Theatre, in the Interstate-Texas Con-
solidated chain. Interstate executive vice
president John Q. Adams reports that
the new lamp makes simpler the com-
plexity of operation, improves brilli-
ance and clarity of scenes on the screen
and reduces expenses.

By flashing on and off in synchroni-
zation with the advancement of the film,
the Pulse-Lite eliminates the need for
the shutter in the projector. It flashes at
a rate of 72 pulses per second, three
pulses per frame. This high speed is said
totally to eliminate flickering. It uses
less power that conventional carbons,
being off much of the time, and is de-
signed to work without expensive reflec-
tors. Carbons produce a continuous light
source, hence the need for shutters to
create the illusion of motion. The lamp
does the whole thing itself. And it
doesn't get hot, thus eliminating the
need for fans and preventing curling
and buckling of the film which, in turn,
means better focusing.

"Thus, for the first time," says Mr.
Skinner, "we can have brilliant pictures
with absolutely no eye strain, even on
sky scenes."

YOUNGSTEIN & FONDA

Tail-Safe7: Or How
To Cut a Shooting
Schedule in Half

Max Youngstein shows no signs of
the lacerations his spirit must have suf-
fered when the short-lived Entertain-
ment Corp. of America folded. There
is only the merest tinge of sadness in a
comment like: "The pity is that exhibi-
tors need product so badly. They should
have supported ECA." Youngstein is
too occupied with things up ahead to
look back.

On the set of "Fail-Safe" at the Fox
Movietone Studios in New York he is
busily functioning as executive producer
of the project that was to be ECA's
first venture. It will be distributed by
Columbia. Sidney Lumet, the capable,
wide-eyed young director and co-pro-
ducer, works with an intensity indi-
genous to those who were reared in
television, where time is of the essence.
Between them, Lumet and Youngstein
are turning out "Fail-Safe", from the

SKINNER & PULSE-LITE

READY FOR

TAKE ON

'FAIL-SAFE'

SET IN N. Y.

Director Lumet
(with earphones)
and executive
producer Young-
stein are crowded
in tight quarters
as a scene
is readied.

Page 6 Film BULLETIN May 13, 1963

CAST AND CREDITS

Burdick- Wheeler best seller, in 30 shoot-
ing days, a fraction of the time it would
take less dedicated film makers, half the
time it would have taken them to make
it in Hollywood.

Their speed is the product of plan-
ning. Two weeks of intense advance re-
hearsals primed the stage-experienced
cast, headed by Henry Fonda, Dan
O'Herlihy and Walter Matthau, for their
roles, and enabled Lumet to average
20 setups daily. The director's TV back-
ground and Youngstein's production
know-how have been combined to keep
a highly efficient New York camera
crew hopping to stay within the 30
days shooting schedule that winds up
at the end of this week.

"Fail-Safe", Youngstein says, w ill cost
a maximum of $1.3 million. Lumet esti-
mates it would have cost much more to
produce in Hollywood." This is basically
a suspense story, like something Hitch-
cock would do, but with an important
message about our times", the executive
producer explained.

Columbia vice president Robert S.
Ferguson, who was visiting the set with
some members of the press, said the
War Room, in which much of the action
takes place, is probably the largest set
ever built in a New York studio. He
said the film would be released early
next year.

When he winds up "Fail-Safe", Max
Youngstein rushes to London, where he
will produce "The Winston Affair",
starring Robert Mitchum, which 20th
Century-Fox acquired from the aborted
Entertainment Corp. of America.

Fear Tax Legislation
Might Hit Production

Congressional interest in plugging
loopholes in the Federal personal hold-
ings regulations could have a "shatter-
ing" effect on motion picture produc-
tion, according to Martin Stoller, acting
chairman of the Entertainment Law
Committee. The committee consists of
veteran industry accountants, talent rep-
resentatives and lawyers, set up to keep
an eye out for legislation that might
hurt the industry. Pending legislation
now before Congress, he declared,
"would destroy the incentives that are
stimulating independent producers in
all branches of show business, particu-
larly films and television."

The proposed legislation, says Stoller,
who is also general manager of the Wil-
Continued on Page 10)

SIGNIFICANCE OF THE STUDIO MERGER

One of the most intriguing de-
velopments in recent industry his-
tory was the announcement by
the presidents of M-G-M, 20th
Century-Fox and Columbia that
they have been conducting ne-
gotiations w ith the view of build-
ing new studio facilities to ac-
commodate "under one roof", so
to speak, the production activities
of the three firms, as well as any
other film makers who might wish
to utilize the production center.

The plan, if consummated, could
turn out to be a frontal attack on
rising costs in studio operation

O'BRIEN, ZANUCK, SCHNEIDER

and, at the same time, become one
of the most progressive moves
ever made in an industry which
in the past has been far too prone
to maintain the status quo at any
cost.

The joint statement by Robert
H. O'Brien, Darryl F. Zanuck and
Abe Schneider made it explicit
that the consolidation of studio
facilities "would not in any way
effect or alter the individual iden-
tity or autonomy of the individual
companies." One of the sites un-
der consideration is the 20th Cen-
tury-Fox ranch at Malibu, which
takes in an area of approximately
2500 acres.

In this deal — in the very dis-
cussion of such a revolutionary
move — is revealed the sagacity
and far-sightedness of these three
executives. The Messrs. Zanuck,
Schneider and O'Brien demon-
strate their awareness that the
time has come to depart from the
traditional methods that have gov-
erned movie production for too
many years.

Besides demonstrating that Hol-
lywood will remain the film capi-
tal of the world, the project em-
phasized that this concerted action
was concrete evidence that the
principals were expressing max-
imum confidence in the fact that
this business contemplates a bril-
liant future. Furthermore, there
was parenthetical emphasis on the
belief that under such an accom-
modation more pictures could be
made at less cost, and that with
the environment embraced by the
vast acreage there was no limita-
tion to a producer finding the ter-
rain and scenic background de-
manded in any type of story.

The announcement anticipated
that all the Hollywood crafts and
unions would jubilantly greet the
project most enthusiastically as it
surely would presage a curtailing
of overseas production. This, in
the view of some, is not nec-
essarily so; the unions may define
the combined studio facilities as a
labor-cutting device.

With appropriate sensitivity to
the watchful eye of the Depart-
ment of Justice, it was emphasized
that there was no aspect of a mer-
ger in these plans and that, in the
words of one studio source (un-
named), the whole deal was a
parallel to "the airlines working
out of the same airport."

It is hard to estimate what li-
quidation of present studio assets
of these three companies would
mean in dollars. It would not be
an exaggeration, in view of the
20th's sell off a couple years ago,
and LIniversals sale to MCA that
the aggregate sale value of these

(Continued on Page I0)

Film BULLETIN May 13. I963 Page 7

The Vieu> frem OuUije

by ROLAND PENDARIS

Peeping Tom Press Agentry

The newspapers seem to be printing more stories these days
about movies for which nude scenes have been written in. The
public is being educated to the fact that the nude scene is a-
shrewd gimmick which can be used in one market and kept out
of another without materially affecting the plot line or the
character development in the screenplay. In the daily journals
this makes an eternally interesting feature yarn, a sort of "get
the latest nudes" gimmick which will continue as long as the
supply of hormones lasts. In the movie business it is also highly
regarded as boxoffice lure, and I am not here to say it nay.
But I am here to wonder out loud whether the ecdysiast trend
in celluloid is a portent of prosperity or of poverty. Where
does the skin game go next?

The movies, of course, have been known, even in their dim
dark past, to keep the feminine form something less than secret
— and more power to them. But in the past they did not gen-
erally confuse undressing and art.

I think of other communications media. Television has had
what we must call its age of cleavage. The newspaper and
magazine fields have had cycles of risque publications, and some
of the men's magazines today are the most perfect barracks
wall posters extant; but there is growing public resentment of
these adolescent ribaldries and, in any case, their publics are
somewhat more specialized than those of the average motion
picture theatre. Books, in this irascible observer's opinion, con-
tain more dirt masquerading as art than any other current
medium, with the Broadway stage contributing a few gems of its
own. Whether there is any connection between this and the fact
that the Broadway stage is hardly thriving is problematical.
But it is an established fact of mass psychology that we poor,
weak humans are apt to smirk and smack our lips in private
over things we would blush to witness in public — and what you
see on the movie screen you witness in public. Cecil B. DeMille
managed to supply a moralistic tinge to every orgy in every
picture and his formula has never been improved upon; but
the old master's orgiastic best could never approach the delib-
erate eroticism which is being stocked in trade by newer movie-
makers. Today some of our cinematic citizens are devoting
themselves to their "new art form" bawdy and soul.

■< ►

Let me not rise here to carry the torch for virtue or to preach
the gospel. Let me speak rather in terms of a past history and
present danger. There are plenty of movie men around who
recall what happened in the early twenties — and what had hap-
pened even earlier — when aroused sections of the public de-
manded an end to what was then regarded as licentiousness in
films. That was before the competition of other leisure time
activities; but the public outcry was strong enough to force the
industry to turn over a new leaf. It could happen again. I do
not envision another decency crusade or another Will Hays.
The reaction comes differently each time. In 1924 it called for
a movie front man labeled "czar." In the thirties it called for a
code. Now it calls for some good sense.

Let's not label all pictures as dirty; let's not even label all
adult pictures as "frank." Let's just remember that every time
we get another story about nude scenes in the papers we are

raising a little more doubt in the minds of conscientious parent; I
about having their kids go to the movies. I speak as a parent j
These days, I'd a darned sight rather have my kids go bowling

What bothers me about all this is that the antidotes for tht
evil can turn out to be worse than the evil. I don't like censor-i]
ship one small bit. I would not advocate the banning of win I
dows to stop the peeping toms. But I would suggest that there |
are certain activities not fit for public exposure through oper I
windows and certain types of motion picture publicity that art
in the same category. Having a nude scene in a picture jusi I
to sell the picture is, to my way of thinking, rather risky. Ill
is not necessarily evil, but I hardly regard it as good. Whail,
is far worse, however, is making a big publicity splash aboui I :
the nude scene and stating, in said publicity splash that saic j <
nakedness was deliberately placed in the picture as a boxoffice
draw. For crying out loud, even Minsky wasn't that frank wher
he was undressing burlesque. And you know what happenec
to burlesque.

■< ►

The peeping torn school of press agentry is a menace to the
decent motion picture business. It can blacken the name anc
harm the patronage of motion picture theatres if the heads ol,
the industry don't watch out. It can cause a new wave ol
pressure for governmental restrictions — and this time censorship J
may not be the chosen method.

Consider some of the suggestions that are made under the
heading of protecting public morals. One such idea is to bar
children under a certain age from attending the movies. If thi:
sounds ridiculous just remember how long it was in effect ir
Quebec. Another related governmental restriction is the classi
fication of pictures by categories, like England's "X" categon I
and so forth. This, too, has the effect of barring some picture:
for some audiences. Then there are other forms of action whicl
aroused governments can take, such as tax discrimination '
stricter licensing of theatres or theatre personnel, restriction a; |
to hours of operation. I could go on, but it might give somi I
governmentalists ideas. The point is that to arouse publii I
resentment is dangerous.

Some in the industry will say I am tilting at windmills. Am I j
Just remember that the motion picture is growing more depend
ent on the powers of government all the time. Just remembe
that exhibitors are asking government to take their side agains I
pay television. Just remember that few industries in Americ I <
today are so encumbered by existing consent decrees and cour I
decisions as the motion picture distributors. These might not b
stringently enforced, but they could be if public pressure grev I
against the industry.

One swallow does not a summer make, and one nude seen
is not an epidermis epidemic. But the less inhibited press agent
have discovered the way the newspapers will play up a row ove
a nude scene — even without any stills — and this easy highway
to free space is being traveled without much thought abou
where the road leads. It leads ultimately to trouble.

Assuming that in some pictures a nude sequence is great an
the trumpeting of the nudity is tricky business. The Frend j
post-card, or let's-get-it-banned-in-Boston school of movie pub i
licity may boom business for a while, but sooner or later i I
just makes the business go booming down the drain.

Page 8 Film BULLETIN May 13, 1943

FINANCIAL REPORT

The second quarter will show a large improvement, he told the
stockholders.

Smashing 2nd Quarter Orbits
Disney Profits into Outer Space

Defying the established norms of fiscal gravity, and behaving
for all the world like a Flubber of its own, Walt Disney Pro-
ductions has emerged from one of its best second quarters ever,
pregnant with promise for another big year.

Net per share income for the three months ended March 30
bolted to 730 from 450 a year earlier, an ascent of 62% which
must go down as one of the major earnings achievements of
filmdom's financial year. The consolidated half year figure
shows per share earnings at $1.49 versus $1.45 for the prior
1 corresponding period. This is additionally significant because
the '63 income is spread over a capitalization of some 50,000
additional shares. Moreover, though present first quarter income
dipped to 760 from 970 a year earlier, the showing is a good
one, because the first '62 quarter, an exceptional one, was heavy
with income from important late 1961 releases.

According to President Roy O. Disney, all product now in
release is meeting with strong public acceptance all over the
world. "We have the greatest production program in the com-
pany's history in work," said he. This includes "Mary Poppins",
the Julie Andrews vehicle; "A Tiger Walks", "Merlin Jones",
"Little Britches" and "Emil and the Detectives" — plus the Xmas
release of "The Sword and the Stone," already widely heralded
and three years in the making. In addition, Disney expects solid
income from such re-releases as "20,000 Leagues Under the
Sea" and "The Incredible Journey."

The uniqueness of the Disney plant has not escaped inquiring
Wall Street eyes. Says a recent Bache & Company (NYSE)
Market Letter: "Our recommendations of DIS has been based
on the premise that the company was somewhat different than
other motion picture producers in that its proven ability to
produce pictures which appeal greatly to youngsters has resulted
in built-in future earning power. Periodic re-releases of Disney's
timeless cartoon features, coupled with solid but more volatile
earnings from current live-actor pictures, should keep earnings
moving higher over the years, as, with few exceptions, has been
the case in the past ... At less than 12 times current earnings,
the stock appears undervalued and recommended for intermedi-
ate and longer term semispeculative accounts."

Decca, U 1st Quarter Down;
Rackmil Sees Full Year Better

The influence of Universal Pictures on the earnings of Decca
Records is again illustrated in the latter firm's first quarter
financial report. For the three months ended March 31, Decca
consolidated net earnings amounted to $983,611, a sharp decline
from the $2,135,868 earned in the corresponding period of 1962.
The major part of this difference obviously resulted from the
drop in Universal earnings. The subsidiary picture company
showed a consolidated net for the thirteen weeks of $780,000
compared to $2,180,000 in the prior year's first quarter.

Decca-Universal president Milton R. Rackmil told the share-
holders of both companies at their annual meetings in New
York on May 7 that, despite the lower first quarter, he antici-
pates 1963 earnings "will be better." Decca earned $5,615,281
last year. The decline in the first quarter earnings of Universal
was attributed to a lack of adequate product for the period.

In answer to an inquiry at the Universal meeting, Rackmil
declared that the company is negotiating to license 215 features
from its post- 1948 library for TV exhibition. A figure $21,500,-
000 is being asked.

A dispute arose between Rackmil and Decca stockholder Nick
Pappolos about the amount of the annual bill. Pappolos com-
plained that shareholders "are not getting their fair share of
Decca earnings." Rackmil retorted that the $1.20 annual rate
could not be increased because "We need the earnings in the
operation of the business."

Warners Half-Year Down Slightly

Warner Brothers reported net income of $3,927,000 for the
six months ended March 2, compared to $4,074,000 for the like
period in the prior year. Gross income from theatrical and
television for the first half of the current fiscal year amounted
to $47,941,000 against $40,901,000 in 1962.

Reade-Sterling Reports Profit

Walter Reade/Sterling, Inc. (OTC) showed earnings of $212,-
549 for the 1962 calendar year. Gross revenues amounted to
$9,406,181. The per-share net was 140 on 1,475,664 shares
outstanding.

FILM &

THEATRE

STOCKS

Close

Close

Film Companies

4/25/63

5/9/63

Change

ALLIED ARTISTS

• • 2%

2%

- %

ALLIED ARTISTS (Pfd.) . .

93/8

8%

- %

CINERAMA

.. 14%

14%

- y4

COLUMBIA

• • 27V2

291/4

+1%

COLUMBIA (Pfd.)

8iy2

82

+ %

DECCA

46

45%

- %

DISNEY

32%

36%

+3%

FILMWAYS

.. 6%

6%

+ %

MCA

.. 53%

56%

+ 23/4

MCA (Pfd.)

36

363/4

+ %

M-G-M

.. 31%

313/4

+ %

PARAMOUNT

37

42%

+ 53/8

SCREEN GEMS

233/8

25

+ 1%

20TH-FOX

• ■ 30%

32%

+ 2

UNITED ARTISTS .

■ • 27%

29

+ 1%

WARNER BROS

.. 131/4

14

+ 3/4

Theatre Companies

AB-PT

.. 31%

313/4

+ %

LOEWS

17%

19%

' 1%

NATIONAL GENERAL

. 10%

11%

+ 1%

STANLEY WARNER

■ • 23%

22%

-1

TRANS-LUX

.. 12%

11%

-1%

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, A

merican

Exchange; all others

on Sew York Stock Exchange.)

H :p :p

4/25/63

5/9/63

Over-the-counter

Bid Asked

Bid

Asked

GENERAL DRIVE IN

... 91/4

10

9

9%

MAGNA PICTURES

... 2%

3

2%

3

MEDALLION PICTURES

... 5%

6%

6

6%

SEVEN ARTS

... 83/4

9%

8%

91/4

UA THEATRES

... 73/4

8%

83/4

93/4

UNIVERSAL

No quotation

No quotation

WALTER READE-STERLING

... 2%

2%

2

2%

WOMETCO

. . 233/4

25%

233/4

25%

( Quotations courtesy National Assn. Securities

Dealers, Inc.)

Film BULLETIN May 13. 1963 Page 9

CAST AND CREDITS

TAX LEGISLATION FEARED

(Continued from Page 7)

Ham Morris Agency in Beverly Hills,
would have the effect of "placing un-
warranted and unfair burdens on cor-
porations formed by producers, direc-
tors, writers, stars and others." These
corporations provide talent with a capi-
tal gains tax structure as a shelter
against high taxation for what may be a
brief high-income period.

Theatres. Theatres.

In spite of the tear stains on the
wailing wall and cries of product short-
age and TV sell-outs, new theatres con-
tinue to be built for the showing of
feature motion pictures. Not just new
theatres but new theatres incorporating
new ideas of showmanship, public serv-
ice and comfort.

Theatres in shopping centres and
tandem houses are becoming almost
commonplace. The new emphasis is on
simplicity, utility, parking facilities.

Construction of new houses seems to
hit areas in waves. New York has gotten
a spate of new art theatres in the past
year. Now Philadelphia has a number
of new projects afoot. One opens in the
City of Brotherly Love this week: Wil-
liam Goldman's Orleans Theatre in
populous northeast Philadelphia, a
2,000 seat luxury house which can offer
parking space for 5,000 cars. Goldman

GOLDMAN'S ORLEANS

also is planning a Marina drive-in at
the Philly airport. The opening of the
Orleans is the typical present-day Mo-
hammed-to-the-mountain move on the
part of the theatreman, recognition of
the fact that it is easier to bring people
out to the movies by going where they
can park easily than to persuade them to
drive downtown.

Across the Delaware River in Cherry
Hill Township, from Philadelphia, Wal-
ter Reade-Sterling, Inc., will open its
new 600-seat Community Theatre, a sim-
ple, colonial-style structure with ample
parking area on June 6. This is part of
a $5 million expansion program by the
Reade-Sterling group.

New Rosenfield Post?

Reports persist that Jonas Rosenfield,
Jr., whose recent resignation as vice
president of Columbia Pictures becomes
effective June 1, will step into a key
executive post with another major dis-

ROSENFIELD

tributor, perhaps even before that date.
Two companies are undterstood to be
negotiating for his services.

Levin Heads NG
Theatre-TV Unit

Irving H. Levin will serve as president
of Theatre-Vision Color Corp., National
General's new theatre-TV operation, it
was announced by Eugene V. Klein,
N. G. president. Theatre-Vision report-
edly is negotiating with a prominent
producer-director to handle its program-
ming.

(Continued from Page 7)
properties might be in the area of
8200,000,000.

The reaction of this announce-
ment in financial and banking
establishments should portend
only good for the entire industry.
A jolt like this should not only
make more capital available for
increased production by these
three companies, but should also
serve as a boon for all producing
entities since there now could be
a reappraisal of new potentials
which such a move will generate.

Considering that very little has
been done to correct and improve
studio facilities since they were
originally conceived is a shocking
commentary on the "leave well
enough alone" philosophy that
has dominated industry thinking
for the past twenty-five years. The
type of forward thinking mani-
fested by the three executives
should also have a decided effect
in crystalizing all of the random
discussion that has been going on
for years about the waste now
prevalent in distribution by fail-
ure to modernize exchange facili-
ties, and the slow pace all dis-
tributing companies have dis-
played in bringing the selling and
marketing of pictures to a modern
level. With the impetus of three
major companies bringing pro-
duction methods into the new era,
there is no reason why obsole-
scence in all branches of the in-
dustry should not be removed
within a reasonable time.

But more important, according
to those who know the waste that
has accompanied idle studio space

while producers have chosen to go
to Europe, modern facilities will
not now necessarily be a luxury
but will instead reduce the high
rentals now being paid by inde-
pendents for production facilities.

It has been no secret that the
huge studios owned by the indi-
vidual companies required high
overheads to be charged to nega-
tive cost. If there is to be a pro
rata arrangement by the three
companies whereby amortization
is borne jointly and there is a
resolute attempt to offer all pro-
ducers space at reasonable costs,
overhead automatically will be re-
duced merely by keeping the
stages and acreage busy.

At the time of the announce-
ment, M-G-M had only two pro-
ductions on the stages at its Cul-
ver City studio, 20th had one
shooting and Columbia one. This
is quite a contrast to the produc-
tion frenzy that prevailed a dozen
years or more ago.

Stars who have formed their
own production companies have
voiced dissatisfaction over the "ex-
orbitant" studio overhead they
now have to pay, and some have
stated frankly that this is one
reason they prefer making pictures
in foreign countries.

The implications are many but
in the final analysis the psycholo-
gical impact of the announcement
is a tonic that many observers feel
was long overdue. Surely, exhib-
itors will be heartened by the
announcement, since this arrange-
ment seems likely to provide more
funds to each company to expand
its production chart. — A. W.

Page 10 Film BULLETIN May 13, 1963

I

IS SET FOR THE ENTIRE SUMMER

•June 12

NEW YORK- DeMille, Baronet • June 5 / CHICAGO- United Artists • June 12!
PHILADELPHIA- Randolph • June 19 / DETROIT- Mercury • June 21
WASHINGTON -Town • June 21 / BOSTON - Saxon • June 28
LOS ANGELES -Grauman's Chinese • July 3

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THE MIRISCH COMPANY and EDWARD L. ALPERSON

present

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everything, in fact, that makes life worth living

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d nd Directed by BILLY WILDER Screen Play by BILLY WILDER and I. A. L. DIAMOND
:tj ALEXANDER TRAUNER Music Score by ANDRE PREVIN Presented in association with

y PHALANX PRODUCTIONS, INC.

TECHNICOLOR
PANAVISION

UA

I'rinlcd in U.S.A.

"Come Fly with Me"

Lightweight yarn about romantic involvements of three
airline hostesses. Mild fare for the mass trade.

A mixture of light-hearted romantic fun and soap-opera
involvments, plus attractive Metrocolor-Panavision shots of
Paris and Vienna, make this lightweight M-G-M release mildly
satisfying springtime entertainment for the masses. Director
Henry Levin has put quite a bit of oomph into Anatole de
Grunwald's production, but William Roberts' script tracing the
adventures of three airline hostesses is quite thin, especially
when his trio come down from the great blue above. But
Pamela Tiffin is a pleasure to watch as Miss Inexperience who
fumbles her way into romantic success with co-pilot Hugh
O'Brian. Hostess number two is shapely Dolores Hart who falls
for suave Karl Boehm, a phoney baron and jewel thief. Round-
ing out the trio is Lois Nettleton, who falls head over heels
for "timid," "poor" Texan Karl Maiden. The sixsome meet
aboard a Paris-bound jet. Once in the City of Lights, Miss
Tiffin prevents O'Brian from being caught bedded down with
sexy Dawn Addams by her incensed husband. This marks the
beginning of the end for Miss Tiffin's life as a single. In Vienna,
Miss Hart is stopped by customs agents and accused of smug-
gling jewels. Boehm comes to her rescue and admits being in-
terested in her only to use her in his smuggling scheme. Miss
Nettleton decides to give up Maiden when she discovers he's
only interested in the memory of his dead wife, but Maiden,
actually a millionaire, charters the entire jet on which Miss
Nettleton is the hostess and confesses he wants to settle down
with her.

M-G-M. 109 minutes. Dolores Hart, Hugh O'Brian, Karl Boehm, Karl Maiden,
Pamela Tiffin, Lois Nettleton. Produced by Anatole de Grunwald. Directed by
Henry Levin.

"It Happened at the World's Fair"

Presley in romantic songfest against colorful Fair back-
ground. OK attraction for youth element.

Elvis Presley singing up a storm against the dazzling Pana-
vision-MetroColor backgrounds of the 1962 Seattle World's
Fair is the essence of this romantic-comedy producer Ted Rich-
mond has turned out for M-G-M. Pleasant, light-weight enter-
tainment, sprinkled throughout with popular plot values, the
Presley popularity should draw the youth element in the gen-
eral market. Norman Taurog has directed in breezy, non-taxing
manner the screenplay by Si Rose and Seaman Jacobs, which,
in addition to familiar romantic entanglements, concerns the
plight of a seven year-old Chinese girl and a climax centering
on stolen goods. Presley portrays a woman-chasing, crop-dusting
hush pilot who loses his plane when the sheriff comes to collect
unpaid bills. Gary Lockwood is his partner, as addicted to
gambling as Presley is to the opposite sex. Joan O'Brien is a
nurse working in the Fair dispensary whom Presley decides to
win, and little Vicky Tiu is the moppet in trouble. The plot
finds Miss Tiu's uncle giving Presley and Lockwood a lift to
Seattle. When the uncle disappears, Presley ends up in charge
of Miss Tiu, who helps complicate Presley's pursuit of Miss
O'Brien. Lockwood wins money in a card game and the two
pilots move into posh accommodations. Troubles begin when
welfare authorities come for Miss Tiu and she runs away. Then
Presley unsuspectingly ends up flying a cargo of smuggled
goods to Canada. The fade-out sees Presley giving the smuggler
his lumps, Miss Tiu and her uncle reunited, Presley and Miss
O'Brien deciding to live happily ever after.

M-G-M. 105 minutes. Elvis Presley, Joan O'Brien, Gary Lockwood. Produced by
Ted Richmond. Directed by Norman Tauroq.

Page 14 Film BULLETIN May 13, 1 943

"Island nf Love"

ScuiHCto, 'Rating Q Q

Farce misses fire, despite best efforts of Robert Preston
and good cast. Technicolored scenes of Greece effective.
Fair b.o.

For his third motion picture ("Auntie Mame ", "The Music
Man "), producer-director Morton DaCosta has concocted a
mildly amusing farce played off against the Technicolored lo-
cales of Athens and the Greek Islands. He's wisely chosen Rob-
ert Preston to star as a winning con man who has, among other
things, produced horror movies and dabbled in underwater real
estate. What will prevent this Warner Bros, release from get-
ting into the strong grosser category is an uneven and paper-thin
script that misses fire on several counts. The opening and con-
cluding sections, spoofing gangsterism, are hilarious, thanks to
a standout performance by Walter Matthau as a sleek, hard
hoodlum with a highly sibilant "s". The middle portion, deal-
ing with Preston's attempts to turn an unknown Greek island
into a profitable haven of love, lacks a level of sustained wit.
Assisting Preston are Tony Randall, a buddy with a weakness
for the bottle; Georgia Moll, a beautiful young Grecian with
whom Preston falls madly in love; Betty Bruce (the stripper
from "Gypsy"), Matthau's chorus girl fiancee addicted to leo-
pard skin panties, plus an assortment of husky young gangsters
and amusing Greek characters. Preston and Randall con Matt-
hau into putting up the money for a film spectacle about Adam
and Eve, starring Miss Bruce. It bombs out, Matthau comes gun-
ning for the twosome, and they take off for the unknown
regions of Greece. Preston schemes to have a number of love
offerings "discovered" on the ocean's floor, and soon tourists
are arriving in droves. Miss Moll's pipsqueak, museum assistant
fiance blows the whistle on the fakery, and to make matters
worse, Matthau (actually Miss Moll's uncle) and bride Miss
Bruce arrive on the island. Further complications end with
Preston and Miss Moll deciding to marry, and Matthau decid-
ing he cannot kill his nephew.

Warner Bros. 101 minutes. Robert Preston, Tony Randall, Georgia Moll. Produced
and directed by Morton DaCosta.

"Lazarillo"

Prize-winning Spanish entry OK for art market.

"Lazarillo," produced in Spain, holder of numerous prizes,
and based on the world's first picaresque novel, is a charming
film about a 12-year-old rogue-hero and his efforts to survive
in 16th Century Spain. Poetically and entertainingly directed
by painter-writer-poet Cesar Ardavin, the film will provide
pleasant viewing for art house patrons. There is a touch-
ing performance by Marco Paoletti, as the conniving
youth, and the village-plateau location lensing is attractive.
Ardavin's script finds optimist Paoletti teaming up with a blind
beggar who teaches the youth his first cruel facts of life (beat-
ings, starvation). Using his wits, Paolett survives the beggar's
harsh ways, and eventually end up with a priest. Unfortunately,
the latter dispenses much food for the soul, but not enough for
the body. Master number three is a kind but penniless aristocrat
whom Paoletti soon deserts for a troupe of theatrical players.
It turns out that the chief actor, Memmo Carotenuto, also makes
his living by disguising himself as a Frair and selling Papal
indulgences. Carotenuto teams up with a town baliff and bilks
the townspeople out of many gold coins. As the theatrical
troupe leaves town, Paoletti is torn between leading a more
decent life and new adventures on the road. Deciding that food
is essential for survival, he runs after the departing wagon.

Union Film. 100 minutes. Marco Paoletti, Juan Jose Menendei. A Hesperia Films
Production. Directed by Cesar Ardavin.

"Lancelot and Guinevere"

SuUttete 7£ati*$ Q O Plus

Action-costumer in color has plenty of action. Adds sex
fo legendary tale of love and betrayal. OK summer
attraction for mass trade.

The days of King Arthur and the splendor of Camelot form
the colorful basis for this Eastman Color-Panavision film being
released by Universal. However, the plotting is a mish-mash of
action-costume spectacle and a modernized version of the legen-
dary love story, with sex added. It should be an above-average
mass market moneymaker during Summer playing time, but
sophisticated audiences will not buy it. Directed with the accent
on visual thrills by co-producer-star Cornel Wilde, this hand-
some canvas of entertainment for the adventure-minded includes
a hand-to-hand battle-to-the-death, political intrigues, ambushes,
massive battle sequences between King Arthur's forces and the
pillaging, ruthless Saxons and, equally as important, the ill-
fated, illicit love affair between Lancelot and Guinevere — with
ill of this played off against imaginative sets and eye-filling
scenery. Wilde portrays the darkly handsome Frenchman Lance-
lot, King Arthur's favorite who falls from grace after his love
for Arthur's wife, Guinevere, is discovered. Jean Wallace is
Guinevere, the beautiful young bride who loves Wilde, but
marries Arthur after the former refuses to admit his love for
her. Brian Aherne is the good and wise King Arthur, who
bitterly condemns Miss Wallace to be burned to death after dis-
:overing her affair for Wilde. Michael Meacham is Aherne's
illegitimate son, intent on gaining the throne at any cost. Some
)f the more famous Knights of the Round Table are portrayed
5y George Baker (Sir Gawaine), Archie Duncan (Sir Lamorak),
Iain Gregory (Sir Tors) and Mark Dignam (Merlin). The
Richard Schayer- Jefferson Pascal screenplay finds Wilde and
Duncan rescuing Miss Wallace from the flames and carrying
ler off to Wilde's island fortress. Both Aherne and Baker,
Wilde's former protege, challenge Wilde to single combat, but
le refuses until Miss Wallace persuades him to fight them so
>he can be free. After a brutal fight, Baker lies at Wilde's
nercy, but his life is spared and he is sent to Aherne with the
nessage that if Aherne will pardon the other rebels, Wilde will
>ive himself up. Wilde is banished to Brittany and Miss Wal-
lace to a convent. Meachem, in league with the Saxons, kills
Aherne. Wilde leads the other Christian kings to victory over
he Saxons, but when he goes to the convent to claim Miss Wal-
lace, she tells him she has decided to spend her life as a nun.

Jniversal. 116 minutes. Cornel Wilde, Jean Wallace, Brian Aherne. Produced by
Cornel Wilde and Bernard Luber. Directed by Wilde.

"The Day of the Triffids"

Sci4i*te44 &ati«4 © Q Plus

interesting science-fiction meller, in color, is exploitable
intry tor general adult market, youngsters.

This science-fiction thriller about giant flesh-eating plants
•vhich threaten to devour earth's inhabitants, most of whom
iave been blinded by a meteorite shower, is an exploitable gen-
ital market entry. It will fascinate youngsters. Adaptable to
either half of a dual-bill, given the proper ballyhoo, the Allied
Artists release should bring satisfactory boxoffice returns in its
market. Although Philip Yordan's screenplay, based on the
fohn Wyndham novel, has a few minor flaws, director Steve
sekely keeps the fearsome proceedings moving, aided by tight
editing. Overall special effects are good. The triffids, slimy mon-
ger vegetables with huge red mouths, are appropriately horrify-
ing in Eastman Color and CinemaScope. Adding chills to the
awesome sight are weird sound effects, a definite plus factor.
Story revolves around two sets of characters; Howard Keel, an

American seaman saved from blindness because he was recover-
ing from an eye operation at the time of the meteorite shower,
treks from London to Paris to the French countryside, then into
Spain to the safety of a naval rescue station, battling triffids
along the way. His two companions are little Janina Faye, asleep
in a train's windowless baggage compartment the night of the
shower, whom he rescues in London, and Nicole Maurey, French
chateau-owner under sedation that same night, and saved by
Keel from a combination of escaped convicts and triffids. Else-
where, in a converted lighthouse, marine biologist Kieron Moore
and wife Janette Scott, surrounded by Triffids, keep their ears
tuned to a shortwave set as they try to discover a means of
destroying the walking plants. Keel and entourage, joined by a
blind couple and new-born babe delivered by Miss Maurey, find
themselves trapped in a Spanish villa. Holding them at bay with
a fuel truck converted into a blow-torch, he learns the triffids are
attracted to sound. Hopping into a carnival wagon equipped
with sound gear, he leads them after him as Miss Maurey and
the others drive to Alicante, where submariners are staging
rescue lifts to Gibraltar. He manages to escape the triffids and
join them. In the lighthouse, Moore and Miss Scott find them-
selves chased to the top by the triffids, which have forced the
doors in. In desperation, Moore turns on the fire hose and aims
it at the triffids. To his amazement, they begin to dissolve into
green muck; salt water, it appears, is to be mankind's salvation.

Allied Artists. 93 minutes. Howard Keel, Nicole Maurey, Janette Scott, Kieron
Moore. Produced by Philip Yordan and George Pitcher. Directed by Steve Sekely.

"Tammy and the Doctor"

Series shows definte signs of more ennui than entertain-
ment. Will get by best in hinterlands. Color

Tammy is about at the end of the road. This third in the
series of adventures involving the lovable Mississippi miss tends,
we fear, to show definite signs of ennui, and will drag beyond
the patience of even her devoted followers. The boxoffice poten-
tial of "Tammy and the Doctor" lies mainly in the hinterlands,
where the sugary ingredients of the series have been best re-
ceived, and, perhaps, among those metropolitan teenagers who
are Sandra Dee fans and might be curious about newcomer Peter
Fonda (son of Henry). Ross Hunter has handsomely mounted
his production in Eastman Color, but hospital interiors do not
provide much opportunity for exquisite fashions. Director Harry
Keller obviously had his hands full stretching Oscar Brodney's
mediocre script into 88 minutes of light, unsophisticated enter-
tainment. Miss Dee, spouting a steady stream of homespun
similes, Biblical quotations and quaint homilies, handles her
chore competently, including a rendition of old hit tune,
"Tammy." To be near her friend, Mrs. Call (Beulah Bondi), on
whom Macdonald Carey is to operate in a West Coast hospital,
she lands a job as a nurse's aide, but bungling every assignment,
finds herself mopping floors most of the time. She is more suc-
cessful with misanthrope Reginald Owen, a rich old bachelor
whom she pairs off with Miss Bondi. Trying to win tyro heart
specialist Fonda is another matter. He takes his cues from
mentor Carey, who is interested solely in medicine. Miss Dee
thus confronts chief nurse Margaret Lindsay with the fact that
the entire hospital, with the exception of Carey, knows she is in
love with the eminent doctor, and to get with it. Nurse Lindsay,
however, embarrassed by the disclosure, resigns. With Miss
Bondi due to be operated on by an irate Carey, Miss Dee goes
after Miss Lindsay in hope of persuading her to return. The
nurse doesn't say a word, but later, unknown to Miss Dee, re-
turns to assist Carey. The operation is a success, Miss Lindsay
wins Carey and Miss Dee gets her Fonda.

Universal. 88 minutes. Sandra Dee, Macdonald Carey, Peter Fonda. Produced by
Ross Hunter. Directed by Harry Keller.

Film BULLETIN May 13, 1943 Page 15

"In the Cool of the Day"

Morose tale of a forlorn love affair. Handsomely filmed
in color. Jane Fonda, story should lure some fern trade.

While it has been beautifully filmed in Panavision and color
against colorful backgrounds of Greece, this rather morose
adaptation of Susan Ertz's romantic novel poses a boxoffice
problem. Its basic commercial potential rests on the possibility
that the sad tale it tells will attract the feminine handkerchief
brigade. If the John Houseman production does draw them,
grosses will run above average. Under the direction of Robert
Stevens, Meade Roberts' screenplay moves a bit too leisurely
through its account of an involved and unhappy search for
love by four people, none of whom really stirs the viewer's
sympathy. Even the promising Jane Fonda has an unrewarding
role as the sickly young wife of Arthur Hill, hiding her natural
charms behind a black wig and an austere wardrobe. Peter
Finch is passive in a part that requires him to do little more
than look love-struck. The film's outstanding role is furnished
by Angela Lansbury, whose face had been disfigured in an
accident caused by her husband, Finch, an accident that also
lost them their young son. The lilting title song is sung by
Nat "King" Cole. The story tells how publisher Hill, devoted
and hapless husband of Miss Fonda, invites his British friend.
Finch, to visit him in New York, where Hill relates his marital
problems with his cold and emotionally disturbed wife. It is
evident from the first meting of Miss Fonda and Finch that they
are destined to fall in love. Later, the two couples, Finch
and Lansbury, Hill and Fonda, arrange to visit Greece together.
Hill is forced to beg off when his father suffers another heart
attack, and the other three proceed with their trip. While Miss
Fonda and Finch carry on their unspoken romance among the
ruins. Miss Lansbury trots off to the Riviera with a traveling
salesman, but not before she writes to Hill and to Miss Fonda's
mother that Jane is having an affair with Finch. The two lovers
flee into the interior where Miss Fonda catches a chill and
comes down with pneumonia. In the hospital, Hill confronts
Finch, blaming him for Miss Fonda's illness. She dies, and
Finch, his memory alive with her, retraces their trek through
Greece.

M-G-M. 90 minutes. Jane Fonda, Peter Finch, Angela Lansbury, Arthur Hill. Pro-
duced by John Houseman. Directed by Robert Stevens.

"Black Zoo"

Exploitable fright fare should satisfy horror, action fans.

Allied Artists' "Black Zoo" is designed exclusively for the
thriller trade. As directed by Robert Gordon and scripted by
producer Herman Cohen, this Color-PanaVision gore-a-rama
tells about a deranged owner of a private zoo who considers his
pets his "children" and uses them to do in his human "enemies."
Loaded with bloody killings and containing a fair amount of
suspense, it will prove a profitable entry for either end of the
dual bill in the ballyhoo houses, especially where the exploita-
tion potential is realized. British actor Michael Gough is the
sinister zoo keeper who sends his tiger to kill a pretty snooper
and his lion to destroy Jerome Cowan, a noisy real estate man
who has been pressuring Gough to sell out for a housing devel-
opment. Besides a black panther, a cougar and a mammoth
gorilla, Gough's household consists of Jeanne Cooper, his wife,
a former circus star, and Rod Lauren, his lonely mute young
helper. Elisha Cook is on hand as an attendant whom Gough
throws into the lion's cage after the former kills a tiger who

mauls him at feeding time. Gough holds a funeral for the d
tiger with his other "children" forming the cortege. Next da
Miss Cooper's agent, Virginia Grey, offers the former a temp
ing opportunity with another circus. Gough overhears and sen
his gorilla to kill Miss Grey. Miss Cooper learns the truth a-
she and Lauren decide to run away. They are surprised
Gough, who beats Miss Cooper and then screams that Lauren i:
his son, mute since as a child he saw his mother killed by ;
lioness on Gough's orders. Lauren goes to Miss Cooper's aidi
and kills the mad Gough, who dies calling for his caged beast:
to save him.

Allied Artists. 88 minutes. Michael Gough, Jeanne Cooper, Rod Lauren. Producec
by Herman Cohen. Directed by Robert Gordon.

"The Young and the Brave"

SutCnete 1£<zUh$ Q Q

Minor war metier has boy and dog for lift.

An innocuous war tale for mass market consumption and
bottom billing, this minor M-G-M entry covers some very
familiar plot territory. Fortunately, Manuel Padilla, a tiny tyke
who stole scenes in "Dime With a Halo," is at it again and he
is aided by an enormous German Shepherd called "Lobo." They
should prove to be a hit with the youngsters, especially. Ade-
quate performances are turned in by his older co-stars, Ron
Calhoun, William Bendix and Richard Jaeckel, as a trio of
G.I.'s fleeing the communists in Korea, but this black-and-white
melodrama suffers from a poor script. Director Francis D. Lyon
does get an excellent performance out of Padilla, as a Korean
urchin who witnesses the murder of his family by the com-
munists. They are killed for aiding the three American
escapees, whom Padilla and the dog meet up with in the moun-
tains. A fourth G.I., Robert Ivers, is killed by a mine, but Lobo
leads the survivors to safety by sniffing out the whereabouts
of the other mines. Padilla volunteers to investigate a commie
radio shack. The Reds mistrust the boy, and after whacking
him a few times, force him into leading them to his companions.
Padilla, however, moves away from his friends. Calhoun and
company jump two of the soldiers, take their uniforms and kill
the others, freeing Padilla. Another commie patrol shows up,
and in the ensuing action, Lobo is killed. The entrapped G.I.'s
are saved at last by an Army helicopter. Leaving Calhoun and
Padilla behind in a hospital, Bendix returns to the frontline,
with Calhoun promising to take Padilla home with him.

M-G-M. 84 minutes. Rory Calhoun, William Bendix, Richard Jaeckel, Manuel
Padilla. Produced by A. C. Lyles. Directed by Francis D. Lyon.

BULLETIN

reviews have one aim:
to give honest judgment
of entertainment merit
— and boxoffice value

Page 16 Film BULLETIN May 13, 1963

SOMEONE SHOULD ANSWER REV. BILLY GRAHAM . . . BRANDO'S BOREDOM . . . ARTHUR MAYER

In the May issue of Cosmopolitan
magazine. Reverend Billy Graham,
whose charisma and showmanship have
been the subject of oblique criticism
from some of the more conventional
clergy, expresses alarm about "Holly-
wood's schizophrenic mania with its
mixture of sordid and spiritual". I
admit that such an indictment bewilders
me to the extent that I feel incapable
of dealing with the terminology, let
alone essaying a rebuttal.

What is very clear to me is Mr. Gra-
ham's feeling that the Federal Govern-
ment should support his zeal in advo-
cating what should or should not be
the subject matter of motion pictures.

He writes: "the President could call
a White House Conference to which
he would invite representatives of the
film industry, the Government and the
Clergy for discussions. They could come
to grips with some of the problems
which beset the industry and then draw
up certain recommendations for reforms
to be submitted to the leaders of the
industry for their voluntary adoption.''

But even more astonishing is this
suggestion: "Feature films for export
should be approved by either the State
Department or the United States Infor-
mation Agency, thus guarding against
the distribution of feature films which
might invoke damaging criticism
abroad."

And the evangelist also believes that
"citizens could be more vocal in ex-
pressing what they believe to be right
or wrong in the film industry."

Although Reverend Graham did not
see "Elmer Gantry", he definitely cites
this picture as a violation of the pro-
duction code: "Sometimes, as in Gantry,
ministers are even pictured as being
immoral."

I do not recall that "Elmer Gantry"
was attacked by the organized clergy,
but I do recall that there have been
ministers, as well as doctors, lawyers,
and scientists who have deviated from
the noble principles of their calling.

Mr. Graham concludes: "Many of the
motion picture producers and stars are
my personal friends. I know that most
of them are aware of their duty as well
as their privilege. They have the me-
chanical and organizational equipment
and the know-how to turn out pro-
ductions to make a lasting impact on a
world in anguish."

In the meantime, isn't the American
film industry to be given some credit
for providing surcease from this
anguish? I do hope that some of Rev-
erend Graham's friends in Hollywood
will ask Cosmopolitan for equal space

ADAM WEILER

to reply to his piece. Or maybe this
should be done by Mr. Eric Johnston,
who has always made a good case for
the popularity of American films in all
parts of the world where a free screen
is still considered important. In any
event, Rev. Graham has cast aspersions
that should not be unanswered.

■+ ► ■+ ►

Recently, Drew Pearson had a chat
with Marlon Brando and devoted a
column to Brando's views on a variety
of subjects including the occupational
one of acting: "Acting is a boring busi-
ness and I'm going to get out of it
in a few more years. You do one picture
a year and then loaf. I want to get into
something worthwhile."

I'm sorry that Mr. Brando is unhappy
about his job. And that loafing irks him.
I would think that after his hard work
in "Ugly American" and "Mutiny on
the Bounty" that he was entitled to
some loafing. I would personally regret
Mr. Brando's absence from the screen,
not only because he is a fine actor,
but because he is good copy and because
he sells tickets.

It is too infrequent that we get a
Brando who knows his craft so well and
at the same time is such a favorite with
the public. But like many persons, Mr.
Brando always feels keenly the disparity
between his accomplishments and his
idealism. As one of his fans, may I re-
mind him that Professor Einstein was
quite frustrated because he felt that he
had not proved all that he set out to do.
He hoped that he would live long
enough to demonstrate the validity of
his continuum theory.

Marlon Brando is also unhappy about
certain political manifestations: "Sen-
ator Ellender travels around the world",
he told Pearson, "and then comes back
and writes an official report saying 'the
canals in Holland are full of water', and
this startling piece of information is
printed at the taxpayers' expense."

If Mr. Ellender is angry about this,
he should be reminded that Mr. Brando
pays a huge slice of his income to Uncle
Sam and, as they say in the Catskills,
"He is entitled."

It's good news that Arthur Mayer
will be feted by AMPA and others on
the eve of his fiftieth wedding anniver-
sary. It seems to this observer that the
Motion Picture Pioneers might consider
Arthur as the Pioneer of the Year.

He is still an articulate voice; and
over the years, despite the fact that his
talents and wisdom were not utilized by
an industry that needed his literate and
cultivated presence in its councils, he
gave much time and energy in speaking
the right words at the right time.

Now that MPA is really going ahead
with its public relations program,
wouldn't it be a good idea to employ
Arthur Mayer to tour the country and
do nothing else but speak to organiza-
tions who could use some of his erudi-
tion and wit when they get on an anti-
industry kick.

It would be quite wrong to call
Arthur an elder statesman. I would
rather refer to him as our foremost
youthful philosopher. He seems to per-
sonify the phrase once applied to the
fiftieth anniversary of the motion pic-
ture business: "We are not as young as
we are going to be."

► ►

When the milk industry was fighting
that old devil, cholesterol, it raised a
war chest of $3,000,000. The cigar in-
dustry spends about one million a year
to get over the pleasures of smoking
seegars, and both the Distillers' Insti-
tute and the cigarette industry spend
huge sums annually to fight damaging
legislation.

Now the MPA heralds its p.r. pro-
gram by announcing that $200,000 will
be solicited from its members (and
maybe exhibitors) to get its plans off
the ground. This at first glance seems
a very tiny sum to even launch a pilot
campaign. The board of the MPA
should reject the request and insist that
the campaign be done right or not at
all. It is hard to see what can be ac-
complished with this amount of money,
even allowing for the ingenuity of the
plan's architects and administrators.
Certainly the MPA's advertising and
publicity committee realizes that $200,-
000 buys very little in today's media.

COMPO is doing a fine public rela-
tions job with very little financial re-
sources, mainly because it has devoted
years to building a structure that em-
braces all branches of the business.
COMPO has proved that there can be
a united effort to attack problems such
as taxes, censorship, minimum \\ age
laws and other discriminatory legisla-
tion. Why not use COMPO as the ma-
jor vehicle for a p.r. program?

Film BULLETIN May 13. 1943 Page 17

Bttll9s~Eye Circulation!

n

517

BANKERS & BROKERS

The Mntlustry9s "Money Men"

read

BULLETIN

GUARANTEE

Film Bulletin Reaches the Policy-Makers,
The Buyers, The Bookers of over 12,000 of
The Most Important Theatres in U.S. &> Canada!

'Nervo-Rama' a Shockingly

Effective Ballyhoo Campaign

Showmanship never becomes "old-
fashioned", it seems. The old stuff is ever
new. Last season there was the case of
Mike Ripps, who disinterred something
called "Bayou", a quickie he had made
years before for United Artists release,
retitled it "White Trash", whipped up a
shrewd promotion campaign, and broke
house records in many situations.

This season it looks like Fred Schwartz,
who operates M-G-M's Perpetual Product
Plan, and Si Seadler, who plots keen meth-
ods of selling unusual product, have come
up with another blockbusting ballyhoo
idea. They have invented "Nervo-Rama",
a ballyhoo gimmick if ever you saw one.

"Nervo-Rama" is an all-out shock cam-
paign to plug two horror epics titled
"Werewolf in a Girls' Dormitory" (or
The Ghoul in School) and "Corridors of
Blood", starring Boris Karloff. Never tak-
ing his tongue out of his cheek for one
moment, Seadler concocted a mass of
shockingly effective ballyhoo material that
can hardly miss giving theatre cashiers a
workout they will remember.

The pressbook devised by Seadler is
crowded with gimmicks, from a Do-It-
Yourself Werewolf Kit to a special news-
reel teaser trailer (furnished free by Na-
tional Screen Service). The latter item is
handled like a regular newsreel clip bear-
ing the title, "Monster Craze Hits New
York!" and showing mobs of youngsters
celebrating Junior Ghoul Day.

The ads come in a wide variety of sizes,
all keyed to the "Nervo-Rama" gimmick.
They bear horrendous faces and the grisly
hands clutching the face of the shrieking
beauty. And each carries Seadler's dire
warning: "For People with Nerves of Iron
Only!" It's quite a switch from the fa-
miliar "For Adults Only!"

Bob Hope and Lucille Ball came to New York
for a series of personal appearances to plug
their co-starring film, "Critic's Choice." The two
stars drew big crowds wherever they went.

7V6att6e
/lie 'Doinyf

MERCHANDISING I >
tXPLOlTATION Of 'AITMf NT

Walter S hens on, producer of "The Mouse on
the Moon", and United Artists vice president
David V . Picker display one of the promotion
pieces on the upcoming release. The comedy is
in the same satirical vein as Shenson's highly
successful "The Mouse That Roared." It will he
released by the LJA subsidiary, Lopert.

Sturges Will Take to Road
To Promote 'The Great Escape'

These days a producer and director's task
does not end when he turns over the final
print of a film. Witness the case of John
Sturges. This prominent independent film
maker is preparing to hit the ballyhoo
trail for about one month to plug his latest
production, "The Great Escape."

Sturges will travel this country from
coast to coast and Canada's major cities,
meeting newsmen, exhibitors and veteran
groups in every key territory. He will do
the radio, TV interview bit in every spot
and host invitational previews for opinion
makers. He starts out in Los Angeles May
27 and will conclude his jaunt in London
on June 21, where "The Great Escape"
will have its world premiere.

'Messenger' TOA's Preview

Universale "The List of Adrian Messen-
ger" has been selected as the next TOA
Hollywood Preview attraction. It will be
backed by the exhibitor organization.

Film BULLETIN May 13, 1943 Page 19

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

April

DAY OF THE TRIFFIDS. THE CinemaScope. Color.
Howard Keel, Nicole Maurey, Janette Scott, Keiron
Moore. Producer Philip Yordan. Director Steve Sekely.
Science-fiction thriller. 119 min.

May

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Lauren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.

55 DAYS AT PEKING Technirama, —70, Technicolor.
Charlton Heston, David Niven, Ava Gardner, Flora
Robson, Harry Andrews, John Ireland. Producer Samuel
Bronston. Director Nicholas Ray. Story of the Boxer
uprising. 150 min. 4/29/63.

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
A Julian Wintle, Leslie Parkyn Production. Director
Michael Winner. Musical.

June

LONG CORRIDOR, THE Peter Breck, Constance Towers.
Producer-director Samuel Fuller. A Leon Fromkess
Production. A suspense drama.

July

GUNHAWK, THE Rory Calhoun, Rod Cameron, Ruta
Lee, Rod Lauren. Producer Edward Critchfield. Direc-
tor Edward Ludwig. Outlaws govern peaceful town of
Sanctuary.

Coming

GUNFIGHT AT COMANCHE CREEK Color Cinema-
scope. Audie Murphy. Producer Ben Schwalb. Private
detective breaks up outlaw gang.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen. Producer Martin Jurow. Army comedy.

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

October

WARRIORS 5 Jack Palance, Jo Anna Ralli. Producer
Fulvio Lusciano. Director Mario Silvestra. Story of an
American G.I. who organiied the underground resist-
ance in Italy. 82 min. 11/12/62.

November

REPTILICUS Color. Carl Ottosen, Ann Smyrner. Pro-
ducer-Director Sidney Pink. Giant sea monster's de-
struction of an entire city. 81 min.

December

SAMSON AND THE 7 MIRACLES OF THE WORLD

IFormerly Goliath and the Warriors of Genghis Kahn)
Color. CinemaScope. Gordon Scott, Yoko Tani. Samson
helps fight off the Mongol invaders. 80 min. 2/18/63.

January

RAVEN, THE Color. Panavision. Vincent Price, Peter
Lorre, Boris Karloff. Producer-director Roger Corman.
Edgar Allan Poe tale. 86 min. 2/4/63.

February

BATTLE BEYOND THE SUN IFilmgroup) Color & Vista-
scope. Ed Perry, Aria Powell. 75 min.

NIGHT TIDE (Filmgroup) Dennis Hopper, Linda Law-
son. 84 min.

March

CALIFORNIA Jock Mahoney, Faith Domergue. Western.

April

FREE, WHITE AND 21 IFormerly Question of Consent)

Frederick O'Neal, Annalena Lund. Drama. 102 min.

OPERATION BIKINI IFormerly Seafighters) Tab Hunter,
Frankie Avalon, Eva Six. Producer-director Anthony
Carras. War action drama. 84 min. 4/29/63.

May

MIND BENDERS, THE Dirk Bogarde, Mary Ure. Pro-
ducer Michael Relph. Director Basil Dearden. Science
fiction. 99 min. 4/15/63.

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama. 84 min.

June

DEMENTIA #13 IFilmgroup) William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK, THE CONQUEROR IFormerly Miracle of the
Vikings). Color, CinemaScope. Cameron Mitchell. Ac-
tion drama. 90 min.

TERROR, THE IFilmgroup) Color, Vistascope. Boris Kar-
loff. Horror.

July

BEACH PARTY Color, Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funicello.
Producer James H. Nicholson. Director William Asher.
Teenage comedy.

August

HAUNTED PALACE, THE Color, Panavision. Vincent
Price, Lon Chaney, Debra Paget. Edgar Allan Poe

classic.

"X"— THE MAN WITH THE X-RAY EYES Ray Milland.
Science fiction.

September

NIGHTMARE IFormerly Schizol Leticia Roman, John
Saxon. Producer-director Mario Bava. Suspense horror.

SUMMER HOLIDAY Technicolor, Technirama. Cliff
Richards, Lauri Peters. Teenage musical comedy.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

BLACK SABBATH Color. Boris Karloff, Mark Damon,
Michele Mercier. Horror.

COMEDY OF TERROR, A Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff. Horror. Comedy.

DUEL, THE Color, Scope. Fernando Lamas, Tina Lou-
ise. Action.

DUNWICH HORROR Color. Panavision. Science Fiction.
GENGHIS KHAN 70mm roadshow.

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester. Horror.

MAGNIFICENT LEONARDO, THE Color, Cinemascope.
Ray Milland.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

UNDER 21 Color, Panavision. Teen musical comedy.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Producers Julian
Wintle, Leslie Parkyn. H. G. Wells classic.

December

OUT OF THE TIGER'S MOUTH Loretta Hwong, David
Fang. Producer Wesley Ruggles, Jr. Director Tim
Whelan, Jr. 81 min.

QUARE FELLOW, THE Patrick McGoohan, Sylvia Sims.
Walter Macken. Producer Anthony Haveloek-Allan.

Director Arthur Dreifuss. 85 min. 11/26/62.

January

SWINDLE, THE Broderick Crawford, Giulietta Masina,
Richard Basehart. Director Federico Fellini. Melodrama.
92 min. 1 1/12/62.

Coming

TOTO, PEPPINO and LA DOLCE VITA Toto, Peppino.

TRIAL, THE (Astor Productions, Inc.) Anthony Perkins,
Jeanne Moreau. Director Orson Welles. Welles' version
of Kafka novel. 118 min. 3/4/63.

WORLD BEGINS AT 6 P.M. Jimmy Durante, Ernest Borg-
nine. Director Vittorio DeSica.

October

ALMOST ANGELS Color. Peter Week, Sean Scully,
Vincent Winter, Director Steven Previn. 93 min. 9/3/62.

November

LEGEND OF LOBO. THE Producer Walt Disney. Live-
action adventure. 67 min. 11/12/62.

December

IN SEARCH OF THE CASTAWAYS Technicolor. Maurice
Chevalier, Hayley Mills, George Sanders. Producer
Walt Disney. Director Robert Stevenson. Based on th«
Jules Verne story, "Captain Grant's Children." 110
min. 1/7/63.

February

SON OF FLUBBER Fred MacMurray, Nancy Olson.
Keenan Wynn. Walt Disney Production. Director Robert
Stevenson. Comedy. 100 min. 1/21/63.

April

MIRACLE OF THE WHITE STALLIONS Color. Robert
Taylor, Lili Palmer, Curt Jergens. A Walt Disney pro-
duction. Director Arthur Hiller. Story of the rescue of
the famous white stallions of Vienna. 118 min. 4/1/63.

June

SAVAGE SAM Brian Keith, Tommy Kirk, Kevin Cor-
coran, Marta Kristen, Dewey Martin, Jeff York. Direc-
tor Norman Tokar, Tale of the pursuit of renegade
Indians who kidnap two boys and a girl. 110 min.

July

SUMMER MAGIC Hayley Mills, Burl Ives, Dorothy Mc-
Guire, Deborah Walley, Peter Brown, Eddie Hodges.
Director James Neilson. Comedy musical. 108 min.

WEBSEBEB

October

REQUIEM FOR A HEAVYWEIGHT Anthony Quinn,
Jackie Gleason, Mickey Rooney, Julie Harris. Producer
David Susskind. Director Ralph Nelson. Award winning
drama. 87 min. 9/17/62.

TWO TICKETS TO PARIS Joey Dee, Gary Crosby, Kay
Medford. Producer Harry Romm. Director Greg Gar-
rison. Romantic comedy. 75 min. 11/26/62.

November

PIRATES OF BLOOD RIVER Color. Glenn Corbett. Ker-
win Mathews, Maria Landi. Producer Anthony Nels
Keys. Director John Gilling. Swashbuckling adventure,
87 min. 8/6/62.

WAR LOVER. THE Robert Wagner, Steve McQueen
Producer Arthur Hornblow. Director Philip Leacock
Drama of World War II in the sky. 105 min. 10/29/62,

WE'LL BURY YOUI Narrated by William Woodion
Producers Jack Leewood, Jack W. Thomas. Docume
tary highlighting rise of Communism. 72 min. 10/15/62

December

BARABBAS Technicolor. Anthony Quinn, Silvana Ma
gano, Jack Palance, Ernest Borgnine, Katy Jurado,
Douglas Fowley, Arthur Kennedy, Harry And raws,
Vittorio Gassman. Producer Dino do Laurentiis. Direc-
tor Richard Fleischer. Based on novel by Par Lager-
kvist. 134 min. 9/3/62.

February

DIAMOND HEAD Panavision, Eastman Color. CharHo
Heston, Yvette Mimieux, George Chakiris, Fraac
Nuyen, James Darren. Producer Jerry Bresler. Direct*
Guy Green. Based on Peter Gilman's novel. I0(
min. 1/7/63.

April

MAN FROM THE DINER'S CLUB, THE Danny Kaye, Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin. Comedy. 96 min. 4/15/63.

May

FURY OF THE PAGANS Edmund Purdom, Rosamta
Podesta.

Film BULLETIN — THIS IS YOUR PRODUCT

June

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical. 112 min. 4/15/63.

JASON AND THE ARGONAUTS I Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Novak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic.

January

Coming

DR STRANGE LOVE: OR HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers,
Sterling Hayden, George C. Scott, Keenan Wynn. Prol
ducer-director Stanley Kubrick. Comedy.

GIDGET GOES TO ROME James Darren, Cindy Carol,
Jody Baker. Producer Jerry Bresler. Director Paul
Wendkos.

IN THE FRENCH STYLE Jean Seberg. Producer Irwin
Shaw. Director Robert Parrish.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

■tlil.liHilflW

January

GREAT CHASE, THE Douglas Fairbanks, Sr., Buster
Keaton, Lillian Gish. Producer Harvey Cort. Silent
chase sequences. 77 min. 1/7/63.

LONELINESS OF THE LONG DISTANCE RUNNER. THE

Michael Redgrave, Tom Courtenay, Avis Bunnage. Pro-
ducer-director Tony Richardson. Explores th« attitudes
of a defiant young man sent to a reformatory for
robbery. 103 min. 10/1/62.

LOVERS OF TERUEL. THE I French, subtitled) Color.
Ludmila Teherina. A famous legend is transformed into
a dance-ballet drama. ?3 min.

February

DAVID AND LISA Keir Dullea, Janet Margolin, How-
ard Da Silva. Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed young-
sters. 94 min. 1/7/63.

March

BALCONY, THE Shelley Winters. Peter Falk. Producers
Joseph Strick, Ben Maddow. Director Strick. Unusual
version of Genet's fantasy play. 85 min. 4/1/63.

April

WRONG ARM OF THE LAW, THE Peter Sellers.
Lionel Jeffries. Sellers uses Scotland Yard in pulling off
the laugh crime of the century. 91 min.

May

YOUR SHADOW IS MINE Jill Haworth. Michael Ruhl.
\ European girl, raised by an Indo-Chinese family, has
o choose between her native sweetheart and the
iociety of her own people. 90 min.

July

THIS SPORTING LIFE Richard Harris, Rachel Roberts.

September

HVORCE— ITALIAN STYLE Marcello Mastroianni, Dan-
•ela Rocca, Stefania Sandrelli. Producer Franco Cris-
aldi. Director Pietro Germi. Satirical jabs at the
nores of our times. 104 min. 10/29/62.

rHE LOVE MAKERS (La Viaccia) Claudia Cardinale,
lean-Paul Belmondo, Pietro Germi. Producer Alfredo
iini. Director Mauro Bolognini. A drama of the tragic
nfluences of the city upon a young farmer. 103 min.
il 1/12/62.

October

:RIME DOES NOT PAY Danielle Darrieux, Richard
odd , Pierre Brasseur, Gino Cervi, Gabriele Fenetti,
Christian Marquand, Michelle Morgan, Jean Servais.
'roducer Gilbert Bokanowski. Director Gerard Oury.
-rench object lesson based on classic crimes. 159 min.
0/29/62.

-ONG DAY'S JOURNEY INTO NIGHT Katharine Hep-
>urn, Jason Robards, Jr., Sir Ralph Richardson, Dean
itockwell. Producer Ely A. Landau. Director Sidney
.umet. Film version of Eugene O'Neill's Pulitzer Prize-
vinning stage drama. 174 min. 10/29/62.

November

<IGHT IS MY FUTURE Mai Zetterling, Birger Malmsten.
Jirector Ingmar Bergman. Bergman reflects on the
heme of man's search for human contact and love in
i "hostile universe.'' 87 min. 1/7/63.

December

jONSTANTINE AND THE CROSS Color. Cornel Wilde,
rnnstine Kaufman, Belinda Lee. Producer Ferdinando
;eliciori. Director Lionello De Felice. Story of early
christians struggling against Roman persecution. 120
nm. 11/26/62.

SEVEN CAPITAL SINS Jean-Pierre Aumont, Dany Saval.
Directors Claude Chabrol, Edouard Molinaro, Jean-Luc
Godard, Roger Vadim, Jaques Demy, Philippe De
Broca, Sylvain Dhomme. A new treatment of the classic
sins with a Gallic flavor. 113 min. 11/26/62.

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,
Christian Doermer. Directors Francois Truffaut, Andrez
Wajda, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world. 113
min. 2/18/63.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French
Revolution. 104 min. 3/4/63.

March

FACE IN THE RAIN. A Rory Calhoun, Marina Bert
Niall McGinnis. Producer John Calley. Director Irvin
Kershner. Suspenseful spy-chase drama. 90 min. 4/1/63.

April

LANDRU Charles Denner, Michele Morgan, Danielle
Darrieux. Producers Carlo Ponti, Georges de Beaure-
gard. Director Claude Chabrol. Tongue-in-cheek drama
of the infamous lady killer. 114 min. 4/16/63.

LAW, THE Marcello Mastroianni, Melina Mercouri, Yves
Montand, Gina Lollobrigida . Producer, Jacques Bar.
Director, Jules Dassin. Romantic drama. 114 min.

rrrr

Current Releases

ARMS AND THE MAN ICasino Films) Lil'o Pulver,
O. W. Fischer, Ellen Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
96 min.

BERN ADETTE OF LOURDES (Janus Films) Daniele Ajoret
Nadine Alari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE ILopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLACK FOX. THE (Capri Films) Produced, directed
and written by Louis Clyde Stoumen. 89 min. 4/29/63.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 68 min.

BLOODY BROOD, THE I Sutton I Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR, A (Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

CANDIDE (Union Films) Jean-Pierre Cassel, Pierre
Brausseur, Dahlia Lavi. Director Norbert Carbonnaux.
90 min. I 1/26/62.

CLEOPATRA'S DAUGHTER (Medallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

DAY THF SKV *XPLro"0. THC lExcelsWt Paul HuS-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR, THE (Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL MADE A WOMAN. THE (Medallion) Color, To-
talscope. Sarita Montiel. 87 min.

DEVIL'S HAND. THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE (Ultra Pictures) Anthony Quinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS Technicolor, Totalvision.
Yoko Tani, Oldrick Lukes. 81 min.

FIVE DAY LOVER. THE (Kinosley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FORCE OF IMPULSE (Sutton Pictures) Tony Anthony,
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

IMPORTANT MAN. THE ILopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

JOSEPH AND HIS BRETHREN IColorama) Geoffrey
Home, Belinda Lee. Producers Ermanno Donati, Luigi

C-rpent.e. i. uirecior Irving Rapper. 103 min. 2/12/6*.

LAFAYETTE (Maco Film Corp.) Jack Hawkins, Orson
Welles, Vittorio De Sica. Producer Maurice Jacquin.
Director Jean Oreville. 110 min. 4/1/63.

LA NOTTE BRAVA (Miller Producing Co.) Else Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

JUNE SUMMARY

An early perusal of the June release
chart results in good news for exhibi-
tors. A total of 20 films will be avail-
able for the month, with a possibility
of additional product being announced.
Four companies — United Artists, M-G-M,
Universal and American-International —
offer three features. Two films will be
released by both Columbia and Para-
mount. 20th-Fox, Warner Bros., Buena
Vista, and Allied Artists all have one
listing. To date neither Continental nor
Embassy have anything scheduled for
June.

LAST OF THE VIKINGS (Medallion) Color, Totalscope.
Cameron Mitchell, Edmond Purdom. 102 min.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

LOVE AND LARCENY (Major Film Distribution) Vit-
torio Gassman, Anna Maria Ferrero, Peppino DiFilippo.
Producer Mario Gori. Director Dino Risi. Satire on
crime. 94 min. 2/18/63.

MAGNIFICIENT SINNER (Film-Mart, Inc.) Romy
Schneider, Curt Jergens. Director Robert Siodmak. 91
min. 4/29/63.

MARRIAGE OF FIGARO, THE IPathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin D:rector Jean Meyer. French import.
105 min. 2/18/63.

MATTER OF WHO, A (Herts-Lion International I Alex
Nicol, Sonja Ziemann. Producers Walter Shenson,
Milton Holmes. Director Don Chaffey. 90 min. 8/20/62.

MONDO CANE (Times Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/63.

NIGHT OF EVIL ISutton) Lisa Gaye, Bill Campbell.
88 min.

NIGHT, THE ILopert) Jeanne Moreau, Marcello

Mastroianni, Monica Vitti. Producer Emanuele Cassulo,
Director Michelangelo Antonioni. 120 min. 3/5/62.

NO EXIT (Zenith-International) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.

PARADISE ALLEY ISutton) Hugo Haas, Corinne Griffith.

PASSION OF SLOW FIRE, THE (Trans-Lux) Jean
DeSailley, Monique Melinand. Producer Francois
Chavene. Director Edouard Molinaro. 91 min. 11/12/62.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
115 min.

RICE GIRL (Ultra Pictures) Elsa Martinelli, Folco Lull!,
Michel Auclair. Producer Carlo Ponti. Director Raffa-
eilo Matarazzo. Dubbed Italian melodrama. 90 min.
2/4/63.

ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

SATAN IN HIGH HEELS (Cosmic). Meg Myles. Gray-
son Hair, Mike Keene. Producer Leonard M. Burton.
Director Jerald Intrator. 97 min. 5/14/62.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

SECRETS OF THE NAZI CRIMINALS (Trans-Lux). Pro-
ducer Tore Sjoberg. Documentary recounting Nazi
crimes. 84 min. 10/15/62.

SLIMfc PEOPLE, THE ( Hutton-Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT, THE Robert Clarke. Francine
York. 85 min.

SON OF SAMSON (Medallion) Color, Totalscope. Mark
Forest, Chelo Alonso. 89 min.

STAKEOUT Ping Russell. Bill Hale. Eve Brent. 81 min.

SUNDAYS AND CYBELE I Davis-Royal I Hardy Kruger,
Nicole Courcel, Patricia Gozzi. Producer Romain Pines.
Director Serge Bourguignon. 110 min. 11/26/62.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THRONE OF BLOOD (Brandon Films) Toshino Mifone,
Isuzu Yamada. Director Akira Kurosawa 108 min.
1/8/62.

TROJAN HORSE. THE Colorama Steve Reeves, John
Drew Barrymore, Edy Vessel. Director Giorgio Ferroni.
105 min. 7/23/62.

VARAN THE UNBELIEVABLE Myron Healy. Tsuruko Ko-
bayashl. 70 min.

VIOLATED PARADISE ITimes Films Eng.) Color. Pro-
ducer-director Marion Gering.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips.
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

Film BULLETIN — THIS IS YOUR PRODUCT

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titlesl Eastman-
color. Mad&leine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FCR KICKS ITimes Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

YOJIMBO (Seneca-International) Toshiro M. Fune, Kyu
Sdzanka Nakadal. Director Akiro Kurosana. 101 min.

9/17/62.

METRO-GO LDVVYN -MAYER

November

ESCAPE FROM EAST BERLIN Don Murray, Christine

K,utmann. Producer Walter Wood Director Robert
Siodmak. Drama of the escape of 28 East Germans to
West Berlin under the wall via a tunnel. 93 min.
10/29/62.

KILL OR CURE Terry-Thomas, Eric Sykes, Dennis Price,
Moira Redmond. Producer George Brown. Director
George Pollack. Detective tale. 88 min. 11/26/62.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GrifflTh. Pro-
ducer Aaron Rosenberq. Director Lewis Milestone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/63.

PERIOD OF ADJUSTMENT Tony Franciosa, Jane Fonda,
Jim Hutton. Producer Lawrence Weingarten. Director
George Roy Hill. Screen version of Tennessee Williams'
Broadway play. 112 min. 10/29/62.

TRIAL AND ERROR Peter Sellers, Richard Attenbor-
ough. Producer Dimitri de Grunwald. Director James
Hill. Comedy about a henpecked murderer and his
ineffectual lawyer. 99 min. 11/26/62.

December

ARTURO'S ISLAND Reginald Kernan, Key Meersman,
Vanni De Matgret, Ornella Vanomi. Producer Carlo
Ponti. Director D. Damiani. Based on noted Italian

novel. 95 mm. 1/21/63.

BILLY ROSE'S JUMBO Doris Day, Stephen Boyd, Jimmy
Durante, Martha Raye. Producer Joe Pasternak. Direc-
tor Charles Walters Martin Melcher. Based on the
Broadway musical Tolialgo. 125 min. 10/12/62.

SWORDSMAN OF SIENA Eastman Color. Stewart
Granger, Christine Kaufmann. Producer Jacques Bar.
Director Etienne Pertier. Adventure drama. 92 min.
11/26/62.

■January

CAIRO George Sanders, Richard Johnson. Producer
Ronald Kinnoch. Director Wolf Rilla. Drama of attempt
to rob the Cairo Museum. 91 min. 2/4/63.

PASSWORD IS COURAGE. THE Dirk Bogarde. Pro-
ducer-Director Andrew L. Stone. One man's war against
the Nazii during World War II. 116 min. 1/7/63.

February

HOOK, THE Kirk Douglas, Nick Adams. Producer Wil-
liam Perlberg. Director George Seaton. Drama set
against background of the Korean War. 98 min.
1/21/63.

March

COURTSHIP OF EDDIE'S FATHER. THE Glenn Ford,
Shirley Jones. Producer Joe Pasternak. Director Vin-

cente Minnelli. Romantic comedy revolving about a
young widower and his small son. 117 min. 3/18/63.

FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
Randell, Russ Tamblyn, Janis Paiqe. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy. 95 min. 3/4/63.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate. Based on the life of Sir Francis Drake. 95 min.
3/18/63.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatole de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.

IT HAPPENED AT THE WORLD'S FAIR Panavision.

Color. Elvis Presley. Producer Ted Richmond. Romantic
comedy.

RIFIFI IN TOKYO Karl Boehm, Barbara Lass, Charles
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo. 89 min. 4/1/63.

May

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris

Sagal. Race track comedy. 94 min. 4/1/63.

DRUMS OF AFRICA Frankie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

92 min. 4/29/63.

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.

IN THE COOL OF THE DAY CinemaScope. Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Errz.

SLAVE, THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites the slaves to
revolt against the Romans.

June

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West.

GOLDEN ARROW. THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendarii,

Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy.

DAY AND THE HOUR. THE (Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode.

TICKLISH AFFAIR. A (Formerly Moon Walk) Shirley
Jones. Producer Joe Pasternak. Director George Sid-
ney. Romantic comedy based on a story in the Ladies
Home Journal.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

August

GLADIATORS SEVEN Richard Harrison, Loredana Nus-
ciak. Producers Cleo Fontini, Italo Zingarelli. Director
Pedro Lazaga. Seven gladiators aid in overthrowing
a tyrant of ancient Sparta.

TIKO AND THE SHARK Producer Goffredo Lombardo.
Director F. Quilici. Filmed entirely in French Poly-
nesia with a Tahitian cast.

THE NATIVES ARE RESTLESS TONIGHT (Formerly
Tamahire) Nancy Kwan, Dennis Price. Producer John
Bryan. Director Philip Leacock. Romantic comedy of a
Tahitian girl and her impact on an English public
school.

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy.

Coming

COUNTERFEITERS OF PARIS Jean Gabin, Dany Carol.
Producer Jacques Bar. Director Gilles Grangier. 99
min.

FOUR DAYS OF NAPLES, THE Jean Sorel, Lea Messari,
Producer Goffredo Lombardo. Director Nanni Loy.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

HOW THE WEST WAS WON Cinerama, Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/63.

MURDER AT THE GALLOP Margaret Rutherford, Paul
Robson. Agatha Christie mystery.

OF HUMAN BONDAGE IMGM-Seven Arts) Laurence
Harvey, Kim Novak. Producer James Woolf. Director
Henry Hathaway. Film version of classic novel.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

V.I.P.'s, THE Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama.

WHEELER DEALERS. THE James Garner, Lee Remick.
Producer Martin Ransohoff. Director Arthur Hiller.
Story of a Texan who takes Wall Street by storm.

December

IT'S ONLY MONEY Jerry Lewis, Joan O'Brien, Zachary
Scott, Jack Weston. Producer Paul Jones. Director
Frank Tashlin. Comedy. 84 min. 9/17/62.

January

WHERE THE TRUTH LIES Juliette Greco, Jean-Marc
Bory, Lisolette Pulver.

February

GIRL NAMED TAMIKO, A Technicolor. Laurence Har-
vey, France Nuyen. Producer Hal Wallis. Director John
Sturges. A Eurasian "man without a country'1 courts an
American girl in a bid to become a U.S. citiien.

WHO'S GOT THE ACTION Panavision. TechnicoloJ
Dean Martin, Lana Turner, Eddie Albert, Walter M<{
hau, Nita Talbot. Producer Jack Rose. Director Danll
Mann. A society matron becomes a "bookie" to CM
her horse-playing husband. 93 min. 10/1/62.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleaso
Glynis Johns. Producer Jack Rose. Director Georc<
Marshall. Comedy-drama based on childhood of silail
screen star Corinne Griffith. 93 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cr

Robertson, David Jannsen. Producer Garet Gaittn

Director Gower Champion. Broadway star adopts i
abandoned children. 105 min. 3/18/63.

May

HUD Paul Newman, Patricia Neal, Melvyn Dougl*
Producers Irving Ravetch, Martin Ritt. Director Hi''
Drama set in modern Texas. 122 min. 3/4/63.

June

DUEL OF THE TITANS CinemaScope, Eastman colo<
Steve Reeves, Gordon Scott. Producer Alessandl
Jacovoni. Director Sergio Corbucci. The story <
Romulus and Remes, the twin brothers who founde
the city of Rome.

NUTTY PROFESSOR, THE Technicolor. Jerry Lewi
Stella Stevens. Producer Ernest D. Glucksman. Dire,
for Jerry Lewis. A professor discovers a yout
restoring secret formula.

July

DONOVAN'S REEF Technicolor. John Wayne. Lee Ma
vin. Producer-director John Ford. Adventure drama
the South Pacific.

August

COME BLOW YOUR HORN Technicolor. Frank Sinatr
Barbara Ruth, Lee J. Cobb. Producer Howard Koch. D
rector Bud Yorkin. A confirmed bachelor introduces ti
young brother to the playboy's world.

Coming

ALL THE WAY HOME Robert Preston. Jean Simmon
Pat Hingle. Producer David Susskind. Director Ah
Segol. Film version of play and novel.

CARPETBAGGERS. THE Technicolor. Panavision 71
George Peppard. Producer Joseph E. Levine. Direct<
Edward Dmytryk. Drama based on the best-seller t
Harold Robbins.

FUN IN ACAPULCO Technicolor. Elvis Presley, U
sula Andress. Producer Hal B. Wallis. Director Rid
ard Thorpe. Musical-comedy.

LADY IN A CAGE Olivia de Havilland, Ann Southen
Producer Luther Davie. Director Walter Graumai
Drama .

LOVE WITH THE PROPER STRANGER Natalie Wooc
Steve McOueen. Producer Alan J. Pakula. Direct
Robert Mulligan. A young musician falls in love wil
a Macy's sales clerk.

NEW KIND OF LOVE, A Technicolor. Paul Newmai
Joanne Woodward, Thelma Ritter, Maurice Chevalie
Producer-director Melville Shavelson. Romantic dram.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wi
liam Holden, Audrey Hepburn. Producer George Axe
rod. Director Richard Quine. Romantic-comedy filme
on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Dougla
Fredric March. Producer Edward Lewis. Director Jot
Frankenheimer. A Marine colonel uncovers a militar
plot to seize control of the U.S. government.

WHO'S BEEN SLEEPING IN MY BED? Panavisioi
Technicolor. Dean Martin, Elizabeth Montgomery, Car
Burnett. Producer Jack Rose. Director Daniel Man-
Comedy.

WHO'S MINDING THE STORE? Technicolor. Jen
Lewis, Jill St. John, Agnes Moorehead. Producer Pa
Jones. Director Frank Tashlin. Comedy.

WIVES AND LOVERS Janet Leigh, Van Johnson, Shell*
Winters, Martha Hyer. Producer Hal B. Wallis. Dire-
tor John Rich. Romantic comedy.

20TH CENTURY-FOX

January

SODOM AND GOMORRAH Stewart Granger, Pier A
geli, Stanley Baker, Rossana Podesta. Producer Gc
fredo Lombardo. Director Robert Aldrich. Biblical tal
154 min. 1/21/63.

YOUNG GUNS OF TEXAS Cinemascope, De Luxe Colo
James Mitchum, Alana Ladd, Jody McCrea. Produce
director Maury Dexter. Western tale of restless yout
85 min. I 1/12/62.

February

DAY MARS INVADED EARTH, THE Cinemascope. Ke
Taylor. Marie Windsor. Producer-director Maury De
ter. Science-fiction drama. 70 min.

LION, THE CinemaScope, De Luxe Color. William He
den, Trevor Howard, Capucine. Producer Samu
Engel. Director Jack Cardiff. Based on best-sell
about a girl's love for a wild lion. 96 min. 9/3/62.

ROBE, THE Re-release.

Film BULLETIN — THIS IS YOUR PRODUCT

November

WARNER BROTHERS

November

March

NINE HOURS TO RAMA CinemaScope. DeLuxe Color.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Jirector Mark Robson. Story of the man who assassi-
lated Mahatma Gandhi. 125 min. 3/4/63.

10 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
luster Keaton, Charlie Chase, Harry Langdon. Compila-
ion of famous comedy sequences. 85 min. 2/18/63.

May

'ELLOW CANARY. THE Pat Boone, Barbara Eden,
roducer Maury Dexter. Director Bun Kulik. Suspense
Irama. 93 min. 4/15/63.

June

TRIPPER, THE (Formerly A Woman in July) Joanne
Voodward, Richard Beymer, Gypsy Rose Lee, Claire
revor. Producer Jerry Wald. Director Franklin Schaf-
ler. Drama. 95 min. 4/29/63.

Coming

LIOPATRA Todd-AO Color. Elizabeth Taylor, Richard

urton, Rex Harrison. Producer Walter Wanger.
irector Joseph Mankiewicz. Story of famous queen.

EOPARD, THE Burt Lancaster, Claudia Cardinale.

lUEEN'S GUARDS, THE CinemaScope, DeLuxe Color,
aniel Massey, Raymond Massey, Robert Stephens.
roducer-Director Michael Powell'. A tale ot the
adition and importance of being a Guard.

UNITED ARTISTS

January

HM.D IS WAITING, A Burt Lancaster, Judy Garland,
(ephen Hill, Gena Rowland. Producer Stanley Kramer,
'irector John Cassavetes. Drama dealing with retarded
lildren. 102 min. 1/21/63.

MIAS BULBA Tony Curtis, Yul Brynner, Brad Dexter,
sm Wanamaker, Vladimir Sokoloff, Akim Tamiroff,
hristine Kaufmann. Producer Harold Hecht. Director
Lee Thompson. Action spectacle. 122 min. 12/10/62.

February

tfO FOR THE SEESAW Robert Mitchum, Shirley Mac-
ine. Producer Welter Mirisch. Director Robert Wise.
)sed on the Brodaway hit. 119 min. 10/29/62.

March

VE MILES TO MIDNIGHT Sophia Loren, Anthony
srkins, Gig Young, Jean-Pierre Aumont. Producer-
rector Anatole Litvak. Suspense drama about an
merican in Europe who schemes to defraud an insur-
ice company. 110 min. 3/4/63.

>VE IS A BALL Technicolor, Panavision. Glenn Ford,
ope Lange, Charles Boyer. Producer Martin H. Poll,
irector David Swift. Romantic comedy of the interna-
>nal set. I 1 1 min. 3/4/63.

April

COULD GO ON SINGING Eastmancolor, Panavision.
dy Garland, Dick Bogarde, Jack Klugman. Producers
uart Millar, Lawrence Turman. Director Ronald
,eame. Judy returns in a dramatic singing role. 99
■n. 3/18/63.

May

it. NO Technicolor. Sean Connery, Ursula Andrew,
seph Wiseman, Jack Lord. Producers Harry Saltz-
in, Albert R. Broccoli. Director Terence Young. Action
ama based on the novel by Ian Fleming. Ill min.
18/63.

June

DOHA Technicolor, Technirama. Isojiro Hongo,
iarito Solis. Director Kenji Misumi. Drama.

ILL ME BWANA Bob Hope. Anita Ekberg, Edie
lams. Producers Albert R. Broccoli, Harry Saltzman.
•ector Gordon Douglas.

3USE ON THE MOON Eastmancolor. Margaret
therford, Bernard Cribbins, David Kossoff, Terry
Jmas. Producer Walter Shenson. Director Richard
ster. Satirical comedy.

July

'IEAT ESCAPE, THE Deluxe Color, Panavision. Steve
hQueen, James Garner, Richard Attenborough. Pro-
icer-director John Sturges. Based on true prisoner of
lr escape. 168 min. 4/15/63.

IMA LA DOUCE Color. Jack Lemmon. Shirley Mac-
I ne. Producer-director Billy Wilder. Comedy about
I "poules" of Paris, from the hit Broadway play.

September

1 RETAKERS. THE Robert Stack, Polly Bergen, Joan
<awford. Producer-director Hall Bartlett.

Coming

UUTY AND THE BEAST Joyce Taylor, Mark Damon,
Iward Franz, Merry Anders. 77 mm.

URY OF A MADMAN Vincent Price, Nancy Kovak.
Iiducer Robert E. Kent. Director Reginald Le Borg.
*jmin. 3/4/63.

tREMONY. THE Laurence Harvey, Sarah Miles, Rob-
4 Walker, John Ireland. Producer director Laurence
Irvey.

Film

IF A MAN ANSWERS Color. Sandra Dee, Bobby Darin.
Producer Ross Hunter. Director Henry Levin. Romantic
comedy. 102 min. 9/3/62.

STAGECOACH TO DANCERS' ROCK Warren Stevens,
Martin Landau, Jody Lawrence, Don Wilbanks, Del
Morre, Bob Anderson, Judy Dan. Producer-Director
Earl Bellamy Western. 72 min. 10/15/62.

January

FREUD Montgomery Clift, Susannah York, Larry Parks.
Producer Wolfgang Reinhardt. Director John Huston.
Story of Freud's initial conception of psychoanalysis.
139 min. 12/24/62.

February

44 POUNDS OF TROUBLE Color, Panavision. Tony Cur-
tis, Phil Silvers, Suzanne Pleshette. Producer Stan Mar-

Qtnles. Director Norman Jewison. Comedy, lub min.
12/24/62.

MYSTERY SUBMARINE Edward Judd, Laurence Payne,
James Robertson Justice. Producer Bertram Oster.
Director C. Pennington Richards. 92 min. 1/21/63.

March

TO KILL A MOCKINGBIRD Gregory Peck, Mary Bad-
ham. Producer Alan Pakula. Director Robert Mulligan.
Based on Harper Lee's novel. 129 min. 1/7/63.

April

BIRDS, THE Technicolor Rod Taylor, Jessica Tandy,
Suzanne Pleshette, Tippi Hedren. Producer-Director Al-
fred Hitchcock. Suspense drama. 120 min. 4/1/63.

UGLY AMERICAN, THE Color. Marlon Brando. Sandra
Church, Yee Tak Yip. Producer-Director George Eng-
lund. Drama based on best-selling novel. 120 min.
4/15/63.

May

PARANOIC Janette Scott, Oliver Reed, Sheilah Burrell.
Producer Anthony Hinds. Director Freddie Francis.
Horror. 80 min. 4/15/63.

SHOWDOWN IFormerly The Iron Collarl Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen. Western. 79 min. 4/15/63.

June

LANCELOT AND GUINEVERE Color. Panavision. Cornel
Wilde, Jean Wallace, Brian Aherne. Producers Cornel
Wilde, Bernard Luber. Director Wilde.

LIST OF ADRIAN MESSENGER. THE George C. Scott,
Dana Wynter, Clive Brook, Herbert Marshall. Producer
Edward Lewis. Director John Huston.

TAMMY AND THE DOCTOR Color. Sandra Dee, Peter
Fonda, Macdonald Carey. Producer Ross Hunter. Direc-
tor Harry Keller.

July

GATHERING OF EAGLES, A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann.

KING KONG VS. GODZILLA Eastmancolor. Michael
Keith, Harry Holcomb. Producer James Yogi. Director
Roy Montgomery.

August

THRILL OF IT ALL. THE Color. Doris Day, James Gar-
ner, Arlene Francis. Producers Ross Hunter, Martin
Melcher. Director Norman Jewison.

TRAITORS, THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson .

Coming

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN. M.D. Gregory Peck, Tony Curtis,
Angie Dickinson, Bobby Darin, Eddie Albert. Producer
Robert Arthur. Director David Miller.

CHALK GARDEN. THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

CHARADE Color, Panavision. Cary Grant, Audrey Hep-
burn, Walter Matthau, James Coburn. Producer-Direc-
tor Stanley Donen.

DARK PURPOSE Color. Shirley Jones. Rossano Brazzi,
George Sanders, Micheline Presle, Georgia Moll. Pro-
ducer Steve Barclay. Director George Marshall.

FOR LOVE OR MONEY IFormerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven, Shirley Jones. Producers Robert Arthurs,
Stanley Shapiro. Director Ralph Levy.

MAN'S FAVORITE SPORT Color. Rock Hudson. Maria
Perschey, Paula Prentiss. Producer-director Howard
Hawks.

MONSIEUR COGNAC Color. Tony Curtis, Christine
Kaufman, Larry Storch. Producer Harold Hecht. Direc-
tor Michael Anderson.

WHAT EVER HAPPENED TO BABY JANE? Bette Davis,
Joan Crawford. Producer-Director Robert Aldrich.
Shock thriller. 132 min. 10/29/62.

January

GYPSY Technicolor, Technirama. Rosalind Russell, Nat-
alie Wood, Karl Maiden. Producer-Director, Mervyn
LeRoy. From Broadway musical hit based on Gypsy
Rose Lee's career. 149 min. 10/1/62.

February

DAYS OF WINE AND ROSES Jack Lemmon, Lee
Remick. Producer Martin Manulis. Director Blake
Edwards. A drama of the effects of alcoholism in a
modern marriage. 117 min. 12/10/62.

TERM OF TRIAL Laurence Olivier, Simone Signoret. Pro-
ducer James Woolf. Director Peter Glenville. Drama of
young girl's assault charge against teacher. 113 min.
1/21/63.

March

GIANT Re-release.

April

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min. 4/1/63.

May

AUNTIE MAME Re-release.

ISLAND OF LOVE (Formerly Not On Your Life!! Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece. 101 min.
SUMMER PLACE, A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 10° Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family. 119 min. 3/4/63.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

CASTILI AN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min.

FOUR FOR TEXAS Technicolor. Frank Sinatra, Dean
Martin, Anita Ekberg, Ursula Andress. Producer-direc-
tor Robert Aldrich. Big-scale western with big star
cast.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubln. Combination live action-animation comedy with
music.

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

PALM SPRINGS WEEKEND Technicolor. Troy Donahue.
Connie Stevens, Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort.

PANIC BUTTON Maurice Chevalier, Eleanor Parker,
Jayne Mansfield. Producer Ron Gorton. Director
George Sherman. Comedy set in Rome.

RAMPAGE. Technicolor. Robert Mitchum. Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama.

YOUNGBLOOD HAWKE Technicolor. Warren Beatty,
Suzanne Pleshette. Producer-director, Delmer Daves.
From Herman Wouk's best-selling novel.

DEPENDABLE SERVICE!

CLARK
TRANSFER

Member National Film Carriers
Philadelphia, Pa.: LOcust 4-3450
Washington, D. C: DUpont 7-7200

BULLETIN — THIS IS YOUR PRODUCT

MAY 27 ISSUE

What An the Jiltn Companies
Offering 7kiA £umme? £eaAcH?

SUMMER
PRODUCT
SURVEY

1963

Detailed Analysis and Weighing of

The Season's Product to Guide
Theatremen in Buying and Booking

MAY 27, 1963

SUMMER
PRODUCT
SURVEY

mi

What Ate the
O'dttt Companies

~Tkti pummel-?

I

M-G-M ANNOUNCES DAY-AND-DATE OPENINGS OF "THE V.I.RV IN OVER 650 THEA

PRE-RELEASE RADIO CITY MUSIC HALL IN SEPTEMB

GHOUT THE UNITED STATES AND IN MAJOR CITIES OF THE WORLD

1

I

LENGTH!

r

I

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1

■

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Metro-Goldwyn-M
Present a GEORGE

starring

KARL BOEHM
OSCAR HOMOLU

ayerand
PAL Product

CINERAMA

ion

CIMRE BLOOM

the

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HStawn

JBttfflW*

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■ HMMM

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\NNOUNCING M-G-M's GREAT SUMMER LINE-UP)

Public Bilked by TV
'1st Run' Movie Ads;
TOA Asks FTC Aid

Is the public being bilked and theatre
business unfairly damaged by the adver-
tising claims of TV stations that they
are showing "first run" movies- TOA
and Allied say yes.

John H. Stembler, TOA president,
with the support of Allied, filed a pro-
test with FTC chairman Rand Dixon
last week, charging that such television
network ads as "First Run Movies Are
Best on 7" and "Every Night a First-Run
Movie" are deceptive and untrue, since
the films have been shown in theatres
throughout the country. The exhibitor
spokesman also complained that TV is
misrepresenting pictures as being in the
Cinemascope process and is not inform-
ing the public that the features offered
in the home are mutilated versions of
the original films.

The FTC promised to "look into the
matter" and take "such action as may
be required in the public interest."

ROSENFIELD

CAST &

CREDITS
■

Report on the Industry's
PEOPLE and EVENTS

Rosenfield Fills Top
20th Promotion Spot

The remaining vacancy in the 20th
Century-Fox executive echelon was
filled last week when president Darryl
F. Zanuck named Jonas Rosenfield, Jr.,
vice president in charge of advertising,
publicity and exploitation.

Several weeks ago Rosenfield sud-
denly terminated his contract, which
had several years to run, as vice presi-
dent of Columbia Pictures, and it was
promptly rumored that Zanuck wanted
him for the top promotion post at
20th-Fox.

Disney Pulls Out of
MPA; Interests Vary

Declaring that "our interests often do
not seem to parallel those of other mem-
ber companies", Walt Disney Produc-
tions and its distribution wing, Buena
Vista, are withdrawing from the Motion
Picture Association, effective June 5. "A
simple business decision", president Roy
Disney termed it.

Goldstein, Lederer
Named Warner V.P.'s

1 ^ f

GOLDSTEIN

The loss of key manpower to other
companies and other industries has
plagued film firms in recent years.
Warner Bros, moved to hold two im-
portant executives in its ranks by elect-
(Continued on Page 37)

DFX: 20th Century Caesar

ZANUCK AT MIKE; OTHERS L. TO R.: DONALD HENDERSON. SEYMOUR POE, JEROME EDWARDS

One of "New York's finest"
approached a long, custom black
Jaguar sitting in a no-parking
zone outside New York's Town
Hall. The policeman pulled his
book, reached for his pencil, then
glanced at the DFZ 13 license
plate, backed away respectfully,
and crossed to the opposite side
of the street where he resumed
his ticketing duties.

The attitude was much the
same inside the auditorium where
stockholders of 20th Century-Fox
were assembling last Tuesday
(21st) for their annual meeting.
For most it was not so much an
opportunity to hear the annual re-
port as to pay homage to their
new Caesar, Darryl F. Zanuck.
Veteran filmmaker Zanuck, play-
ing his first role as company
president in dark suit and black

tie, sans the customary outsized
cigar, came, saw and conquered —
except for a few exciting mo-
ments — the shareholders of a
company that had been virtually
drowning in red ink for the past
three years.

The 20th Century chief execu-
tive won over the shareholders

without delay. He spoke in mod-
est terms of his accomplishments
in office and promised no cure-
alls. But he did give them this
good news: profits for the first
quarter of the current fiscal year,
$2,292,945 (90<J per share). It
was a startling switch for a com-
( Continued on Page 37)

Page 6 Film BULLETIN May 27, 1963

Viewpoints

MAY 27, 1963 # VOLUME 31. NO. 11

L<et9s Talk Agtwin about Business BuiUling

On June 24, 1957, we discussed
the potential values and the urgent
need for an industrywide business-
building campaign. Now four years
later, it still remains a prime requi-
site for restoring movie business to
full bloom, and we believe the obser-
vations bear repeating.

Editor's note.

There are two kinds of selling in the
movie business. The first kind is the
selling of an individual picture or pro-
gram. The second is the selling of the
general idea of going to the movies.

The distributors are as interested as
the exhibitors in getting as many peo-
ple as possible to buy movie tickets,
but, let's face it, there is a certain
degree of running with the tide. The
film companies think only in terms of
their own pictures, how best to exploit
them, how most profitably to distribute
them. If summer is when more people
go to the movies, then most distribu-
tors save their big attractions for the
two mid-summer months. But business
building, unlike individual picture sell-
ing, isn't a job where you can pick
your own spots on the calendar. You
have to keep at it the year 'round.

Just plain horse sense would seem to
dictate that the film distributors have
at least as much to gain as the exhibi-
tors in creating a stouter, firmer pa-
tronage basis for movies of every
stripe. The film companies, then, as
well as the exhibitors, must start think-
ing in terms of re-stimulating the
moviegoing urge in millions of latent
moviegoers. They must be convinced
— and they can be — that a visit to the
movie theatre is a desirable, pleasurable
experience — not just for the outstand-
ing film, but even for the modestly
entertaining one. In brief, the public
must be motivated to moviegoing.

The scale must be broad, national.
The campaign must be strong, per-

sistent. The aim must be to reeducate
the public to the kind of creature com-
fort, escape, aesthetic satisfaction and
general pleasure that regular theatre-
going can mean for the average Ameri-
can man, woman and/or child. The
encouragement of the weekly movie-
going habit is the first essential of our
present-day promotional task. Any and
every argument or persuasion the in-
dustry can muster is worth considera-
tion as part of this vital effort. Studies
and statements by psychiatrists and
sociologists as to the value of movie-
going as relaxation for the housewife,
the worker, the businessman should be
assembled and used. A direct, persua-
sive sales pitch that spells out the
need for going out to a movie must be
devised and hammered across to the
public. Intelligent national advertising
and publicity campaigns should be — to
use a favorite upper-echelon word —
implemented via mass communications.

How is the job to be done? The in-
dustry must have a cohesive working
organization (whether COMPO or
some other) which can supply the ma-
terial and govern the operation of the
whole effort. The actual designers of
the institutional program should be ad-
vertising and public relations experts
with a knowledge of the business, but
free of direct entanglements with any
of the components of the central or-
ganization. Provided with ample funds

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 1239 Vine
Street, Philadelphia 7, Pa., LOcust 8-0950, 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manager; Max Garelick,
Business Manager; Robert Heath, Circulation
Manager. BUSINESS OFFICE: 550 Fifth Ave-
nue, New York 36, N. Y., Circle 5-0124;
Ernest Shapiro, N.Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
$3.00 in the U. S.; Canada, $4.00;
Europe, $5.00. TWO YEARS, $5.00 in
the U. S.; Canada, Europe, $9.00.

— and that means dollars in the mil-
lions — our governing organization
would approve the most effective cam-
paign and let 'er go.

What do we have to sell, as an in-
dustry and as individual businessmen?
There's no great mystery about it. We
sell pleasure. Our stock in trade is
pleasing the public. We sell the idea
that it is a pleasure to go to the
movies — whether it is a pleasure be-
cause it gets us out of the house,
because we satisfy a gregarious urge,
because the pictures are so wonderful,
or because the theatre offers a change
from day-to-day life.

Not every theatre has exactly the
same individual sales points to make;
the all-industry campaign makes the
general points that are applicable to
all theatres. The individual theatre
must advertise and promote its own
institutional appeal, its status in the
community.

There is one tremendously impor-
tant point in this connection that must
be made vigorously to the major dis-
tributors. The business building cam-
paign is far too important to be made
a junior partner to standard picture
promotion. The business building
campaign should buy its own space,
have its own advertising and promo-
tional material; it should never go the
way of previous industry efforts, end-
ing up with a little "Go to the mov-
ies" slogan thrown in as a P.S. in the
individual picture advertising.

In the old days the travelling sales-
man was read)' with a whole batten
of answers when a potential customer
asked him, "What are you selling?"
And we had better not wait for the
question to be asked. If American bus-
iness waited for the customers to ask,
instead of whetting the customers in-
terest, we would still be the country
cousins. What are we selling? Let's
add Moviegoing to our stock in trade.

Film BULLETIN May 27. 1943 Page 7

MPA GOES GUNNING FOR BETTER PUBLIC RELATIONS WITH A PEA-SHOOTER BUDGET

For an industry which has a reputa-
tion for splurging and "sky's the limit"
living, one is somewhat taken back to
learn that only $160,000 has been ap-
propriated by the Motion Picture Asso-
ciation of America for a public rela-
tions campaign.

With due recognition of the inge-
nuity of its advertising and publicity
committee, I, nevertheless, feel that, un-
less the boys are going to get it whole-
sale, this limited fund will have little
buying power to impress even a small
segment of the American public. The
advertising and publicity executives who
are now assuming the responsibility of
launching the project are real pros, but
it is difficult to understand how skills
and talents can make up for so much
dollar deficiency.

There may be some secret weapon up
their sleeves that is unknown to me, an
old image concocter, but until this is
revealed in the over-all strategy of the
campaign I insist that $160,000 will not
go very far. The primary mistake, of
course, lies in the fact that professionals
of the committee did not tell their prin-
cipals either to do the campaign on a
grand scale or to forget about it.

Upon further analysis, I must also
wonder whether such a campaign would
make sense even if there were a million
dollars available for the purpose. Hav-
ing had experience in such matters as
public relations, I believe that most in-
dustries are prompted by panic rather
than judgment when such campaigns
are undertaken. It brings to mind the
silly tactic used in the past when film
companies withdrew advertising from
newspapers because they did not like the
notices they were getting from the
movie reviewers.

From what I have read, the projected
campaign will be designed to improve
the industry's image and at the same
time attract more theatre patronage. In
view of the latter objective, it seems
rather eccentric that the committee de-
cided that cooperation from exhibitors
was not to be solicited, and that the
MPA would go it alone. In other words,
this poses an entirely new concept in.
generalship. The generals decide to dis-
pense with the troops and fight it out
without any interference from front line
defenses.

All this comes back to the view that
to accomplish any mass project you need
mass and cash to start with. That is
why this corner has suggested in the
past that no better vehicle exists for any
industry p. r. campaign than COMPO,
the one organization that embraces the
industry.

CD (CM

ADAM WEILER

At about the same time that the $160,-
000 was announced, the MPA also let
it be known that it was unlikely that
the industry would participate in the
forthcoming World's Fair. This piece
of news hardly surprised any one,
inasmuch as most exhibits for the Fair
have been well set and the MPA would
have to work pretty fast to get any
such project off the ground before the
event opens next spring.

If you ponder the fact that a good
World's Fair participation would cost
a few million, what could be expected
from an organization that appropriates
$160,000 for image improving.

But my question is: What's wrong
with the industrys image? Millions of
folks enjoy movies very much. The only
problem is that there should be more
millions in attendance. Yet, at a neigh-
borhood theatre recently I stood in line
to see "To Kill a Mockingbird", which
was playing a return engagement. This
film seemed to have the right image
and the right message, which was not
imparted didactically, but carried a
wallop by the very beauty of its tragic
implications.

The members of the MPA board are
fine gentlemen and devoutly interested
in the welfare of the motion picture
business. It is true, however, that these
directors (presidents of the film com-
panies and independent producers)
have enough tzorres with their own
businesses and find little time to give
to general industry problems. If thesQ
gentlemen can expedite production of
badly needed pictures and use their in-
fluence in gearing them to the boxoffice,
that's good enough for me. But, if they
are too occupied to attend to "industry"
matters, they should provide the MPA
with an ancillary budget, so that when
a special undertaking is proposed money
would be in pocket, and Mr. Johnston
should not be compelled to add schnorr-
ing to his list of duties.

■< ►

The MPA is staffed with excellent
professional personnel from Mr. John-
ston right down the line. In Ken Clark

and Margaret Twyman the MPA has
two valuable assets who have dedicated
themselves to many tasks, and some-
times have had indifferent response
from the Board.

Mrs. Twyman in a sedate but forceful
way has consolidated the resources of
women's clubs and the like into a stanch
entity which has come to the aid of the
industry in many censorship battles.
Mrs. Twyman's activities are only lim-
ited because of a small staff. Her job
with "the green sheet" made such an
impact in Albany that it would be only
fair to say this was a vital factor in get-
ting legislation on classification shelved.

I gratuitously suggest that the presi-
dents of the member companies of MPA
spend a few days in Mrs. Twyman's
office where they will get a glimpse of
image-making in its best traditions.

As for that $160,000 p. r. fund, the
money boys of the mass media un-
doubtedly will wonder if such penny-
pinching truly represents the zest of an
industry never known to be a shrinking
violet. Hunting for big game, the movie
industry uses a pea-shooter.

In the meantime, there is "Cleo-
patra", "To Kill a Mockingbird", "Law-
rence of Arabia", "The Longest Day".
There is Liz Taylor and Darryl Zanuck.
And there is always Joe Levine and
Sophia Loren.

Put them all together and they spell
"image".

■< ► << ►

The San Francisco Film Festival will
again get its subsidy of $20,000 from
the City and Mr. Irving Levin will ride
again. One reason given for the tem-
porary withdrawal of these funds was
that the Film Festival did not do much
for increasing the tourist trade in the
Golden Gate area.

With all due respect to Mr. Levin and
the Festival I wonder what the Festival
does for the film business. And for that
matter I wonder what any festival,
starting with Cannes, accomplishes
other than produce a nice carnival spirit.
I can't think of any picture that im-
proved its grosses after being sent to a
festival. For that reason, it is hard to
get excited about the news that the
industry will whole-heartedly support
the festival at Lincoln Center, especially
since the governing body of that insti-
tution lacked the vision to include a
motion picture theatre in its original
plans. When this was suggested by some
solid representatives of the movie busi-
ness, the Center management snubbed
the idea altogether, failing to realize
that the cinema plays a vital role in
American culture.

Paqe 8 Film BULLETIN May 27, 1963

FINANCIAL REPORT

Disney's 'Timeless' Product Makes
Issue 'Rewarding' for the Long Term

Disney can have a bad year. Some doubt it, but a market
report put out by L. F. Rothschild & Co. recalls that the
Mickey Mouse magic wore thin enough in I960 to produce a
deficit. But it's the exception rather than the rule.

"While the film industry is noted for its volatility," the
Rothschild report comments, "Disney earnings have not gen-
erally proven vulnerable, reflecting the consistent audience
appeal of its features; the favorable publicity which its film
product and other activities create for each other; its policy of
reissuing previous releases; the success of its television pro-
grams; and to a lesser degree the profitability of Disneyland
and its other ancillary operations."

In short, it's a good bet. Cost of the stock isn't too high, de-
pressed a little by public scepticism about movie investments in
general and the riskiness of producing property that depends
entirely on what is generally thought to be a fickle public taste.

Disney, the Rothschild analysis notes, has of late "avoided
the pitfalls of high-budget films, has contracted with NBC (the
previous ABC-Disney duet hit a false note) for its television
show, and with stations in major markets for re-telecasting the
'Mickey Mouse Club', has released two reissues in the past sev-
eral months, with another scheduled for September, and has
made significant capital expenditures at Disneyland." Pointing
out that Disney product has generally been "timeless" and that
the studio has a good supply of product, Rothschild's views
Disney stock as good value, "rewarding to the long-term
investor".

Paramount Profits Sink Sharply

A drop in the fortunes of Paramount Pictures for the first
quarter of 1963 was revealed in the company's statement. Profit
for the quarter is down to $275,000 (170 per share) far under
last year's first quarter figure of $1,129,000 (670). Paramount
books show an "investment profit" of $445,000 or 28 cents a
i share where none was shown last year.

Paramount continues to buy its shares in the open market
ind reduced its outstanding shares by approximately 86,000
iince the first quarter of '62.

3oldenson Sees AB-PT Upswing in 2nd Half

The effect of severe winter weather on theatre boxoffices and
j i few TV shows that didn't pan out as hoped for had an ad-
/erse effect on ABC-Paramount's first quarter earnings and are
ikely to carry over into the second quarter, but president
Leonard H. Goldenson foresees an upswing in the second half
I >f the year, the recent shareholders annual meeting was told.

First quarter earnings of $2,512,000 (54 cents per share)
showed a drop from the previous year's $2,909,000 (680).

Goldenson's optimism for the second half of the year is
j jased on expectations that a new roster of television programs
.vill prove fully competitive with rival networks and on the
| ivai lability of a number of quality motion pictures to keep
j >oxoffices of the Paramount theatre chain busy. President Gold-
;nson declined to predict how profits for the full year would
rompare with last's $11,038,614.

Mlied Artists Loss $1.2 Million for 39 Weeks

Losses of $1,200,000 for the 39 weeks ending March 30, 1963,
resulted in a decision by Allied Artists executives to pass the

quarterly dividend on the company's 5l/2% cumulative pre-
ferred stock. Losses are running pretty much as they did last
year when the company took $1,241,000 worth of red ink to
write the financial statement for the same period. Gross income
this year for the 39 weeks was up considerably, to $13,584,000
as compared with $9,585,000 for the period ending March 30,
1962.

Allied president S. Broidy predicts a profitable six months
starting July 1, 1963, when profits on pictures then in release,
including the Samuel Bronson production "55 Days at Peking"
will begin to show on the books.

Diversification Key to NG Improvement

Expansion and diversification of the activities of National
General Corporation, the Los Angeles-based theatre-vending-
real estate company, resulted in increased profits for the first
half of the current fiscal year. President Eugene V. Klein an-
nounced that earnings for the 26 weeks ended March 26, 1963,
totaled $1,751,753, an increase of 18 per cent over the same
period last year. Income for the 1962 period included a special
item of $411,270, while this year's figure was entirely from
operations. The earnings for the first six months this year
amounted to 53 cents a share on 3,313,363 shares. Real estate
income was $273,000 compared to a mere $16,000 for the first
half of the 1962 fiscal year. Profits were earned on a gross in-
come of $23,706,652 in the recently-completed six months,
compared to a total of $22,439,800 a year earlier.

FILM &

THEATRE

STOCKS

Close

Close

Film Companies

5/9/63

5/23/63

Change

ALLIED ARTISTS

... 2%

2%

■ %

ALLIED ARTISTS (Pfd.) .

... 8%

8%

" %

CINERAMA

... 14%

143/4

+ %

COLUMBIA

■ 291/4

281/4

-1

COLUMBIA (Pfd.)

82

82

DECCA

■ 45%

453/4

+ %

DISNEY

. . . 36%

35%

" %

FILMWAYS

... 6%

6%

" %

MCA

. 56i/8

56i/4

+ %

MCA (Pfd.)

• 363/4

36%

- %

M-G-M

... 313/4

351/4

+ 3%

PARAMOUNT

. . 423/g

44%

+ 2%

SCREEN GEMS

25

243/8

- %

20TH-FOX

. . . 32%

333/4

+ %

UNITED ARTISTS

29

283/4

- Va

WARNER BROS

14

15%

+ 1%

Theatre Companies

* * *

AB-PT

.. 3P/4

31

- 3/4

LOEWS

... 191/2

18%

-1

NATIONAL GENERAL

... 113/4

10%

" %

STANLEY WARNER

. . . 22%

233/8

+ 1%

TRANS-LUX

... 11%

* * *

121/4

+ 3/4

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, American
Exchange; all others on New York Stock Exchange.)

*

* *

5/9/63

5/23/63

Over-the-counter

Bid

Asked

Bid

Asked

GENERAL DRIVE IN

9

9%

9

93/4

MAGNA PICTURES

25/8

3

2%

2%

MEDALLION PICTURES

6

6%

7

7%

SEVEN ARTS

83/8

9%

7%

8%

UA THEATRES

83/4

93/4

83/g

9%

UNIVERSAL

No quotation

61

65%

WALTER READE STERLING

. 2

23/8

2

2%

WOMETCO

233/4

25%

243/4

263/4

( Quotations courtesy National Assn.

Securities

Dealers

Inc.)

Film BULLETIN May 27 1963 Page 9

The Vieu frw OutAide

m—m^^m^am by roland pendaris ■^■i^h

Part- or Full-Time Publicists

Some columns ago I had occasion to indulge in comment
about the youthful tinge which seemed to be predominant
among motion picture promotional personnel. A number of
readers were moved to write to me. Their letters were illumi-
nating, but not always perhaps in the sense that was intended.

One of the correspondents was a middle-aged publicity man
who agreed heartily with my comment that there should be
more of a place on the publicity front for the old pros. To
which I repeat my previous hearty "aye." Another letter writer
had a friend who needed a job. He described said friend as
extremely well qualified and asked whether I could be more
specific about some of the openings to which I had referred in
my column. (I had said that several publicity department heads
had spoken to me about the jobs they were trying to fill.)

Now I would presume that the people who wrote to me, and
the people on whose behalf they wrote, were all men who in
their years of work in the film publicity vineyards have become
acquainted fairly widely in the industry. If so, how come they
didn't all know about at least some of the opportunities that
were known to me, and at least one of which has subsequently
been filled (not by any of my letter writers)? How come they
hadn't been in touch with the very same department heads who
confided in me? How come that experienced men are not aware
of availabilities within their own particular field of endeavor?

To the best of my recollection things were not ever thus.
Back in the pre-war days the industry grapevine was a pretty
good one and the word about job openings got around in a
hurry. I don't think the people have changed in the intervening
decades, but I think that the industry has changed.

Once upon a time there were eight or nine major companies
at the distribution end. There were large publicity departments
at each of these companies. The publicists met each other at the
newspapers, at industry lodge meetings, at union or Hays Office
sessions. Even if a young publicity man wanted to live in his
own private enclave it was very likely he'd find he was not
alone. We all kept tabs on the opposition, because there were
only eight other offices to watch.

But not now. Not in the era of independent producers and
even more independent press agents and shrunken publicity
departments for the major companies. I don't know whether
there has been any great rise in the total number of press agents
handling movies in New York in the past twenty years, but I
have only to look at the classified telephone directory to know
how many more movie publicity offices there are now. I would
imagine that a movie publicist looking for work today would
have to hit upwards of 50 different offices before he exhausted
the New York film flack possibilities.

Distribution is fractionalized, with a vengeance. As a result,
it seems to be competing with itself. The switching of press
agents from one job to another seems to be breaking all speed
limits. The promotional strength which the big companies bring
to bear on a new picture is a sometime thing. The day of the
sustained long-term push is over except for the flagship attrac-
tions like the forthcoming one about that Egyptian lady and
her Roman admirers.

I do not believe that cutting down on the size of the publicity

staff and hiring outside press agents on a piecework basis is
ideal, even if it has financial attractions for the moment. It
seems to me that the smartest move a company can make — and
one that I am glad to see Fox making — is to try to beef up its
own house promotional team — and good luck to Jonas and
Harold. Furthermore, I hate to see cut-back staffs asked to take
on the added load of handling TV publicity, or doing a little
for the record company subsidiary and so forth. I am reaction-
ary enough to believe that a good movie press agent does his
best for movies when he sticks to movies, and that a guy on the
company payroll is apt to be more conscientious than an inde-
pendent with five other big accounts. (Not just theory — I've
been a staff p.a. and an independent in my time, before I weak-
ened and became a pundit.) I think the independent is more
apt to be going in for the impress-the-client eyewash.

Maybe the independent would be more valuable if the major
companies went all the way with him and hired him to do con-
tinuous institutional promotion as well as the per-picture bit.
It is the demise of institutional publicity and, incidentally, in-
stitutional pride that rather causes me to yearn just a touch for
the good old days. I grant that the pubtliciy needs have changed.
Twenty years ago no movie company would have had any of
its promotion personnel concerning themselves with financial
publicity. Now the financial press must be wooed constantly
and the company that has an adept public relations man who
knows how to interpret a financial report or book his mogul
for an analysts society luncheon is fortunate indeed. But it is
interesting to note that the best financial publicity has been
accomplished by motion picture staff publicists, not by inde-
pendents hired for a flat fee or a flat period of time.

The piecework promotion pattern seems to add up to feast
or famine. When the season for major releases comes along, all
the press agents have accounts to push. But later on, in the cool
cool of the winter, no campaigns to speak of. When you are
paying on a per-picture basis, you pay only when you have an
immediate sales assignment.

The more enlightened of the movie promotional executives
have made strenuous efforts to change this psychological block.
They have tried to get what might be termed "off-season" ad-
vertising and publicity budgets on an institutional basis.

That brings me full circle, back to my correspondence. The
people who wrote to me on the general theme of where are
the publicity jobs didn't know where the jobs were because
there are so few jobs in the old sense of the word. Mainly there
are accounts. You're hired to "service" a particular picture or a
particular producer who is an account of your employer. When
that assignment ends, you look for another account, probably
with a different agency. You don't look for an advertising job
in the home office of one of the big motion picture distributors
because everybody knows that "all that work has been turned
over to the ad agencies.' You don't look for a publicity job
with the big movie firm because you hear that "they use out-
side press agents." Compare that to television and General
Motors. You won't find shrunken promotional departments
there. And I don't think you ever will, no matter how many
independent press agents are hired by television packagers or
by automobile designers or component suppliers. (Maybe this
is a tortured comparison, but it makes the point.)

There is still a great deal to be said about the ultimate wis-
dom of blowing your own horn.

Paqp 10 Film BULLETIN May 27. 1943

Having weathered one of the less prosperous winters of recent years,
with millions of prospective filmgoers enjoying a feast of relatively new
and important features on their TV screens, theatremen are donning their
rose-colored glasses as they await the bounties of Summer. Now that the
warm season is here, they are eagerly scanning the release charts, hope-
ful that the pictures issued by the film studios of the world will gratify the
public taste for out-of-home entertainment.

The function of this annual Summer Product Survey is to appraise the
product qualitatively, quantitatively, and on the basis of boxoffice potential.

Our analysis in summary, reveals the following: qualitatively, the Sum-
mer, 1963, product has a goodly number of high spots, although the num-
ber of unquestionable artistic accomplishments are not as plentiful as one
would hope for; the number of releases offered by the principal distribu-
tion companies for the months of June, July, August, September (as pres-
ently recorded) is short of the necessary supply. All in all, however, there
is enough promising product to augment the big splash that will be made
by that most colossal of all movies, "Cleopatra".

Film BULLETIN May 27. I963

LEADING EMBASSY'S SUMMER
PARADE OF HITS / JOSE^sfNTLsEVINE

FEDERICO
FELLINI'S

Jnwee

Opera

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PRODUCT
SURVEY

20th Century-Fox

One motion picture, above all others, dominates
this summer season, not for 20th Century-Fox
alone, but for the entire industry.

Long before its first frame flashes on the
screen of the Rivoli Theatre on June 12 "Cleo-
patra" had become the most famous movie of all
time. Riding the crest of the most extensive and
sustained publicity wave ever to inundate the whole
reading world, "Cleopatra" makes a major product
story on its own, and even while the critical verdict
on the almost $40 million spectacle is awaited, it
tends to overshadow the other important assets
20th-Fox has on its roster for summer, 1963.

Those assets are not inconsequential. Under
president Darryl F. Zanuck, this company is in the
ascendancy, quickly reestablishing its position as
one of the prime sources of quality product. The
summer calendar shows, in addition to the pre-
miere of "Cleopatra", the general release of Zan-
uck's own roadshow success. "The Longest Day,"
and the winner of the Cannes Festival Golden Palm
award, "The Leopard", as well as several other
(interesting entries.

The new dynamism Zanuck is providing at the
Ihelm of 20th-Fox has been making headlines in
I the trade and general press ever since he took over
I direction of the studio less than a year ago. The
tone of most of the press coverage has been an

THE LEOPARD

optimistic wait-and-see attitude reflecting an expec-
tation of good things to come. The seven pictures
to be released from June to September provide
considerable concrete evidence that DFZ is living
up to those expectations.

"Cleopatra" a private source who has seen the
film advises us, is no mere spectacular, but a literate
and penetrating look at one of the most intriguing
and mysterious women of history. Theatremen al-
ready have paid the film company advance guar-
antees equal to about half of its enormous cost.
Advance ticket sales reportedly run into millions of
dollars. Publicity has surrounded production almost
from the day it was decided to make the picture
and has ranged from the usual topics covered by
studio press releases on progress of the film to
widespread international press coverage of the
romantic involvements of the principals to the
hassle over the soaring costs of production and the
subsequent management upheaval at 20th-Fox. In-
deed, the picture is already so well known that it
was deemed unnecessary even to put its title on
the billboard. A painting of Elizabeth Taylor,
Richard Burton and Rex Harrison in their respec-
tive roles was considered enough for passersby on
Broadway.

Filmed at the record cost reputed to be between
$37-40 million, the Todd-AO blockbuster goes into
long run, hard ticket release in late June in princi-
pal cities. New York's Rivoli has signed on for a
minimum of 75 weeks, and it's not inconceivable
that the run could extend to two years. No plans
for anything other than roadshow engagements
have even been hinted at.

Also scheduled for June (20th is firing a number
of big guns early in the summer) is the general
release of the smash roadshow, "The Longest
Day". Produced and directed by Darryl Zanuck,
the film has too many (42) boxoffice names to list.
First released last fall, "The Longest Day" has met
with critical praise and spectacular public accept-
ance throughout the world and is a significant as
well as commercially valuable property. The story

( Co>/ti>///i tl on Pttgt ] 5 )

Cleopatra'
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MARILYN

Film BULLETIN May 27. 1943 Paqe 13

IflutiHlf'p

lea4 )H<fiH
Parade

THE MAIN
ATTRACTION

SUMMER PRODUCT SURVEY

M-G-M

Theatremen can look for a steady supply of prod-
uct from Metro-Goldwyn-Mayer throughout the
summer months. In line with president Robert H.
O'Brien's promise to provide product for a hungry
market, the schedule shapes up solidly, both from
a qualitative and quantitative standpoint.

In all, 13 new films are slated for release be-
tween June and September. There is fare for al-
most every taste.

Looming largest — as has been the case with
Metro over the past several years — are two big, ex-
pensive, handsomely showcased attractions now
ready for general release. "Mutiny on the Bounty"
and the delightful "Wonderful World of the
Brothers Grimm" (a great draw for the vacationing
youngsters) both recent roadshow pictures, should
make the summer a happy season for both the com-
pany and its exhibitor customers. Albeit neither of
these two reserved-seat epics have thus far lived up
to the pace-setting boxoffice performance of their
golden predecessor, "Ben-Hur," both "Bounty" and
"Grimm" figure to make the turnstiles ring a very
merry tune when they make the rounds of theatres
at popular prices. They rank with the summer's
biggest attractions.

The one that should draw the best among the
new entries is "The V.I.P.'s," Metro's big Septem-
ber show, starring the sizzling romantic pair of
Elizabeth Taylor and Richard Burton. Riding the
crest of their "Cleopatra" fame, they here form the
focal point of this drama centering around a flight-
full of very important people who become fog-
bound in London long enough for each of the
v.i.p.'s to solve his own individual problem. The
enormous interest in the Taylor-Burton duo makes
this one look like the season's casting scoop.

The switchover of singing star Pat Boone from
a boy who once wore white buck shoes and refused
to kiss his leading ladies, to a cynical guitar player-
on-the-make marks "The Main Attraction" as a pic-
ture that could draw adult patronage in goodly
numbers. It's got sex, action, danger, the lure of the
circus and lovely Nancy Kwan — all in Metrocolor
— which means an interesting June number for
most situations.

The July program is rounded out by "The
Golden Arrow," an adventure import in Techni-
color that displays Tab Hunter as a swashbuckling
prince fighting for his throne, and "Cattle King,"
an actionful western starring Robert Taylor, whose
recent TV exposure has kept that famous cinematic
name before the public eye. Both shape up as ex-
ploitable summer product.

July emphasizes the varied menu of film treats
M-G-M has in store for theatremen. Two offerings
are perfect for the kids; two are aimed at dramatic
fans, while one shapes up as a rollicking family

THE V.I.P.'s

comedy everyone can enjoy. Letting the youngsters
have the floor first, "Captain Sinbad" promises to
be an exciting fun show for the school-free younger
elements, not to mention that legion of adventure
fans from eight to eighty. Dragons, assorted other
monsters, beautiful maidens and the fearless Sinbad
cavort in Technicolor in what figures to be one of
the strong exploitation entries of the season. An
advance look at the ads whipped up to back the
picture points to an eye-filling, smart-selling pro-
motion campaign that will herald the news to all
potential customers.

"Tarzan's Three Challenges" is ready-made for
the kids' market that expands so explosively when
the final school bell rings. Jock Mahoney is the
Tarzan, the setting is the Orient, and the usual
loincloth heroics are performed against a Metro-
color backdrop.

Dramatically speaking, Metro has "Two Are
Guilty," a taut tale, in flashback form, of a kid-
napping and subsequent murder of a small boy.
Anthony Perkins is the only name in this Paris-set
film that will mean something to American fans,
but its intriguing storyline should sit quite well
with mystery fans and art house devotees alike.
Elsewhere, it shapes up as dual-bill fare.

"The Day and the Hour" is difficult to figure,
boxoffice-wise, but it has several ingredients that
may make it a satisfactory performer. Set against
World War II background, this human exercise

(Continued on Page 38)

A TICKLISH AFFAIR

Page 14 Film BULLETIN May 27, 1963

IRMA LA DOUCE

United Artists

The 1963 summer season is fraught with good
omens for theatremen who will be offering United
Artists' product. The schedule, comprised of eight
features, boasts a July tandem — one assured hit
(according to the reviewers), "The Great Escape",
and another likely smash attraction in "Irma La
Douce". Beyond those two outstanding films the
program shapes up as varied and potentially strong.

Advance word has it that skilled producer-direc-
' tor Billy Wilder has gone all the way in "Irma La
Douce." Done up handsomely in Technicolor and
Panavision, this screen version of the delightfully
naughty stage hit has Jack Lemmon and Shirley
MacLaine cavorting in a screenplay by Wilder and
his associate in past smashes, I. A. L. Diamond. It
is being said that none of the play's sexy flavor has
been watered down, and is tempered tastefully by
the same tongue-in-check tone that made the play
such a delight.

UA's showmen are staying with this idea in their
campaign. They invite you to "do business with
Irma," the prettiest poule in Paris, but they also
tell of "a story of passion, bloodshed, desire and
death . . . everything, in fact, that makes life worth
living." The whole "Irma" bit should be one of
the season's gayest and most lucrative.

The other half of the powerful July entry, "The
Great Escape," is the exciting treatment of a fantas-
i tic, but true, mass breakout of Allied airmen from
| a German POW camp during World War II. Fea-
turing an all-male cast, with no particularly im-
posing marquee names, (Steve McQueen and James
(Garner star), this entertainment sizzler relies on
humor, drama and suspense — recalling such pre-
vious hits as "Stalag 17" and "Guns of Navarone"
— for its boxoffice sock.

Recipient of a Film BULLETIN Film of Distinc-
tion review, "Escape" is, according to our reviewer,
'bound to become one of the most talked about
films of the summer, and quite likely, one of the

SUMMER PRUUUET SURVEY

hottest moneymakers . . . It will grip and excite
viewers of all ages and tastes, females as well as
males."

While "Irma" and "Escape" tend to overshadow
the remainder of UA's summer program, they by
no means obscure it. The schedule contains other
offerings that hold much promise.

June is the month for comedy at United Artists.
"Call Me Bwana" is a Bob Hope vehicle, in color,
also starring beauties Anita Ekberg and Edie
Adams. It centers around foreign powers, moon
probes and life among the savages of Africa — from
the sound of it, a potential field day for the famous
funnyman.

"Mouse on the Moon," to be released by Lopert
Films, the UA subsidiary, is a follow-up to the
cleverly successful "Mouse that Roared." Once
again, filmland pokes satirical fun at world powers
— this time with the help of Terry-Thomas, he of
the funny face and large art-house following. If
this one is able to match the performance of its
modestly-budgeted predecessor, it will chalk up a
nice run in the art and class house sphere. It's in
Eastman Color.

Rounding out the June card is "Buddha," an
Indian-made religious film that must be classed as
a specialized exploitation item.

August offers "Toys in the Attic." Based on
Lillian Hellman's stage success, this film represents
a startling change of pace for song-and-laugh man
Dean Martin, who here essays a strong dramatic
role — a brother torn by the almost-incestuous love
of one of his sisters, an affair from the past and
his own, long-suffering wife.

Geraldine Page, Yvette Mimieux, Wendy Hiller
and Gene Tierney comprise Martin's strangely as-
sorted feminine coterie, a group that probably will
go a long way toward making "Toys" an absorbing
screen vehicle, one that could do handsomely, es-
pecially in metropolitan situations.

"Stolen Hours," judging by its story elements,
leans more toward the "soap-opera" school of
drama. Susan Hayward stars in the role as a young

(Continued on Page 38)

]9ma

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THE GREAT ESCAPE

Rip BULLETIN May 27. 1963

Page 15

SUMMER PRODUCT SURVEY

hctiA half
Comedy

£i$ One

£koul4
Regale

THE THRILL OF IT ALL

Universal

Universal rides into the summer season on the
wings of a highly successful program of spring
releases. While the forthcoming lineup will have
difficulty in matching the consistency of the cur-
rent "Mockingbird", "Birds" and "l^ly Ameri-
can", some good prospects are on the summer list.

The outstanding item, on the face of its ingre-
dients, appears to be the new Doris Day starrer,
"The Thrill of It All". Produced by the familiar
team of Ross Hunter and Martin Melcher, and
co-starring James Garner, Universal, of course, and
theatremen are hoping that this romantic comedy
will follow in the footsteps of such boxoffice hits
as "That Touch of Mink", "Pillow Talk", et al.
A satire on the world of TV commercials, it just
might. We will have to await the verdict of our
reviewer for confirmation. "Thrill" is scheduled
for August release.

Heading the three films listed for June is "The
List of Adrian Messenger", which will be bolstered
by the solid promotional and booking backing of
a TOA Hollywood Premiere engagement. It has
the ingredients for a good hard-sell campaign.
While it lacks any real marquee strength in the
regular cast (George C. Scott, Dana Wynter), di-
rector John Huston has given the exploiteers a
first-rate gimmick in five "cameo" roles played by

Tony Curtis, Kirk Douglas, Burt Lancaster, Robert
Mitchum and Frank Sinatra. They play their bits
in heavy disguises, and it makes a good guessing
game as to who's who.

Another June release is "Tammy and the Doc-
tor" (Sandra Dee, Peter Fonda), which our re-
viewer found the weakest in the series. "The box-
office potential", he reported, "lies mainly in the
hinterlands, where the sugary ingredients of the
series have been best received." The remaining
June entry is "Lancelot and Guinevere", which
The Bulletin's man termed "a mish-mash of action-
costume spectacle" . He felt it should do good
enough in the mass market, but not with sophisti-
cated audiences. Cornel Wilde directed and he
stars. Both of these June releases are in color.

Universal's July is highlighted by the new Rock
Hudson vehicle, "A Gathering of Eagles". Also
in color, this is the story of the Strategic Air
Command and the Red Telephone that can signal
a worldwide alert at any moment. Directed by
Delbert Mann, it tells Commander Hudson's prob-
lems with some of his crew and with Mary Peach,
his British wife.

July also will bring "King Kong and Godzilla",
a Japanese import in color. Bringing together two
of filmdom's most famous monsters, this exploita-
tion item should meet with firm favor among the
younger element and aficionados of science fiction
and horror shows. The Japanese have shown con-
siderable ingenuity in the making of this type
of film.

A minor British import, "The Traitors", tops
off the August schedule with "The Thrill of It
All". No releases were furnished by Universal for

September.

A GATHERING OF EAGLES

Pooe 16 Film BULLETIN May 27, 1943

SUMMER PRODUCT SURVEY

Columbia

Launching the summer season with an established
boxoffice smash, "Bye Bye Birdie", Columbia has
a bouyancy that bodes well for its entire warm
weather performance. This company is turning
loose a minimum of seven releases during the June-
September period, and all will be backed up by the
kind of hard-hitting promotional support for which
Columbia has an established reputation.

With "Birdie" sure-fire for every market; a
strong exploitation spectacular in "Jason and the
Argonauts"; a fresh "Gidget" frolicking in Rome;
and an important attraction rounding out the sea-
son in September, Columbia comes into the sum-
ner in robust health. Its customers should thrive.

"Bye Bye Birdie" is one of the hottest properties
iround and Columbia's strongest entry into the
nid-year market. The film broke all-time records
it Radio City Music Hall and the Hollywood
3aramount over Easter, chalking up the Music
Tail's biggest week's gross in its thirty year history:
5233,825 for one week!

Perfect summer fare, this show is a bouncing,
bursting satire on the rock-and-roll craze designed
lor maximum appeal to the young and young at
leart of every age. The stage play was a huge
.uccess; the film is a smash success. The cast: TV's
Dick Van Dyke, who appeared in the stage show;
iobby Rydell, an established teenage favorite;
fanet Leigh and, Ann-Margret, one of the most
;xciting newcomers in a long while. The combina-
ion of verve, light-heartedness, sprightly music
ind boxoffice names makes "Bye Bye Birdie" one
)f the assured big boxoffice contenders of the sea-
on. It could be the summer's No. 1 popular-price
;rosser.

; Also slated for June release, "Jason and the
Argonauts" is the filmization of the tale of the
;olden fleece. This spectacular in color hits the
narket in the midst of vast, renewed public inter-
st in the history and myths of ancient Greece, an
nterest spurred if not sparked by an eight-issue
eries in "Life" which, happily, coincides with
elease of the film.

JASON AND THE ARGONAUTS

BYE BYE BIRDIE

Producer Charles Schneer has gone all out for
authenticity of locale and stunning visual effects.
The three million dollar production cost has gone
into production rather than into top marquee
names. "Jason" patently does have the ingredients
of a solid exploitation show and Columbia's box-
officers under vice president and promotion chief
Robert S. Ferguson are going all out to promote
the epic. No other summer entry of this genre
seems to contain the boxoffice elements that prom-
ise to make "Jason" one of the season's big grossers.

July is thin, with only a modest thriller scheduled
for release. William Castle, the renowned chill-
maker has gone to Switzerland and a private girls'
school for a melodrama of panic and espionage in
"13 Frightened Girls", which features teenage beau-
ties from thirteen countries. The Columbia-Bill
Castle showmanship team has collaborated to make
much boxoffice noise with thrillers in the past, and
in that lies the potential of "13 Frightened Girls".
The answer to this one is sell it or forget it.

The third in the hitherto popular "Gidget"
series comes to the screen in August. "Gidget Goes
to Rome" was brought to public attention early
with a much publicized talent hunt for a new Gid-
get. It turned up a little charmer name of Cindy
Carol, who promises to be as popular as her prede-
cessors in the role. Jimmy Darren, a name to reckon
with among teenagers, is her co-star. Also featured
prominently is the eternal and beautiful city of
Rome, a sure draw for travel lovers and the
romance-minded. Producer Jerry Bressler has a
long line of family hits to his credit, including the
Andy Hardy and Dr. Kildare series, and seems
determined to score in the long range again with
Gidget.

Also slated for August is a teenage musical,
"Just For Fun,,' destined for the lower slot.

The big September news will be made by "Dr.
Strangelove, or How I Learned to Stop Worrying
and Love the Bomb." Described by producer-direc-
tor Stanley Kubrick as "a nightmare comedy ', this
much-publicized film figures to be the first major
release dealing with the subject of accidental
nuclear warfare. It's an explosive subject that must

(Continued on Pagt -l<>)

Sir die '

J

Film BULLETIN May 27. 1963

Paqe 17

m

SUMMER PHDDUCT SURVEY

II Vf Bras.

Warner Bros, has not been a prolific studio in
recent years, and its output for this summer just
matches last year's sparse program of four features
for the June-September period. Two have the mak-
ings of important attractions, the other two can be
classified as programmers.

There is no "Music Man" on this year's sched-
ule, but Warner officials have particularly high
hopes that "PT 109" will ring the boxoffice bell.
This saga of President Kennedy's heroic war ex-
periences in the Pacific has the elements that make
for strong popular entertainment. Considering that
it is both a thrilling tale of adventure and human
courage, and that it is based on the actual experi-
ences of JFK when he was a young naval officer,
"PT 109" should find enthusiastic response from
audiences on every level. Cliff Robertson assays
the Kennedy role. Produced by Bryan Foy under
the personal supervision of Jack L. Warner, it is
done up in Technicolor and Panavision — a highly
commercial and merchandiseable package for July
release. It should rank with the season's biggest
grossers.

The second important Warner release, also a
July entry, is "Spencer's Mountain". Like some
other Delmer Daves productions ("Summer Place",
"Parrish") that fail to please the critics but attract
the public, "Spencer's Mountain" promises to be
a popular summer draw.

Filmed in Technicolor and Panavision against
the colorful mountains of Wyoming, it purports to
tell the story of the large and impoverished family
headed by Henry Fonda and Maureen O'Hara, and
their dream of building a home on top of Spencer's

Mountain and sending their son, James MacArthur
to college. But to heighten its mass appeal, Daves
has stirred in a generous dash of sex involving
MacArthur and newcomer Mimsy Farmer, daugh-
ter of Fonda's boss. This formula of family prob-
lems and inter-family liaison has paid off before.
It is likely to again in the case of "Spencer's
Mountain".

In June, Warner have only a minor offering,
"Black Gold". This black-and-white melodrama
about an adventuresome oil wildcatter (Philip
Carey) and the girl with whom he becomes in-
volved (Diane McBain). It smacks of dual bill
fare exclusively for the action market.

September will bring "Wall of Noise", a horse
racing meller involving a poor but honest young
trainer (Ty Hardin) and his devoted sweetie
(Dorothy Provine) of TV fame. Also tentatively
slated for Sept. is "The Castilian", starring Cesar
Romero, Frankie Avalon.

t*a rtt ttt o u n t

After a long, long arid spell, Paramount shows
signs of coming to life this summer. It has a Jerry
Lewis comedy, a John Wayne actioner, and Frank
Sinatra, with Yiddish overtones, doing the movie
version of a Broadway hit. A Steve Reeves pseudo-
spectacle from Italy rounds out the season's pro-
gram.

The June release, "The Nutty Professor", is re-
ported to be just about par for Jerry Lewis, no
better, no worse than most of his latter-day ve-
hicles. He essays the dual role of a timid chemistry
professor who becomes a preposterously conceited
ladykiller upon swallowing a magic potion made
in his lab. The weakness again seems to be the
comic's tendency to overwrite his own role and
to attempt bits of sentiment moralizing in striving
for the Chaplinesque vein.

"Duel of the Titans", also due in June, is
another of those Italian papier-mache muscle epics
with dubbed voices, starring Steve Reeves and
Gordon Scott. The intellectual level of this pre-
sumed historical tale is about 8 years of age, but
it does have the usual exploitation potential and
its boxoffice prospects depend entirely on whether
Paramount is willing to spend some heavy dough
to sell it. It's in color.

July brings with "Donovan's Reef" (Wayne)
and "Come Blow Your Horn" (Sinatra). The for-
mer, directed by John Ford and in color, is a
familiar, fistful Wayne melodrama laid in the
South Seas.

"Horn" was a big hit on the Broadway stage.
A frenetic comedy about a Jewish family, the
parents and two unmarried sons, it gives Sinatra
one of his liveliest roles. Molly Picon, of the Yid-
dish stage, plays the mother, Lee Cobb the father.
It should score heavily in the metropolitan areas,
but is questionable for the hinterlands.

Spencer A
tflcuHtain'
Ha* Pep
CieinehtJ

Paqe 18 Film BULLETIN May 27, 1943

. . ■ each one backed by
a biz stakes campaign —

COLUMBIA SUPPLEMENT I

SUMMER PRODUCT SURVEY

The Go! Co! campaign that will keep 8IRDI£ flying high!

The FULL-CLOR ad that will be spread
in leading newspapers from
coast to coast

' A SB*

everi

\

POSTERS THAT FAIRLY BUBBLE

i i it

'SEVENTEEN' FASHION TIE-IN

Keyed to a 17-page junior fashion
spread in Seventeen Magazine, Columbia
launched the biggest movie-fashion pro-
motion tie-in in film history for "Bye Bye
Birdie". The Seventeen splash is being
followed up with fashion shows and win-
dow displays in major department stores
throughout the country and in Canada.
Eight leading manufacturers of junior
styles and sportswear are participating in
the tie-in.

HELENA RUBINSTEIN CONTEST

In honor of teenagers' love of the tele-
phone and based on a sequence in the
film, a special tie-in with local Helena
Rubinstein outlets throughout the nation
is under way. Advertisements in Seven-
teen, Ingenue and the Scholastic group of
magazines appeared in April and will be
followed up in August. Prizes for winners
of the contest are Princess phones, 50 of

them, with free local service for a year.
Helena Rubinstein is pushing the contest
by direct mail advertising to reach half a

million teenage girls.

MUSIC IS BIG

Music is big in "Bye Bye Birdie" and
six long playing albums and several dozen
45 rpm albums are on the market. Head-
ing the list is the RCA Victor soundtrack
album, which is getting a big push via bill-
board and national magazine advertising.
Recordings of the stage show, both Broad-
way and London, have been reissued to tie
in with the film, Bobby Rydell has an LP
out and two jazz albums on themes from
the film have been produced.

SPECIAL PAPERBACK

MacFadden-Bartell is publishing
"Birdie" as a novel which will appear on
drug store, chain store and terminal book-
stands keyed to release of the film.

ADS THAT FAIRLY SPARKLE

t Mo»t woNomrui

IN THESE NEWSPAPERS

ATLANTA: Journal & Conslitulion
BALTIMORE: Sun
BOSTON: Globs, Herald
BUFFALO: Courier Express
CHICAGO: Sun-Times, Tribune
CINCINNATI: Enquirer
CLEVELAND: Plain Dealer
COLUMBUS: Dispatch
DALLAS: Times Herald
DENVER: Post
DES MOINES: Register
DETROIT: Free Press, News
INDIANAPOLIS: Star
MILWAUKEE: Journal
MINNEAPOLIS: Tribune
HOUSTON: Chronicle
NEWARK: News

NEW ORLEANS: Times-Picayune
NEW YORK: Herald Tribune, News
PHILADELPHIA: Bulletin, Inquirer
PITTSBURGH: Press
PHOENIX: Republic
PROVIDENCE: Journjl
ST. LOUIS: Globs-Democrat,

Post Dispatch
ST. PAUL: Pioneer Press
SAN FRANCISCO: Chronicle
SEATTLE: Times
SPRINGFIELD: Republic
WASHINGTON: Post, Star
LOUISVILLE: Courier Journal

THE MOST WONOERf%E
J

COIUMIIA, SUPN

ENT EVER EVER I

THE MOST WONDERFUL ENTERTAINMENT EVER EVERI

go 'go 'see' see'^bye bye birdie".',

mi DKX ANN- MaURESeN SW JBS H~ ED

19GH mm MW-mra»raMsuLiivan.

■sss *=»»««,jjMioiiiw..-s-aresiMF.r .-_r

COLUMBIA SUPPLEMENT '

The Happy Story
of 1963's
Happiest

Boxoffice $ma$h

Columbia's zestful entertainmentful musical,
"Bye Bye Birdie", moves into national release
a proven boxoffice smash. Pre-release Easter
engagements of the Fred Kohlmar-George
Sidney hit, adapted from the Broadway and
London stage success, broke all-time records
at both Radio City Music Hall and the Holly-
wood Paramount. The famous New York
showcase chalked up the biggest gross for
a single week in its 30 years of operation,
$233,825, and "Birdie" went on to record the
Hall's biggest second week and its biggest
three week's total. At the Hollywood flagship,
the rollicking musical shattered the long-stand-
ing opening week record.

Kicked off by Columbia's twelve-gun pro-
motional barrage, and now backed by enthu-
siastic word-of mouth, the general release in
June is sure to roll on to new boxoffice highs.
There will be no let-up in the promotion push.
Columbia's go-go showmen under vice presi-
dent Robert S. Ferguson have a vast, inten-
sive campaign set to burst in every area be-
fore "Birdie" flies in and during its run. This is
one of the hottest commercial properties of
the summer — and it's going to be kept HOT.

COLUMBIA SUPPLEMENT 2

The £e$en<{

"So when the first bold vessel dared the seas,
High on the stern the Thracian raised his strain,
While Argo saw her kindred trees
Descend from Pelion to the main.
Transported demigods stood round.
And men grew heroes at the sound."

FROM "ODE ON ST. CECILIA'S DAY'' BY ALEXANDER POPE

Thus the "Argo", considered by many schol-
ars to have been Greece's first real sea-going
vessel, was built and launched. Jason, from
whom the throne of Thessaly had been
usurped by his uncle, has been sent to recover
a golden fleece from the kingdom of Colchis,
where it is located, hung on a tree in a sacred
glade guarded by a sleepless dragon. Posses-
sion of the fleece will bring peace and just rule
to Thessaly.

Jason's journey starts out in treachery, as
it is his uncle, Pelias, who sent him on the
errand and sent, also, his own son to bring
failure to the expedition and to Jason, whose
success would cost Pelias his throne. Jason,
however, seeks the help of the gods and Hera,
the wife of Zeus, agrees to come to his aid on
the journey. The "Argo" is built and the crew,
the Argonauts, is selected by means of a
series of games designed to eliminate all but
the strongest and bravest.

After some time at sea, Jason is directed
by Hera to the Isle of Bronze where food and
water can be obtained. Because two of the
crew disobey the injunction against taking any
of the bronze articles on the island, the Argo-
nauts are set upon by the giant bronze god,
\ Talos. Destroying Talos, Jason seeks out
Phineas, an old blind man whom he delivers
from the Harpies. In gratitude the old man
: directs him through the Symplegades, two
floating rocks which crash together, trapping

and crushing any ship daring to go between
them. By means of a charm given him by
Phineas, Jason manages the successful pas-
sage of the "Argo" and anchors the rocks in
place at what is now called the Hellespont.

At this point Jason rescues Medea who is
the daughter of the ruler of Colchis. Medea,
who is also a sorceress, helps him against her
father, to overcome an army of skeletons and
the dragon which guards the fleece. To-
gether, Jason and Medea sail for Thessaly
aboard the "Argo" to be the principles in an-
other familiar legend.

The Producer
£earckeA Out the £ite

To achieve authenticity for the ancient
legend of Jason, producer Charles Schneer
scoured the coast of the Mediterranean for
the right locale. He found it at the tiny Italian
fishing village of Palinuro and set up his unit
there. The "Argo", constructed by pieceing to-
gether ancient illustrations and scraps of in-
formation about ships of the period, sailed
from the shipyards of Anzio to meet its crew.
Meanwhile, finishing touches were being made
to five elaborate sets at two studios in Rome
for the $3,000,000 epic.

The best kept secrets of the film are those
of special effects expert Ray Harryhausen,
who created the skyscraper-high animated
bronze god, Harpies, a Triton to hold back the
crashing rocks, an army of skeletons and a
seven-headed hydra.

COLUMBIA SUPPLEMENT 5

A CAMPAIGN

o intrigue every aye

TREASURE HUNT

Columbia has purchased 5,000 culture pearls
and 5,000 cut and polished semi-precious stones.
These "Gems of the Aegean" will be supplied
in pre-determined amounts to markets playing
"Jason" and each city will have a mammoth
"Jason and the Argonauts" treasure hunt. Those
who locate the gems by following the given
clues get to keep the stones.

BOOK PROMOTION

Since the theme of "Jason and the Argo-
nauts" is a classic one, many books are avail-
able for local library tie-ins. Nationally, a book
by Henry Treece called "Jason" is currently on
the bookstands. A special Dell comic book of
the Jason story is being readied for countrywide
distribution to tie in with the "Jason" release.

Stars Todd Armstrong and Nancy Kovack
will tour major cities throughout the country.
National advertising is scheduled for Life and
Puck, the comic weekly. A tie-in with Copper-
tone, the suntan lotion, will be nationally adver-
tised, and travel tie-ups featuring trips to Greece
are being prepared.

TIE-IN WITH
THE LIFE SERIES

"Jason and the Argonauts"
coincides with a resurgent in-
terest in ancient Greece and its
legends, which gives this Co-
lumbia release a boost with the
discriminating adult trade. The
glory that was Greece is cur-
rently being brought graphi-
cally into millions of American
homes via an eight-article series
in Life Magazine. Five of the
articles have already appeared
in Life, and the remaining three
in the series will break to over-
lap the national release of the
film. The film company is
offering theatremen material to
associate the Life articles with
the theme of "Jason".

AND MAKE WAY FOR THE MIGHTY COLUMBIA CAMPAIU

...to be launched by ads in LIFE and PUCK SUNDl
COMIC WEEKLY. ..24-SHEETS.. ..and MAMMOj
SATURATION TV AND RADIO CAMPAIGNS. ...vl
THAT SPECIAL COLUMBIA SHOWMANSHIP SPAFl

wmmmmmmmmmammmmmmmmmmmmmi

DON BRAGG TOUR

Jason selected his heroic Argonauts by means
of athletic contests. In keeping with this theme,
Olympic Gold Medalist and world champion
pole vaulter Don Bragg will tour the country-
starting June 10. His activities will include
sportscast interviews, lecturing, coaching,
demonstrating athletic techniques and the selec-
tion by means of local, "Argonaut" tryouts
keyed to local sports events and physical fitness
programs. Winning "Argonauts" will receive
prizes for their prowess.

LOCAL EXPLOITATION

Stressing advance planning, Columbia's na-
tional exploitation manager Roger Caras and
director of cooperative advertising Leonard
Beier have been on an extensive field trip setting
up local exploitation programs, including inten-
sive press, radio and television contacts in indi-
vidual cities, point-of-sale merchandising includ-
ing department and drug store tie-ins featuring
Grecian styles and Coppertone.

COLUMBIA SUPPLEMENT A

Iii 1 H I it 111 bin 's

Bappy
Summer
Mt*».\-off it- 1'
Tradition

"GIDGET"

"GIDGET GOES HAWAIIAN"

Now— she's in GAY,
ROMANTIC ROME!

Gidget is a contraction off "girl" and '"mid-
get" describing diminutive size, infectious
personality and girlish charm. But Gidget
has been no midget at the boxoffice. Both
the original "Gidget" and then "Gidget Goes
Hawaiian" captivated the huge youth audi-
ence and many of their elders.

And now the new Gidget, in the fresh,
bright face of Cindy Carol, is in the world's
most romantic city and in the arms of hand-
some Jimmy Darren. It's heart-throb stuff
all the way, with a veritable Cook's Tour of
beautiful Rome tossed in to quicken the
wanderlust pulse of young and old alike.
Gidget's sprightly adventures take her to
all the famous landmarks of the Eternal City.

Veteran producer Jerry Bressler, who
made the popular and perennially successful

"Andy Hardy" movies, seems again to have
come up with a series that promises to hold
a loyal following for the long pulls.

The exploitation campaign on "Gidget
Goes to Rome" center around fashion, travel
and music. Fashion shows based on Fon-
tana originals and other Roman styles will
be held in principal cities. Italian tourist
offices will feature window display materials
and a travel tie-in with Alitalia is set. Records
of "Gegetta" and "Big Italian Moon", sung
by James Darren, will be featured. A tie-in
with Miranda cameras will offer cameras as
prizes in local contests and a Bantam paper-
back will be promoted at local theatres and
bookstores. Stars Cindy Carol and James
Darren are slated for national tours when
the teenage crowd is out of school-and
panting to see them.

COLUMBIA SUPPLEMENT 7

IlIIJIlllllifiEilSfciiMii

k WILLIAM CASTLE PRODUCTION COLOR

BILL CASTLE'S
SUMMER
CHILLER!

Thv Irrepressible, sit a a' at an -trisa
II it Haiti fast It* delivers another
of his patented hair- raising

thrillers in the boxoltiee
tradition at' mm13 Ghosts" and
"llomiridat". This one with
l»i international beauties 1

. . . and

here's joy
for all those

teenagers
on vacation —

FUN!

FOR YOUNGSTERS

FUN!

FOR YOU & YOU

FUN!

FOR EVERYBODY

^e . .oca* wade • -

JAMS*" ^ ^

t

BOBBY VEE T
JOHNNYT1U0ISON-KEiTV IKWR - THE TORNADOS

COLUMBIA SUPPLENENT 8

SUMMER PRODUCT SURVEY

Embassy

That colorful movie impresario, Joseph E.
Levine, can always be counted on to come up with
a varied and interesting program. This summer
is no exception and his Embassy Pictures, with a
roster of eight films for the summer months, has
among them two possible smashes along with some
promising though less spectacular, material. None
will lack for the Levine brand of showmanship.

The major attraction, and likely to be the choice
import of the year, is Federico Fellini's long-
awaited magnum opus, "8I/2 "> calendared for
August release. In some quarters, this new film
by the Italian master is considered superior to his
"La Dolce Vita". It also stars Marcello Mastro-
ianni, the Oscar nominee for his role in "Divorce —
Italian Style", who is rapidly becoming a major
marquee personality on these shores. Also featured
are the internationally popular Claudia Cardinale,
Anouk Aimee and Sandra Milo, and an acclaimed
supporting cast.

"8I/2" is reputed to exceed "La Dolce Vita" in
artistry and to set new milestones in the art of the
cinema. It is certain to appeal strongly to the art
patrons and to all serious moviegoers. With the
popular reputations of "La Dolce Vita" and star
Mastroianni, it should draw well in the general
market.

Fellini's "8y2" is definitely a class picture, but
a class picture that has all the makings of a hot
commercial property.

Mack the Knife is back in town, this time on
the screen in the Kurt Ulrich-Gloria production of
"Threepenny Opera". This is one to watch. The
Bertholt Brecht-Kurt Weill operetta ran for several
years off-Broadway and built up a considerable
following in the process. The film version of the
Soho beggars opera stars Curt Jurgens, Hildegrade
Neff and Sammy Davis, Jr. The story of beggars,

outlaws and bobbies in London's most colorful
district, "Threepenny Opera" boasts as its main
character Mack the Knife, the fellow who was so
popular on the juke boxes a few years back. The
off-Broadway stage presentation gained exceptional
word-of-mouth praise which resulted in one of
the longest runs in New York's entertainment his-
tory. Showman Levine sensing its commercial pos-
sibilities, signed Sammy Davis to broaden its box-
office potential. It holds high promise in film form.
"Threepenny Opera" is scheduled for September.

The two releases in June appear to be of dubious
boxoffice, although it never pays to underestimate
the Levine promotion impact. "Young Girls of
Good Families" is the story of a middle-class
French family's three unconventional daughters,
and "Light Fantastic" is a love story set in New
York. "Young Girls" stars the 17-year-old charmer,
Marie-France Pisier. Also featured are Christian
Marquand, Birget Birgen and Ziva Rodann. "Light
Fantastic" is an unpretentious love story about a
plain Jane who wins a rigged "prize" of three
dance lessons at a dance studio and her romantic
involvement with her instructor. Directed by
Robert McCarty, it features Dolores McDougall
and Barry Bartle.

The July list includes "Crime Does Not Pay", a
French-made short story film of four different
crimes, features Edwige Feuillere, Michele Morgan,
Pierre Brasseur, Richard Todd and Danielle Dar-
rieux. Unlike the usual anthology film, this one
has a trick ending. Three of the stories are from
actual crimes and they are set in a fictional frame-
work story. "Crime Does Not Pay" was selected as
the final presentation at the Cannes Festival. On
the strength of the cast and the reputation of direc-
tor Gerard Oury, this one might roll up some good
grosses in the art-class markets.

Also set for July is "Women of the World",
a kind of travelogue offering glimpses of feminine
life around the world. Director Gualtiero Jacopetti
takes his color camera to the Pacific islands, China,
Japan, Israel and the U.S., recording the distaff side
in a variety of moods and occupations. Dealing
with women, this has some sensational aspects that
could bring it surprising grosses.

Two other summer entries are "Only One New
York" (August) and "Queen Bee" (September).
No details are available on either of these releases.

S l-Z -

JettihiJ
fleu> One-
gated Odet
holce Vita'

IfleetJ
Iflack the
Hhi^e

Film BULLETIN May 27. 1963 Paqe 27

JOHN BECK PRESENTS

THEY DON'T COME ANY BIGGER!
...SO BOOK IT NOW FOR THAT BIG
SUMMER BOXOFFICE BONANZA!

7P<

A TOHO PRODUCTION Universal

^Release,

WARNERS DOES II

The Music Men"of last year roll across the length and breadth of the I

in the greatest hand-pic

Rex Morgan (right) famed TV and radio personality, que:!'
Irving Blumberg, Philadelphia field man, about his pro*
40-city jaunt publicizing the big Warner Bros, summer attra»

Warner Bros. Presents "PT 109" Starring Cliff Robertson »Ty Hardin • James Gregory • Robert Culp • Grant Williams • From the book by Robert J. Donovan •
Warner Bros. Presents A Delmer Daves Production "SPENCER'S MOUNTAIN" Starring Henry Fonda • Maureen O'Hara • Co-starring James MacArthur • Donald CriS]

NEW YORK

hiir Studebaker Wagonaires
liaign in motion picture history!

Joe Hyams (left), national publicity director and Ernie Grossman,
national exploitation director, map plans for all-out nation-wide
blitz campaign via press, magazines, radio and TV.

wlarina City forms background for Frank Casey planting pic-
3 lyouts and feature stories with Ann Marsters, motion picture
taof the Chicago American.

Kevin Gunther (left), Southwest field man, clocked over 4000 miles
on his speedometer on his Wagonaire tour. Here he is with Jim
Newton, amusement editor of Tulsa World and Tribune.

Were Comes r=*T 109

WE RE ON OUR WAY TO

Spencer's Mounta

nl«Haines (left), amusement editor of Jackson Daily News, is
teionorary crew member of PT 109 by Dave Judson, assist-
e ploitation director, while J. D. Woodard, Southeast field
1, >oks on.

West-coasters John Mitchell and Jack Wodell, atop Nob Hill, prepar
to leave on 6000 mile trip through the Northwest. Team will smash
all records of newspapers contacted.

1. iartinson 'Screenplay by Richard L. Breen • Produced by Bryan Foy • Under the personal supervision of Jack L. Warner •Technicolor"' • Panavision^
•irjMimsy Farmer* Music by Max Steiner • Based on ihe novel by Earl Hamner. Jr. • Technicolor® • Panavision®* Written for the screen and directed by Delmer Daves

SUMMER PRODUCT SURVEY

and i'ua'
hue far
Wide

£/?crtih#

Ufa'
Canned

Auarfo
Winner

Can tinen ta I

This burgeoning company continues to make its
impact on the industry felt to an increasing degree.
It has displayed a discriminating sense of values,
both artistic and commercial, in its selection of
foreign films for distribution in the U. S. And it
must be credited with one of the real coups of the
industry in its acquisition of the distribution rights
to the "sleeper" of the year, "David and Lisa", a
remarkable American-made movie.

This modest ($180,000) budgeted drama is so
far the wonder picture of the year, and it leads
Continental's summer roster of five features.
"David and Lisa" has performed extraordinarily
well in its initial runs in selected situations. It goes
into general release during June. Internationally
acclaimed by critics, recipient of two Oscar nomina-
tions (Best Director, Frank Perry; Best Screenplay,
Eleanor Perry), winner of awards at the Venice
Film Festival, "David and Lisa" was first regarded
by theatremen as an "art" film. The surprise to
many was that it revealed a very broad appeal, and
it's now evident that it will outgross many much
costlier films. The word-of-mouth reaction figures
to carry it into the strong grosser category every-
where.

The second most important prospect on Con-
tinental's summer slate appears to be "This Sport-
ing Life ", which was accorded important recogni-
tion at the recent Cannes Film Festival. It was
voted the Best Film by the international film critics
and star Richard Harris won the Best Actor award.
(He will also be remembered for his prominent
role in "Mutiny on the Bounty"). This British pro-
duction, somewhat reminiscent of "Room at the
Top ", seems to have the elements that can carry

THE HANDS OF ORLAC

THIS SPORTING LIFE

it beyond the art houses into the broader class mar-
ket in the U. S. It is a July release.

"Your Shadow Is Mine" (June) is a Franco-
Italian production with interracial overtones. Made
in color, starring Jill Haworth, Michel Ruhl, and
Ruos Vanny, it tells the story of a French girl
brought up by natives in the jungles of southeast
Asia. Found by her brother, he tries to restore her
to the life she has not known since she was four
years old, but she decides that her loves and loyal-
ties remain in the village where she grew up, and
she returns.

"Mediteranean Holiday", an August release, is a
70mm travelogue in color. It is narrated by Burl
Ives.

September brings another interesting, and poten-
tially commercial, offering. "The Hands of Orlac"
is a mystery thriller with a twist. Starring Mel Fer-
rer, Christopher Lee, Dany Carrel, and Lucille
Saint Simon, it is the story of a famous pianist
(Ferrer) who believes his smashed hands have been
replaced with the hands of a strangler during an
operation designed to save his career. It makes for
an intriguing yarn with rather broad appeal.

518 Leading
Financial Firms
read

BULLETIN

Page 32 Film BULLETIN May 27. 1963

i

ummet.

1963

SHOWMANSHIP
SPECIALS

JASON AND
THE ARGONAUTS

Whatever the Greek word was for
showmanship, Columbia's exploitation
force undoubtedly will dig it up and
make it work for "Jason and the Argo-
nauts ". This Charles Schneer produc-
tion is a ballyhoo natural, and the film
company has cooked up a campaign to
match its exciting elements.

The huge national promotion push
includes such stunts as treasure hunts
for "gems of the Aegean", athletic con-
tests, personal appearances. And full
advantage will be taken of the eight-
issue special Life feature on Greece.

Advance planning has been the key-
note of the campaign and Columbia
publicists have been in the field ac-
quainting local distributors and exhibi-
tors with every facet of the campaign.
The "Argo" is being well launched.

THAT WAS
DESTINED
TO STAND AS
A COLOSSUS

OF ADVENTURE

mm

T

Metro-Goldwyn Mayer Presents A King Brothers Production

v- • 'Oir,)»M' k* COt OK'.

Pedro Armenoariz Abraham Sofaer

Samuel B West and Harry Reus Byron Haskin Frank King and Herman King

CAPTAIN SIN BAD

Some of the most eye-goggling ads
in a blue moon have been fashioned by
M-G-M's showmen to ballyhoo this one.
It has all the earmarks of one of the
hottest exploitation shows of the sum-
mer. The ads, depicting the hydra-
headed scylla, "a writhing tangle of
venemous man-killer!", are surefire to
attract every youngster and full-grown
adventure fan who sees them. The strik-
ing ads are only one phase of the huge
campaign Metro is devising to back
this ballyhoo blockbuster. Every facet
of spectacular exploitation will be
plumbed to bring out the kiddies and
their elders. This Metro-King Brothers
Production in Technicolor and Wondra-
Scope shapes up as a dream show for
the exploitation-minded exhibitor.

( Continued on Page )

BEST OF THE
EXPLOITATION
FILMS

SUMMER
PROMOTION
PRIMER

By ROLAND PENDARIS

These pages are devoted to presentation
of the summer's best showmanship shows.
This column is devoted to a few simple, pri-
mary ideas for institutionalizing the theatres.

There are many things which a theatre-
man can do this summer to create greater
interest in his amusement facilities. While
nothing can overshadow the boxoffice value
of good pictures, good pictures are not the
be-all and end-all of the potential interest
of the paying customers.

Most important of all, let people know
that you are interested in having them at
your theatre. Don't expect them to be self-
starters, or expect the drawing power of
particular pictures to do the whole job. Let
the folks know you care about their patron-
age by going out and working for it. The
easiest time to reach them is in the warm
season when people are outdoors.

One of the main areas wbich should be
explored in the larger cities, for example,
is the possibility of a combined campaign
by theatres and merchants to persuade peo-
ple that a good evening's relaxation can be
obtained right in town, without driving to
a bowling alley or golf range or night base-
ball game. Theatremen, restaurant owners
and soda fountains might join forces on a
"package deal" involving window displays,
letter box stuffing and radio advertising to
put across the point that they are all work-
ing together for the customers' pleasure. For
example, a combination of pre-theatre din-
ner, movie show and nightcap ice cream
soda could be offered, with a guarantee that
dinner will finish in time for the customer
to get to the theatre for the start of a full
program.

In the case of the drive-in theatres, dun
(Continued on Pjge 34)

Film BULLETIN May 27. 1963 Page 33

SHOWMANSHIP SPECIALS

GIDGET GOES TO ROME

The third in the successful series has
youth, romance and the beauties of
Rome to exploit. Columbia's giving it
a big promotion push.

BLACK GOLD

Lusty ads to sell a lusty Warner
Brothers melodrama. Strong copy, hard
hitting illustrations are on the posters,
too. Use them to sell this show.

CATTLE KING

There's a market for the western,
especially when it's in color and boasts
a personality like Robert Taylor. This
Metro release has those ingredients.

PROMOTION PRIMER

(Continued from Ptige 33)
are all kinds of tic-ins and consumer attrac-
tions that might be offered. One twilight per
week, for instance, might be set aside for a
community contest of some kind, with part
of the admissions proceeds going to a local
charity. The contest could be a pie-eating
contest for boys and girls one week, a bas-
ketball throw for distance the next, a two-
team tug of war and so forth.

The drive-in grounds could be offered for
the local craft fair (and practically every
hinterland community has a craft fair in
mid-summer). Posters advertising such activi-
ties would not be difficult to place in prom-
inent positions in the community.

All these activities would create greater
community awareness of the theatre, and
more traffic to it. They would cost the thea-
tre little or nothing except a slight extra
effort — and, indeed, they might even turn
an extra profit via such sources of income
as refreshment sales. Also, they would not
conflict with the regular evening program,
but would rather be lead-ins to it, being
conducted in daylight hours and merely
bringing in patrons early.

In vacation communities most theatres do
very little in the way of promotion. They
place their program sheets with the local
resorts and use a few window cards and
that's about all. A cruising display car, or a
clown wearing a one-sheet sandwich sign
would be an attention getter along Main
Street and on the highways nearby. An "A"
board display outside the local news dealer's
shop would attract the attention of many of
the visitors when they come to buy their
hometown papers.

For big city neighborhood theatres I be-
lieve there is much to be gained from a
direct campaign to parents of children who
are staying home for the summer. Let the
parents know that you are putting on pro-
grams of interest to the children (if you
are — and I hope you are). Expain what spe-
cial facilities you have, such as a children's
matron on duty. A great many parents are
simply unaware of these arrangements. If
they knew it was well handled, they might
approve of more moviegoing by the kids.

And if on the other hand you want to
make your summer pitch for the adult trade,
I would still urge a direct-to-consumer cam-
paign. Summer is a fun season, make movie-
going fun entirely apart from what is shown
on the screen. Arrange with local merchants
for special prize drawings at their stores.

One thing that I have always wanted to
have is advance information about a thea-
tre's schedule beyond what I see in the ad
or window card for this week's program. If
you can tell your potential patrons what
your line-up of pictures is going to be for
the entire month, I think you will find that
many people will actually make plans in
advance to see the films they especially want
to enjoy.

Now, would anybody mind tell me what's
playing tonight?

THEY FOLLOWED THE APACHE TRAIL

8KUW I0MH HARM UVM , R ' ' " U|tl u

KEITH KIRK KRISTEN CORCORAN martin york campos pickens

>,.)>■».••■••> .~ ..... .. n<m»v

SAVAGE SAM

A dog and a boy and Indians — add
the Walt Disney exploitation touch —
and it all spells Money.

IWIUKUClSJlf PKJilliCTIOK COtOl

13 FRIGHTENED GIRLS

"13 Frightened Girls" is the handi-
work of one of the most promotion-
minded producers extant, William
Castle, and it's being distributed by
Columbia, which can exploit a fright
yarn involving 13 international cuties.

ERIK THE CONQUEROR

American International is aiming this
summer spectacle to the kids and adven-
ture trade. It's in color.

Paqe 34 Film BULLETIN May 27, 1963

SUMMER PRODUCT SURVEY

IS it 4* nfi Vista

The magic of the Walt Disney name is legend
in movie business, and can be counted upon to
entice millions of Americans into theatres exhibit-
ing his films. This summer the master of family
entertainment has two new films to offer through
his Buena Vita distribution organization; one em-
phasizes elements of rousing action, the other
that intrinsic Disney ingredient, sentiment.

A few years back, Disney scored a smashing suc-
cess with "Old Yeller", and this season he is again
presenting a story in which a dog is a protagonist.
However, our advance report is that "Savage
Sam" misses the goal of being another "Old Yel-
ler". "Sam" is an "amalgamated Texas pothound"
who directs the rescue of three youngsters cap-
tured by Indians, and while the action elements
are there, it lacks the heart-warming facets that
made "Old Yeller" something unique. Nonethe-
less, as a Technicolored summer release, backed by
Disney's full-scale television promotion, "Savage
Sam" is likely to give a good enough account of
itself at the boxoffice. The kids will turn out

en masse.

The July offering is "Summer Magic" (a won-
derful title), dealing with youngsters and their

SUMMER MAGIC

elders in a small town. Based on the children's
classic "Mother Carey's Chickens ", this stars the
delightful Hayley Mills, with a first-rate support-
ing cast including Burl Ives, Dorothy McGuire,
Una Merkel, Eddie Hodges and Deborah Walley.
The tale of the widow Carey and three children
facing a future without home or funds has, as you
might suspect, its full share of tears and laughs,
ending in a bath of sunshine. It's in color, of
course.

Buena Vista will offer two re-releases for Sep-
tember: "20,000 Leagues Under the Sea" and
"Fantasia".

There ,6
fflchetf

in Itlagic

-but

Jfc a Pup

20th CENTURY-FDX

(Continued from Page 13)

of D-Day, the film is documentary in approach,
employing the starkness of black and white photog-
raphy to highlight the drama of that historic day.
Its general release will bring the film to many who
have not yet seen it and to the many others who
will want to see it again.

A third offering for June is the unique "Mari-
lyn", a full-length picture biography of the late
Marilyn Monroe narrated "on the screen" by Rock
Hudson. The film is comprised, in the main, of
scenes from 15 pictures Miss Monroe made for
20th-Fox, including scenes never shown from
"Something's Got to Give", the movie she never
finished. This unusual attraction is being backed
by a strong promotion campaign and might prove
to be a summer "sleeper".

Also set for June release is "The Stripper" star-
ring Joanne Woodward. Based on a William Inge
play, "A Loss of Roses", this black-and-white
Cinemascope film will need maximum of push to
get off the ground, in spite of a fine performance
by Miss Woodward and the appearance of Gypsy
Rose Lee.

20th-Fox has no releases firmed in now for July,
but comes on solidly again in August with special
pre-release engagements of "The Leopard". Direc-

ted by Luchino Visconti and starring Burt Lan-
caster and Claudia Cardinale, this Titanus produc-
tion will be strongly abetted by the publicity7
attendant to its winning of the Cannes award. An
historical film set at the time of Garibaldi, the
picture is the story of the disintegration of a proud
aristocratic family in a changing world. It shapes
up as a solid attraction for the class market.

The August slate finds "Of Love and Desire",
described as "a romantic suspense drama, an adult
story dealing with the dark recesses the mind,
with the way erotic passions — normal and abnormal
— control and direct actions from the subcon-
scious." Filmed in color in the natural Mexican
locales, it features Merle Oberon, Curt Jurgens and
Steve Cochran. It must be labeled a question mark.

One of the hottest director-star teams combines
its talents again in "The Condemned of Altona",
set for September release. Sophia Loren and direc-
tor Vittorio De Sica are the personalities of this
Titanus film, to be distributed by Fox. It reunites
the winning team of "Two Women". By her own
admission, Miss Loren gives her best performances
when working with De Sica. Producer Carlo Ponti
has secured the services of Academy award winner
Maximilian Schell, Robert Wagner and Fredric
March for this film adaptation of the Jean Paul
Sartre play.

Xcreh
& foe £ica
Together
Again

Film BULLETIN May 27, 1943 Paqe 35

The Chilling Story

of the

Strangest Torture
Any Man Ever Suffered

The Ancients asked it in legend after legend. It
is a question as old as man himself and one he
will still be asking in centuries to come: "How far
can a man penetrate the realm of the gods and
not be destroyed?"

Dr. Xavier, in pursuit of one of man's most an-
cient ambitions, the potence to see beyond the
limits of his vision, discovers a way to give his
own eyes the penetrating power of X-ray and see
what no man has seen before.

But ambitions realized lead to terror; too much
knowledge invites disaster; man is presumptuous
and the gods are jealous. And in "X", a modern
treatment of an ancient theme, a thrilling, chilling
story is told.

co-starring DIANA VAN DER VLIS • HAROLD J. STONE
JOHN HOYT • DON RICKLES • Produced and Directed
by ROGER GORMAN

AMERICAN INTERNATIONAL PRESENTS

X" starring RAY MILLAND

CAST AND CREDITS

(Continued from Page 6)

ing them officers of the company.

The Warner Bros. Pictures, Inc.
board of directors at a recent special
session elected Morey Goldstein and
Richard Lederer vice presidents of the
parent firm. Goldstein has been presi-
dent and general sales manager of the
distribution subsidiary since last July,
while Lederer has severed for several
years as director of advertising and
public relations for the parent and sub-
sidiary companies.

Tulipan Upped at Col.

In a move to strengthen Columbia's
promotion force, vice president Robert
S. Ferguson last week announced the
appointment of Ira H. Tulipan as his
executive administrative assistant.

Tulipan has been assistant director
of advertising and publicity at Colum-
bia since I960, having previously served
in key promotion posts at 20th-Fox.
His new duties, Ferguson stated, will
include, in addition to all areas of de-
partmental activities, "liaison with Hol-
lywood studio and overseas production
publicity."

Bolstad New FP Head

John J. Fitzgibbons, president and
managing director since 1941 of Fa-
mous Players Canadian Corp., the
Paramount subsidiary, was succeeded
last week by Reuben W. Bolstad. Fitz-
gibbons was elected board chairman.

New Gunsberg Post

Sheldon Gunsberg
was appointed exec-
utive vice president
of Walter Reade-
Sterling, Inc. In
making the an-
nouncement, board
chairman Walter
Reade, Jr. and presi-
dent Saul J. Turell
termed the appointment of Gunsberg
another major step towards completing
the firm's reorganization "to consolidate
and coordinate its integrated activities."

GUNSBERG

Ferri to NSS

Veteran promotion executive Roger
Ferri has been named director of ad-
vertising and publicity for National
Screen Service by president Burton E.
Robbins. He succeeds Melvin Gold,
who resigned to enter independent pro-
duction. Ferri formerly served in va-
rious capacities at 20th Century-Fox.

DFZ: 20th Century Caesar

( Continued from Page 6 )
pany that showed a loss of al-
most $40 million last year. And,
he predicted, the company will
be in the black for this full
year. "If we aren't, I won't be
here." The statement reflecting
his bold optimism was greeted
with rapturous applause. He pro-
ceeded to explain that the huge
cash guarantees advanced by the-
atreman for the privilege of ex-
hibiting "Cleopatra" were not in-
cluded in the first quarter report.
He spoke of "The Longest Day",
its profitable roadshow engage-
ments, its forthcoming general re-
lease. Removing his glasses he
addressed himself to future plans,
specifically construction of the
proposed Fox - MGM - Columbia
studio center on the site of 20th's
2500-acre Malibu ranch, a project
on which "steady progress is
being made." He pledged himself
to the ultimate task of resuming
payment of dividends.

Before Mr. Zanuck could fully
savor the audiences' full approval
of his remarks, a brilliant orange
figure topped by a Cleopatra bob,
barged to the base of the dais and
bluntly announced the presence
of "Cleopatra, Queen of the
Stockholders," to which Zanuck
blandly noted, "I subscribe to
that." Further identification re-
vealed that she was Evelyn Y.
Davis, an innocent victim of Liz
Taylor's extravagances. Then be-
gan a long soliloquy, delivered
with a Luise Rainer accent and an
occasional flutter of doe-like eyes,
against the forces that had con-
spired to deny her dividends. The
scene completed, she took re-
course to a printed script and
challenged Mr. Zanuck with a
series of questions about "Cleo-
patra." Miss Taylor, Zanuck in-
formed her, was paid $1.7 million
in salary and she will receive 10%
of gross rentals after Fox gets the
first $7.5 million.

The afternoon's next major
supporting performer wanted the
audience on her side. One Gloria
Parker graciously bestowed God's
blessings on Mr. Zanuck, Eliza-
beth Taylor, and all the "wonder-
ful real show people" of Fox.
She thereupon suggested "for the

second consecutive year" that "this
glorious woman" (Miss Taylor)
be elected to the board of direc-
tors. The benign air was broken
when, with a shriek, Miss Davis
lunged forth to assault this de-
fender of diminishing returns;
referee-ushers abruptly called the
fight before the end of round one.

This byplay squelched, speaker
followed speaker to lay praise at
the feet of DFZ. There were sure
to be a few dissents, of course,
and one stockholder, Jack Schaef-
fer, questioned Richard Zanuck's
value to the company. Speaking
softly and chewing on the stem of
his glasses, DFZ replied that his
28 year-old son was much in de-
mand by other film companies,
that the $1,000 weekly salary he
draws is not excessive, and re-
called that he, himself, was only
24 when he was head of Warner
Bros, studio at $5,000 per week.

The first quarter last year
showed a loss of $513,587. The
profit this year was earned in
spite of a sharp decline in gross
revenue: $23,961,000 compared to
$32,668,000 for 1962's first three
months. Heavy cuts in executive
salaries effected much of the re-
duction in costs. Some gasps were
heard from the audience when
executive vice president Seymour
Poe revealed that "Cleopatra"
will have to gross approximately
$62 million before the film com-
pany recoups its entire outlay for
production, distribution, prints
and advertising.

Shortly after 4 o'clock, new
business, primarily the election of
a new board of directors, was
presented. Board chairman Spyros
Skouras, the originator of "Cleo-
patra", obviously happy at the
tone of the meeting, took his
place to the right of the urbane
Zanuck to await the inevitable
verdict — election of the entire
14-man management-recom-
mended board*. Zanuck and his
associates each tallied nearly two
million votes; Liz got 243.

Robert L. Clarkson, Adam L. Gimbel.
Donald A. Henderson, Robert Lehman,
Francis S. Levien, Kevin C. McCann,
Fred L, Metzler, William C. Michel.
Thomas A. Pappas, Seymour Poe, Spy-
ros P. Skouras, Jerome A. Straka. Gen.
James A. Van Fleet. Darryl F. Zanuck.

Film BULLETIN May 27. 1943 Page 37

A A tea**
Peking '

Caretakers '
<jit)e* MA
£trch#
September
Cntrif

SUMMER PRODUCT SURVEY

Allied Artists

Allied Artists has put just about all its eggs in
one basket this summer. Samuel Bronston's "55
Days at Peking" is the big one and, except for
that, this company has only a pair of programmers
to offer, a startling circumstance in view of the
general product shortage.

All indications are the "55 Days at Peking" will
be one of the summer's bigger grossers. Directed
by Nicholas Ray, this action spectacle is one of the
more visually exciting films to come along in some
time and, while the BULLETIN reviewer reported
that the story line falls somewhat short of the pic-
torial splendor, this will affect only discrim-
inating moviegoers. Depicting a phase of the Boxer
Rebellion in China in 1900, the Bronston film stars
Charlton Heston, David Niven and Ava Gardner
and features such talented support as Flora Robson,

UNITED ARTISTS

( Continued from Page 15 )

playgirl with a serious brain ailment who finds
full — if temporary — happiness with the young
doctor who treats and falls in love with her. Set
against the swift backdrop of the European racing
car set, this picture for August should fill the bill
for the fern fans and those who like their soap
opera hot and heavy.

Heavy dramatic fare, too, is "Caretakers," UA's
September release. No "Snake Pit" in the intensity
of its look at a mental institution, it, nevertheless,
shapes up as a drama of unusual interest. Robert
Stack stars as the doctor at Canterbury State Hos-
pital who is fought at every turn in his efforts to
forge ahead in group therapy work. Polly Bergen
is one of the patients, while Joan Crawford, once
again a hot b.o. name, thanks to "What Ever Hap-
pened to Baby Jane," aims to stage a second "come-
back" success as the hospital's head nurse. This
serious film figures to adult audiences.

55 DAYS AT PEKING

Paul Lukas, Leo Genn, Kurt Kasznar and John
Ireland. Going into general release during the
first few days of June, "55 Days" should bolster
considerably the overall boxofnce showing through-
out the summer months.

"The Long Corridor", scheduled for a late June
release, was produced and directed by Samuel Fuller
and features no marquee names of note. Its mental
hospital scenes and the twist ending may give it
some appeal and furnish fodder for sex and vio-
lence exploitation.

July brings a western, "The Gun Hawk", star-
ring Rory Calhoun and Rod Cameron, a pair who
will provide fair boxofnce draw in situations where
oater fare has a following.

THE CARETAKERS

M-G-M

(Continued from Page H)

in love and war features Simone Signoret, still
remembered for her "Room at the Top," and
Stuart Whitman. The film has a twist ending.

Aiming at the general audience is "A Ticklish
Affair." This Metrocolor romp about a Navy
Commander who woos and finally wins a stubborn
Navy widow with three children is designed for
the entire family — and should come off well in
almost every market. Shirley Jones, Gig Young,
Red Buttons and Carolyn Jones, the latter two as
a second romantic team, provide the marquee push.

In August, it appears Metro will rely on exploi-
tation product almost exclusively. One is a British
import, "The Natives Are Restless Tonight," which
shows off Nancy Kwan as a native Tahitian girl
who goes to England for education at a famous
British public school and ends up by teaching
400 teenage boy students a lesson in life — Tahitian
style. It's in Eastman Color.

"The Young and the Brave," a Korean-War
drama about battle-hardened U. S. soldiers and a
small war orphan who helps them, appears an
adequate action-house entry as one end of a dual
bill. "Gladiators Seven" and "Tiko and the Shark," 1
are both foreign-made exploitation pictures that
fit into the lower-half category.

And September, as stated, is the month of
"The V.I.P.'s."

Page 38 Film BULLETIN May 27, 1743

1

Walter Reade Sterling

Means tops in Summer Product

Available this Summer.

"GLORY TO PETER SELLERS!" -The New Yorker

fa. PETER SELLERS

LIONEL JEFFRIES w fWWl

BERNARD CRIBBINS Directed by CLIFF OWEN • Produced by AUDREY BARING

■■Mi

the

halconu

Jean Genet's
erotic view of the world
.where men's strange desires
are fulfilled!

starring directed by

SHELLEY WINTERS ■ PETER FALK • LEE GRANT- RUBY DEE JOSEPH STRICK

"THIS
SPORTING LIFE

1963 Cannes ' Best Actor" Award

RICHARD HARRIS

(star of "Mutiny on the Bounty")

Directed by LINDSAY ANDERSON • Produced by KAREL REISZ

RACHEL ROBERTS

(star of "Saturday Night
& Sunday Morning")

Filmed in the shadows of ancient Cambodia

"YOUR SHADOW IS MINE

IN COLOR

starring JILL HAWORTH in her first role since 'Exodus'
Directed by ANDRE MICHEL

RELEASED BY

CONTINENTAL DISTRIBUTING DIVISION OF THE WALTER READE-STERLING GROUP

1776 Broadway, New York City • PLaza 7-2593

£kate off
and a

Thriller

SUMMER PRODUCT SURVEY

American
In terna tiona I

American International, which has made a fetish
of and a fortune with the chiller, has plenty of
shivers set for the heat wave season, but is also
departing into other fields to round out its summer
schedule. This year AIP is expanding its range to
attract a wider audience. One of the most important
releases, "The Beach Party", is a teenage musical
comedy, while another, "Erik the Conqueror", is
of the epic-spectacle genre. Four of the seven
releases, however, are fright fests, indicating that
the Messrs. Nicholson and Arkoff are not about to
abandon a good thing.

June brings in two horror films, "Dementia 13"
and "The Terror", as well as "Erik the Conqueror".
The first, starring William Campbell and Luana
Anders, has its exploitation tip-off right in the
title. "The Terror" stars that grand old man of
chills, Boris Karloff.

"Erik the Conqueror", a Galatea-Lyre-Criterion
production in Colorscope, is an action-romance-
adventure picture set in the 10th Century Viking
era and combines all the ingredients designed to
appeal to action fans. Cameron Mitchell stars in
this tale of the Vikings invasion of England.

July will see the release of AlP's big departure
into the musical comedy picture, and the company
is going all out with this one. "Beach Party" is de-
signed to appeal to all ages and is hailed as having
the biggest cast of popular names ever assembled
by American International. Directed by TV's Wil-
liam Asher, award-winning director of the Lucy
show and the Danny Thomas series, the panavision-
color musicomedy stars Robert Cummings, Dorothy
Malone and teenage favorites Frankie Avalon and
Annette Funicello. Also starred are comic Morey
Amsterdam and curvaceous Eva Six. Set in the
scenic splendor of Southern California's resort-
beach area, the plotting is light summer fare full of

THE HAUNTED PALACE

fun, romance and music which should find maxi-
mum appeal among the youth element.

"The Haunted Palace", an Edgar Allen Poe
classic starring Vincent Price and Lon Chaney, is
set in the eighteenth century and features such
familiar and successful AIP devices as torture
chambers, ambulatory corpses and other ingredients
chill fans desire. Filmed in panavision and color,
"Palace" is in AIP's tradition of the well turned
out blood curdller.

The big one for September is a science fiction
thriller, "X", which stars Oscar-winner Ray Mil-
land. An unusual story of a doctor who, in his
search for greater knowledge, discovers the power
of X-ray vision, which he subsequently finds he
cannot control, the film attempts to explore emo-
tions and motivation somewhat more deeply than
is often the case with science-fiction. Direction by
Poe-movie veteran Roy Corman and photography
by Oscar winning cameraman Floyd Crosby sug-
gests "X" will shape up as an above-average
thriller. Also slated for September release is "Sum-
mer Holiday", a teenage musical comedy starring
Cliff Richards and Lauri Peters.

Concentrating as it does on the exploitation pic-
ture, AIP can be relied on for the big promotional
push to bring maximum returns on each film.

BEACH PARTY

COLUMBIA

(Continued from Page 17)

attract wide public interest. The cast includes Peter
Sellers, George C. Scott, Sterling Hayden and
Keenan Wynn. "Dr. Strangelove" will, in all like-
lihood, score solidly in the class market and may,
because of everyone's concern with atomic warfare,
make just as powerful an impression on the general
market. It will get full-scale Columbia promotion.

"In the French Style," another September item,
combines the talents of a top writer, Irwin Shaw,
and a first-class director, Robert Parrish, who to-
gether produce the film. Starring Jean Seberg and
Stanley Baker, the film was made in France, and
tells the story of an American girl's journey to
Paris and her adventures there. The film should
have appeal beyond the confines of the foreign
film patrons while the solid records of writer Shaw
and director Parrish together with Miss Seberg's
impressive credits should attract discriminating
moviegoers.

40 Film BULLETIN May 27, 1943

BulVs~E,ye Circulation!

□

517

BANKERS & BROKERS

The Industry 9s "Money Men

99

read

BULLETIN

GUARANTEE

(ZoncentnatecL ^ww^e (6e 1Rtc6e4t Jftwie Tftwitiet

Film Bulletin Reaches the Policy-Makers,
The Buyers, The Bookers ox over 12,000 of
The Most Important Theatres in U.S. &) Canada!

THE TIMELESS MAGIC OF

ANOTHER
HOT ONE
FROM

20th

..FOR THE
SUMMER!

BULLETIN

Opinion of the Induistry

JUNE 10, 1963

u

lewpomt

Stop Trying
To ?Cure'

The Critics

Pendaris Writes about
STOCKHOLDER PESTS

FOR THOSE -pno^ SUMMER FIGURE

The I
hilarity begins with
a pretty widow
who thought she
had all the answers,
a handsome bachelor
who thought
he did...

in Panavision
Metracofor

CAROLYN

spring SHIRLEY 0\G RED . CAROLYN

OONES YOiJiVG BUTTONS OONtS

Based on the Story

"MOON 1A/ALK" by BARBARA LUTHER

a**,*,* RUTH BROOKS FLIPPEN • ?

A EutSrpe Production - D'rect?d by

GEORGE SlDNBI-ww JOE PASTERNAK

M-G-M IS ON THE MOVE!

What They'te Talking About

□ □ □ In the Movie Business □ □ □

THE 'B' PICTURE. In the current issue of the
Screen Producers Guild "Journal", Robert
W. Selig, vice president of National General
in charge of theatre operations, discusses the
importance of low-budget films to exhibition.
Following are Mr. Selig's views:

The much-maligned "B picture" has, over the
years, attracted a variety of misnomers. The
"who's in it" query traditionally rates its
boxoffice prowess unless there are
exploitational qualities revealed or some other
"special angle."

But the growth of discriminating and
sophisticated audiences is erasing the stigma
of the so-called "B." After all, what exactly
is a "B picture?" Does the cast, the length,
and the absence of color necessarily relegate

i this product to the second-half of a double-
bill, or lacking that, to the unbooked film-can?

| We think not. While certain American
producers have been preoccupied with

I super-spectacles and plushy-mounted
romantic comedies (and we're not against
them!), some of the independent producers
have been bringing forth well-made, sensibly
budgeted "small" pictures. The subject matter
of films which treat contemporary themes, in
realistic, serious fashion has almost been

I abandoned by many top Hollywood producers.
Yet, "Room At The Top," "Never On Sunday,"

|| "Marty," "David and Lisa," "Carry On Nurse,"

( "Miracle Worker," "Taste of Honey" and "The
Balcony" not only are a supplement, but they
are an integral part of our successful,
profit-motivated exhibition structure.

llTo the knowledgeable theatre-man, fully
' aware of his product problems aggravated by
outright shortage, the ravages of a Consent
Decree, and unorthodox marketing
procedures, any kind of film is a subject for
serious study, evaluation and consideration.
; Some call this kind of thinking "making

something from nothing." We disagree. The
outright crusade today to fill our screens with
worthwhile entertainment cries for
inventiveness and research. A press-sheet
no longer is the criterion by which a picture is
judged. Nor is a screening-room exposure.
Some say - and with good evidence — "we
never know really how a picture will do until
we open the boxoffice." These past months
have witnessed at least six failures of films
with top casts, good story values, color and
the other believed essentials for success. And,
inversely, "Four Days of Naples," a low-budget
picture in which cast credits were deliberately
eliminated, is doing tremendously in New York
City, and will probably play big commercial
houses this summer. But the public knows
what it wants - and that seems to be that!
(Trying to discover how the public knows is
another story!)

In our own case, the "screening" technique is
different than most. We look at nearly all
pictures made. But it's more than looking. We
stage a "clinic" wherein representatives of the
booking, buying, advertising and theatre
operating departments debate the merits and
the opportunities of everything seen. It's easy
enough to be critical and shunt aside many
films as "not playable" or "second feature."
That is not our point. We're looking for a
chance to productively fill playing time - and
our discussions revolve around how to do
just that.

Re-classifying "small pictures" as "project
pictures" is the only method by which a
superficial examination of potential may be
avoided. Regardless of the subject matter,
source, cast, producer or director, the "project
picture" comes into sharp focus as an
opportunity. Then we try to apply updated
methods of patron motivation in "testing our
decision" in enough representatives theatres
to prove or disprove the point.
Today, it is unthinkable for any picture to be
summarily dismissed as a possibility unless
and until it has been "projected" by more than
just a screening. The "blockbuster" does not
necessarily evolve from the big budget.
The "B picture" or the "small picture" is more
welcome than ever to the thinking,
constructive exhibitor who has sense enough
to know that the alphabet has nothing to do
with public taste and boxoffice acceptance.

Balaban Sees Profit
In Lower Film Costs

Faced with the necessity of explain-
ing a decline of $9 million in gross in-
come from 1961 to 1962, and a loss last
year of $3,410,000 compared to the
profit of $5,668,000 in '61, president
Barney Balaban told Paramount stock-
holders last Tuesday (4th) that he is
counting on a reduction in production
costs to help put the company back in
the black in '63.

The annual meeting was sparked by
the appearance of Joseph E. Levine, who
plugged the three productions he has
committed to Paramount release within
the next year — "Zulu", "The Carpet-
baggers" and "Nevada Smith".

Paramount showed a profit of $275,-
000 in the first quarter of the current
year, a sharp drop from the prior year,
and Balaban warned the shareholders:
"Indications are the second quarter
will not be favorable either." But, he
declared, hopefully: "We look forward
to improvement during the third
quarter."

Cost-cutting in production, he re-
vealed, has enabled the company to
bring in several pictures on budgets
that afford it "an excellent opportunity
to emerge with a profit." When Bala-
ban mentioned a possible studio merger
to keep down costs, a stockholder in-
quired why Paramount was not included
in the proposed consolidation of studio
facilities by Fox, Metro and Columbia.
He replied that Paramount was invited
into the deal, but had made no decision.

Balaban indicated that Paramount is
embarking on a period of de-diversifica-
tion. The shareholders were informed
that about two-thirds of the company's
Ampex holdings and "virtually all" of
its shares in Fairchild Camera have
been disposed of. Balaban also admitted
that Paramount is having trouble get-
ting its Chromatron color-TV tube on
the market. He has been touting this
item to stockholders for a number of
years as a bright income prospect.

BALABAN

Page 4 Film BULLETIN June 10. 1963

CAST &
CREDITS

Report on the Industry's

PEOPLE and EVENTS

I I

More Acreage Sought
For Studio Project

Plans continue afoot for setting up
the joint MGM-Fox-Columbia produc-
tion center on the site of 20th-Fox's
Malibu ranch. Last week it was reported
that the latter company was on the
verge of closing a deal to add between
70 and 80 acres to its present 2500 acres
at Malibu.

This move, if consumated, would ap-
pear to confirm the belief that the three
companies have entered into a firm
commitment to go ahead with the proj-
ect. Insiders calculate that the joint
studio will be in operation by late 1964
or early '65. Meanwhile, negotiations
are being conducted quietly by all
three companies for the disposal of
their present valuable studio holdings.

'Horn' Blasted

One of the pictures on which Paramount is
counting heavily to boost its sagging income,
president Barney Balaban told the stock-
holders, is "Come Blow Your Horn". Also
regarded hopefully by many theatremen as a
boxoffice attraction for the summer season,
the film was accorded a resounding blast by
two of New York's foremost newspaper
critics.

Bosley Crowther, of the Times: "The dis-
mal fact is that the producers and Frank
Sinatra have really butchered the play in
their garish screen version . . . The worst
thing about this picture is the dullness with
which it is played — the lack of pace in (Bud)
Yorkin's direction complements the clumsy
performances."

Judith Crist, Herald Tribune: "Loaded
with gaseous gags, banal situations and scenic
digressions, 'Come Blow Your Horn' is the
latest victim of (Hollywood) over-expansion.
On stage this tired little family tract on
youth's prematurity fling was one of those
trivial corn-filled, slickly performed comedies
that kept you laughing in spite of itself * * *
>n the super-screen it's as tiring as it is
tired."

Reade Tells 'Holders:
WR-S Is on the Rise

Growth was the theme of the state-
ment made by Walter Reade, Jr., board
chairman of Walter Reade-Sterling, Inc.
at a special stockholders meeting last
Thursday (6th). Gross revenue in 1963,
he estimated, will be better than Sll
million, representing 25 cents per share,
against the gross of $9,406,181 (14
cents) for 1962.

The burgeoning WR-S theatre circuit
has been increased by 15 houses so far
this year, including The Community, in
Cherry Hill, N. J., which opened Thurs-
day evening, The 34th Street East, in
New York, is due to open mid-July.

Reade described business in the first
quarter as "extremely good", but said
that a lack of quality films would result
in a "soft" second quarter. The third
quarter, the board chairman predicted,
would be "the best" the company has
experienced thus far.

The Continental Distributing division
is doing fine, he told the stockholders.

Three of its current releases — "David
and Lisa," "The Balcony" and "The
Wrong of the Law" — are important
grossers. He said Continental presently
has sufficient product to give it a steady
release schedule through mid- 1964.

Reade's optimistic prognosis for fu-
ture earnings was predicated on "inter-
nal leverage factors." WR-S is integrat-
ing its Sterling Television arm into the
parent operation, developing 16mm dis-
tribution, and preparing to enter the
music publishing field. It also plans to
enlarge its films-to-TV distribution.

Re-elected board members: Reade,
Saul J. Turrell, Edwin Gage, Allan D.
Emil, William H. McElnea, Jr. and
Joseph D'Addario.

20th To Give 'Day'
Break Big Campaign

"Cleopatra" is the big news these
days, no doubt. But 20th Century-Fox
is determined that the Queen of the
Nile will not overshadow the general
release launching on June 26 of Darrvl
(Continued on Page 19)

JUNE 10, 1963

lewpotnts

1963 * VOLUME 31, NO. 12

St a p Trying To "Cure9 the Critics

We do not agree with Warner
Brothers that there is justification for or
good judgment in the company's sus-
pension of advertising in the New York
Herald Tribune as retribution for a caus-
tic review and subsequent untoward
comment on the film "Spencer's Moun-
tain". Such action is the remnant of a
management ethic, not entirely exclusive
to the movie industry but peculiar to it,
that equates the placement of advertis-
ing space with the sovereign and in-
alienable right to a "good press." We
say it has no place in the modern cor-
porate concept, no matter how intem-
perate a review nor grievous the imag-
ined injury.

We say this taking into full account
the personal peccadillos of some critics
who fancy themselves inquisitors of an
excessive and blatant "Hollywood", and
those smart alecks who are wont to
exhaust torturous paragraphs about a
movie for the sake of a single japery
that might amuse their readers. Yes, for
all their abuse of the license they enjoy,
critics are indigenous to a free, untram-
meled press.

We must admit that the gaudy values
of our own business encourage them
to practice a kind of "show business"
technique in writing their reviews. And
we must admit that since the industry
makes ample use of quotations from the
testaments of acclaim, it must be pre-
pared to accept the bad reviews with
the good.

It is the very nature of modern enter-
prise that producers of new products
troop their colors before the press and
other communications media, and take
their chances from there. The latitude
for criticism is merely far wider where
an entertainment — movie, play, novel —
is concerned. But fashion commentators
have been known to decimate mountains
of inventory by a sniff of their anointed
nostrils, with resulting anguish to not
one but a complex of industries. Nor

are the auto manufacturers today free
of the need to run the guantlet of criti-
cal examination. The growth of the
trade show practice in that field, re-
vealing the new models prior to public
sale, has exposed the car makers to the
adjudication of a newly-sprung class of
pundit, the automotive editor. There
have been critical comments of the
new car models, and, considering the
impact within a tooling and investment
context that pales movie-making by con-
trast, it is evident that the first-class
press will have its say even about this
most coveted advertiser. The difference
between the movie and the auto is
merely that a critic cannot wax as
grandiloquently scornful of a wide-
track assembly as of a rendering of life
and death on the staked plain.

If ever a vested interest found its
very foundations threatened by disclo-
sures and comments in the popular
press, it is the cigarette industry. In this
instance, all the communications me-
dia are transmitting information and
opinions that strike at the vitals of an
industry that has been for many years
the largest advertiser in the nation. That
industry, realizing that implications of
the detrimental news barrage about
the cause-effect relationship between
smoking and cancer and heart disease,
has sought to turn the fight against this
threat on the marketing and research

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations. Inc. Mo Wax, Editor and Publisher.
PUBLICATION -EDITORIAL OFFICES: 1239 Vine
Street, Philadelphia 7, Pa., LOcust 8-0950, 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer. Publication Manager; Max Garelick,
Business Manager; Robert Heath, Circulation
Manager. BUSINESS OFFICE: 550 Fifth Ave-
nue, New York 36 N. Y., Circle 5-0124;
Ernest Shapiro N Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
S3. 00 in the U. S.; Canada, S4.00;
Europe, $5.00. TWO YEARS $5.00 in
the U. S.; Canada, Europe. $9.00

fronts. To our knowledge, there have
been no withdrawals of space by the
tobacco companies from any of the me-
dia reporting the scientific findings and
commenting upon them.

It is not the practice generally of
book publishers or theatrical producers
to pull out their advertising in retalia-
tion for unkind criticism. To the con-
trary, a not uncommon practice for
them is to take increased space in the
publications that hurt most, quoting the
more favorable reviews of others.

The flamboyance of show business,
and its weakness for hyperbole, make it
a choice target for the critics. The tend-
ency to self-praise is a form of indus-
trial masochism we foster upon our-
selves, and the critic tends to respond
sometimes in terms as immoderate as
our own. Movie people fall into the
error of equating cost and quality, as
though the expenditure of a vast sum
automatically creates an inviolable war-
rant to a first-rate film, a responsive
public, an adoring press. When this
benign misapprehension is shattered,
as it repeatedly is, industry executives
occasionally take the wrong step to
strike back at those who disagree with
their notion. Thus we witness these
periodic attempts to crush critics to
conformity through economic sanctions.
It doesn't work, usually; the contrary is
more apt to be the result.

We find it exceedingly difficult to
grasp the logic of Warners' action. Jud-
ith Crist's review in the Herald Tribune
of "Spencer's Mountain" was her opin-
ion, and there is no reason to assume
that she did not state it honestly; nor
is it any one's privilege to deny her
right. Even her subsequent immoderate
attack on the Radio City Music Hall for
exhibiting the film dare not be denied
her. The Music Hall is a public institu-
tion which must be prepared to receive
its share of censure with the praise so
(Continued on Page 19)

Film BULLETIN June 10. 1963 Page 5

The Vku> frw OuU/de

oeihhhh by ROLAND PENDARIS wmm^^mmmmm

Stockholder Pests

Now that the tide of annual meetings is somewhat behind
us, I think that the interested movie stockholder deserves a few
breaks. I would therefore like to raise a few objections from the
floor to certain aspects of the yearly ritual.

Motion picture companies have no patent on the public nui-
sances who disrupt meetings these days. I have seen the same
people at sessions of all kinds of industries — and they ask the
same kind of questions at every meeting. For example, we have
all had our fill of the certain lady who insists that she had only
one or two more questions and then continues to monopolize
the floor for fifteen minutes or a half hour. This particular pro-
fessional stockholder does not pretend to know much about the
movie business or any other businesses whose meetings she at-
tends, but she has a consuming curiosity about what hidden
interests the various directors represent and an equally strong
aversion to letting any other stockholder intrude on her moment
of glory.

There used to be a financial analyst with one of the tip sheet
services who delighted in identifying himself as an expert on
motion picture securities just before he asked his "question." I
put the word in quotes because as often as not his inquiry
turned out to be a not-so-brief comment on how sound the
stock was — and in a couple of instances his flowery encomia
for management were followed within a few months by man-
agement troubles. Not one whit abashed, he was back the fol-
lowing year with another variation on the theme.

Some of the questions which are asked by intelligent stock-
holders arouse the beast in me, too. There is the recurrent in-
quiry, "How much did you spend on advertising last year,"
When the answer is given, no further questions. No interest
in whether this money all went into national ads, or was con-
centrated on one big picture, or was far too much or far too
little. The only type of commentary which I ever heard emerge
from a report to the stockholders about advertising expendi-
tures was a comparison of the ad-to-income budget of this
particular film company with that of an electric appliance cor-
poration. It is usually obvious that the shareholder who asks
the advertising question knows virtually naught about the im-
portance of advertising to motion picture business.

If this is the true meaning of corporate democracy you can
buy back my share. I am fed to the gills with extrovert char-
acters who come to annual meetings just to denounce the chair-
man and exploit the patient of a captive audience. I have had
enough of the disrupters who quote parliamentary law in de-
fense of their monopoly of the floor and then interrupt every
other speaker with hoots, catcalls, lounder speeches and parades
up and down the aisles. Is this corporate democracy?

Stockholders of America, arise! Let us provide, in the annual
meeting, the same standards of behavior that we expect in other
phases of America life. Let's have law and order, Mr. Chairman.

More and more, I hear just plain stockholders complain that
the exhibitionists have made a mockery and a shambles of a
meeting, to which the plain stockholders came for information
and enlightenment and to cast their votes. I am all in favor of
the rights of the individual, but I am infinitely more in favor
of the rights of the whole group of individuals who have their
meeting loused up. I am even willing to encourage democracy

by making a cloture rule far more generous than that of the
United States Senate. I would think that if, after a speaker had
used up a normal amount of time, he could continue only upon
the voted aproval of 15 per cent or more of the stockholders
present (not voting their holdings, voting as individual people),
few of the troublemakers would ever attain that 15 per cent.
But if a person violates the normal rules of behavior, rather
than merely talking too long, said person should be ejected
without a vote. Do it a few times and I think you'll see better
meetings. Shorter ones, too.

In case this makes it seem that I am trying to limit the com-
ments of small stockholders, I hasten to emphasize my entirely
opposite purpose. I want to give more stockholders a chance to
be heard. I am trying to open up the floor for more questions.
And I might add, wistfully, that I am hoping most earnestly
for better questions. It is amazing how even the most astute of
the professional stockholders — the good ones, not the nuts —
fail to understand the facts of the movie business, fail to ask
the pertinent questions. Virtually every year, the guys in the
press section have two or three questions they are waiting to
hear asked, because the questions will open up newsworthy
areas. Invariably, the questions aren't asked — unless, as happens
very rarely, a newspaperman coaches a stockholder beforehand.

I do not exempt the gentlemen of the press from my criticism
of annual meetings. Although they are often aware of the short-
comings of these gatherings, they sometimes play into the
hands of the nuts and cranks. I have seen them gather around
a hysterical lady who has just made a shambles of a meeting
and treat her as deferentially as though she were the voice of
the stockholders. I have seen them devote paragraphs to des-
criptions of antics with little or no indication of the meretricious
nature of these antics. The fact is that the very appearance of
their names in print is enough to encourage some meeting-
muddlers to repeat the performance with increasing embellish-
ment. If a conscientious newspaperman feels he must mention
them, he could at least indicate the nature of their behavior.

There are many other points about annual meetings that can
stand improvement, I believe. Since the basic information for
the meeting is contained in the annual report, it would be nice
if the stockholder could have some basis for judgment rather
than a different system of accounting for each company. It
would be nice to have a standard amortization table, a standard
system of reporting income and losses, and so forth.

Finally, I should like to say a word or two about one of the
favorite propositions of the serious independent stockholders,
the idea that cumulative voting is more democratic and fairer.
I disapprove of cumulative voting. I believe that its effect, like
virtually every form of proportional representation, is to make
it possible for splinter factions to split a board wide open. By
so doing, I believe that cumulative voting can make it easier
for the raider and the professional proxy fighter to move onto
the scene. And it certainly makes it harder to count the ballots.
I could be wrong about cumulative voting. It would be inter-
esting to have some clear debate on and investigation of the
subject. Meantime, keep those box lunches at the ready. Another
round of stockholders meetings are coming up next year.

Mr. Chairman, the gentleman yields.

Move we adjourn.

Page 6 Film BULLETIN June 10, 1963

"Easier were it to hurl the rooted mountain from its base than force
the yoke of slavery upoyi men determined to be free" — Southey.

Man's Resolve for Freedom
Themes Sturges'
Escape Epic

Winston Churchill has written that the one
thing outstanding in his memory of life in a
Boer War prison camp was the fact that he
was not free.

"Once your freedom is taken from you,"
writes ex-POW Wallace Floody, technical ad-
visor to "The Great Escape", "it becomes very
precious. It's not the physical hardships
endured in a prison camp that prompt escape
attempts, for in many ways life in our camp
was not too bad, as we were guarded by
Luftwaffe rather than the Gestapo. It's simply
the frustration of bing deprived of your free-
dom. Our plans to escape grew out of this
factor more than any other."

Whatever misfortune of war or fate brought
them together in Stalag Luft III, these Allied
flyers from throughout the world shared one
common goal: escape; one common love:
liberty. From that grew the largest single
escape from prison in the history of modern
warfare. Seventy-six prisoners got away. And
i from that producer-director John Sturges has
fashioned a suspenseful, authentic, penetrat-

JOHN STURGES

ing movie account of man's fight for freedom.

In the forward to the book, "The Great
Escape", on which the Mirisch-Alpha picture,
which United Artists releases in July, was
based, author Paul Brickhill writes:

"Prison camp life would not have been so
bad if: a) It weren't such an indefinite sen-
tence. At times you couldn't say you wouldn't
still be there (or worse) in ten years, b) The
Germans didn't keep dropping hints that even

( Continued on Next Page )

GREAT E)Da£M]£\

MAN'S RESOLVE FDR FREEDOM

(Continued from Page 7)

if they lost, Hitler was going to shoot you
anyway, just to even the score, c) You could
get enough food to fill your bellies again.
Just once.

"So we spent a lot of time trying to escape.
It is a melancholy fact that escape is much
harder in real life than in the movies, where
only the heavy and the second lead are killed.
This time, after huge success, death came to
some heroes. Later on, it caught up with some

villians.

"You learn to escape the hard way. It took us
three years to become proficient-from the
first primitive tunnels to the deep, long ones
with underground railways, workshops and air
pumps, forgery and compass factories, and
so on. Above all we learned how to 'destroy'
sand and to hide everything in our little com-
pound from the Germans constantly search-
ing us.

"The British had a start on the Americans
because they were there first. Then the Yanks
joined us and took to the escape business
like ducks to water.

"One got used to living in a microscopic
world where life lay in working patiently for
that brooding genius, 'Big X'. I suppose it is
romantic now. It wasn't then. Life was too
real, grim and earnest."

Sturges has given "The Great Escape" a
gloss of adventure, of high-spirited derring-do,
and plenty of humor, but beneath those sur-
face qualities is the basic reality, the grim-
ness, the earnestness of the gallant men
involved in the escape plot.

Realizing that the true story, as it stood, was
superior to anything the most inspired script
writers could concoct, Sturges, who was re-
sponsible for "The Magnificent Seven", "Sar-
geants Three" and others, let Brickhill's novel
speak for itself. Dramatic necessity dictated
that some of the film's characters be com-
posites of several of the actual participants
of the historic escape, but only the existence
of the Iron Curtain prevented him from filming
on the actual site of Stalag Luft III. Instead,
an area near Munich was chosen and a replica
of the prison camp built which Wallace Floody,
a principal in the real story and technical ad-
visor for the film, described as making him
feel "uncomfortably at home."

Authenticity of locale was matched by au-
thenticity of casting. A number of the per-
formers have had Air Force experience, some

have been prisoners of war. All are top rank
actors.

"I knew," says Sturges, "that I had a great
story, rich in human elements, in suspense,
even in wry humor. My job was to tell that
story truly and faithfully, retaining all the ele-
ments which made it such a vivid true story.
Also to cast it with men, American, British
and German, whose acting would best make
it come to life."

This he did, choosing such American talent
as Steve McQueen, James Garner, Charles
Bronson and James Coburn; British stars
Richard Attenborough, Donald Pleasence,
Gordon Jackson, David McCallum, John Ley-
ton, and Germans Hannes Messemer, Robert
Graf, Harry Riebauer, Robert Frietag, Heinz
Weiss and Hans Reiser.

John Sturges, in San Francisco to promote "The Great Escape", talks
with Oregon Journal (Portland) newsman Arnold Marks and Mrs.
Marks, while Jeff Livingston, Mirisch Co. rice president (center) listen.

Bronson, cast as a tunnel expert was a coal
miner in the Pennsylvania anthracite fields
before turning to acting. Of Bronson's scenes
in the tunnel, especially when he is trapped
by a cave-in, Sturges said, "(He) was more or
less on his own. I wouldn't presume to advise
him on something he's lived with." McQueen,
whose daring dash for freedom on a stolen
motorcycle is one of the action highlights of
the film, is an expert cyclist and auto racer.

Filmed in color and Panavision, "The Great
Escape" goes into July release backed by a
solid promotion campaign which has already
commenced with personal appearances by
director Sturges, technical advisor Wally
Floody and the film's stars. Special screenings
for veterans' groups and other associations
will form a major part of the campaign. A
special television campaign, a national 24-
sheet campaign and generous newspaper and
other ads will usher in premiere engagements
of this important UA release.

Page 8 Film BULLETIN June 10, 1963

ma

GREAT

THE

THE COOLER KING

BIG X

MIRISCH COMPANY™

STEVE

McQueen

JAMES
GARNER

RICHARD
ATTENBOROUGH

IN

JOHNH
STURGES

THE GREAT ESCAPE

CO-STARRING

W JAMES
DONALD

CHARLES

THE SBO

THE MANUFACTURER

PRODUCED & DIRECTED BY SCREENPLAY BY

BASED UPON THE BOOK BY

JOHN STURGES JAMES CLAVELL & W. R. BURNETT PAUL BRICKHILL

MUSIC ELMER BERNSTEIN A MIRISCH-ALPHA PICTURE

color by DE LUXE • PANAVISION8

FINANCIAL REPORT

Columbia 9-Month Gross Earnings
Rise, but Taxes Cut Net Below '62

Columbia Pictures showed an improvement in gross earnings
for the nine months ended March 31, 1963, compared with the
same period last year, although income taxes cut into its net.
The comparative gross earnings figures were $2,390,000 this
year, $2,127,000 last year. The 9-month net earnings: this year,
$1,160,000 (620 per share); last year, $1,689,000 (950).

President A. Schneider, in issuing the report, pointed out that
the difference is attributable to the fact that provision was made
this year for full payment of federal taxes for the period,
whereas last year the company was allowed to apply a sub-
stantial tax loss carry-forward. He also stated that last year's
three-quarter statement benefited from the sale of unused studio
property.

Schneider also revealed that the current period included re-
ceipts from only a limited number of engagements of "Law-
rence of Arabia", which is expected to make Columbia's next
year one of the most profitable in its history. Nor were any
receipts shown from the special, record-breaking run of "Bye
Bye Birdie" at the Radio City Music Hall and in Los Angeles.

They Love Disney in Wall Street

Walt Disnev continues to be the "darling" of the Wall Street
analysts. Hardly a week passes without the arrival of a bulletin
from one of the researchers who specialize in movie companies
lauding the stability and earnings potential of the Disney oper-
ation. Latest is an upbeat analysis from Glore, Forgan & Co.
(NYSE, Ampex), whose analyst Arthur S. Bahr finds that Dis-
ney stock, selling at ten times estimated earnings "does not
reflect the success of Walt Disney's method of operation and
past record of growth." He recommends purchase for the fol-
lowing reasons:

"1.) Walt Disney is unique in the movie industry. Film reve-
nues have grown by producing family type entertainment. The
risks inherent in the production of high budget films are
avoided.

"2.) The re-release potential of the ageless animated feature
films such as Snow White, Cinderella, Fantasia, Dumbo and
Sleeping Beauty provides steady recurring earnings.

"3.) The growth of color television provides a market for
Disney's color cartoons and short subjects.

"4.) The broad revenue base provided by films, television,
Disneyland and other income adds stability to the Company.

"5.) Revenues and earnings per share are expected to reach
new peaks in fiscal 1963."

Mr. Bahr shows the Disney financial record, as follows:

Years Ended September

1962

1961

1960

1959

7958

Sales ($ millions)

S74.1

$70.2

$50.9

$58.4

$48.6

Pre-tax

profit margin

14.7%

15.4%

def.

12.5%

16.2%

Net income

S5.26

$4.47

$1.34def.

$3.40

$3.87

Earnings

per share

$3.05

$2.59

$0.78def.

$1.97

$2.24

Dividends

per share

$0.40*

$0.40*

$0.40*

$0.40*

$0.40*

Cash earnings

per share

$4.62

$4.00

$0.53

$3.85

$3.76

Balaban Takes Note of Proxy Threat

In response to an inquiry by a stockholder at last week's
Paramount meeting, president Barney Balaban took cognizance
of the report carried by columnist Leonard Lyons that a proxy
fight against the present management was being planned. Bala-
ban answered the query: "All I can tell you is that I have had
no notification from anyone of such an intention. However, I
don't doubt that there are always people looking for an oppor-
tunity to start one and get aboard the train." He noted that 78
percent of the company's stock was represented at the meeting.

Rumors have persisted for some time that there was disaffec-
tion within Paramount's executive ranks, and that the 76-year-
old Balaban has been pressured to step aside. The feeling, re-
portedly, is that he has neglected the company's film operations
for numerous diversification projects, none of which have
brought much in the way of profit into Paramount's coffers.
Balaban informed the shareholders at Tuesday's meeting that
certain non-film operations were being liquidated.

Paramount showed a loss in 1962 for the first time in 25
years. And Balaban admitted the company is facing examina-
tion by the Internal Revenue Service of its tax returns for the
years 1953 through '60. A provision of $5 million has been
made to meet a possible additional tax bill.

FILM &

THEATRE

STOCKS

(lose

Close

Film Companies

5/23/63

6/6/63

Change

ALLIED ARTISTS

. . . . 2i/4

2%

+ %

ALLIED ARTISTS (Pfd.)

. . . . 8V4

8

CINERAMA

...143/4

I6I/4

COLUMBIA

. 281/4

271/2

- 3/4

COLUMBIA (Pfd.)

82

83

+ 1

DECCA

...453/4

45%

- %

DISNEY

....35%

35

- Vz

FILMWAYS

. . . . 61/4

6%

+ %

MCA

...56y4

571/2

+Wa

MCA (Pfd.)

.361/2

363/g

- %

M-G-M

.351/4

36V8

+ 7/8

PARAMOUNT

...44y8

431/2

-1%

SCREEN GEMS

....24%

231/g

-iy<

20TH-FOX

. 333/4

351/8

+1%

UNITED ARTISTS

,...283/4

29

+ y4

WARNER BROS

. .153/g

153/g

Theatre Companies

3* Sfc

AB-PT

31

29%

-iy8

LOEWS

...181/2

19i/4

+ 3/4

NATIONAL GENERAL

....10%

11

+ %

STANLEY WARNER

233/g

23%

+ Vz

TRANS-LUX

...121/4

121/8

- %

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, American
Exchange; all others on Neiv York Stock Exchange.)
* * *

5/23/63 6/6/63

Over-the-counter

Bid

Asked

Bid

Asked

GENERAL DRIVE-IN

9

93/4

10

103/4

MAGNA PICTURES

■ • 2i/2

2%

23/4

31/4

MEDALLION PICTURES

.. 7

m

81/2

91/2

SEVEN ARTS

... 7%

8%

8%

8%

UA THEATRES

■ ■ 83/8

91/4

81/4

9i8

UNIVERSAL

61

651/2

61

651/2

WALTER READE STERLING

.. 2

21/2

2V4

2V8

WOMETCO

243/4

26%

243/4

2634

(Quotations courtesy National Assn. Securities Dealers, Inc.)

Film BULLETIN June 10, 1963 Page 17

WHO CAN COMPUTE THE VALUE OF LIZ TAYLOR AS AN ADVERTISING MEDIUM?

I liked the idea that Elizabeth Taylor
received 243 votes in an effort by one
stockholder to elect her to the Board
of Directors of 20th Century-Fox. This
was a nice gesture in view of the fact
that some of the stockholders at the
annual meeting were a little shocked
that Miss Taylor might earn around
$12,000,000 by the time "Cleopatra"
becomes the biggest grosser in movie
history.

I would have thought that all stock-
holders would be rooting for her to hit
this peak income, if for no other reason
than it would mean that "Cleopatra"
would put 20th-Fox back on the road
to solvency, and, at the same time,
prove that a good gamble is not nec-
essarily a bad business tactic.

Perhaps it is difficult for the average
stockholder to realize that without Miss
Taylor "Cleopatra" would not be quite
the profit maker it eventually will be.
Very few stockholders have any educa-
tion in the complexities and expense
involved in the production of motion
pictures. I attribute this mainly to the
fact that no film company ever sets
forth in its annual report any informa-
tion that would lead to enlightenment.
I think it is much more difficult to make
a successful motion picture than it is to
drill another oil well or retool another
factory. Yet, 1 read in many annual
reports the most comprehensive expla-
nations of technological transitions oc-
curring in companies such as Standard
Oil of New Jersey, Olin Mathison, and
General Telephone and Electronics.

Most industries are elated to impart
this type of information to their share-
holders. They come through with good
reasons why they err and also with
good reasons why they succeed.

I don't recall any film company pre-
senting in its annual report a chart
showing rising costs of labor, material
and conditions which make for in-
creased costs of production. Nor do I
read of their reasons for purchasing cer-
tain story properties or hiring certain
stars and directors. It is true that most
of them comment on rising costs, but
seldom is any concrete evidence given
to demonstrate the facts.

Mr. Zanuck at the annual stock-
holders meeting modestly admitted that
he is no miracle man. I think he cer-
tainly will do till one comes along. But
the hard fact is that the making of mo-
tion pictures — regardless of the care,
discretion and skill put into producing
them — remains a rolling of the dice.

ADAM WEILER

The Ford Company gambled about
one-half billion dollars to produce the
"Edsel" and look what happened. If the
break even figure of "Cleo" is $60,000,-
000 and it grosses $100,000,000 or
more, then the sixty million will not
look so bad.

What the stockholders of 20th Cen-
tury-Fox should understand is that it
is no easy job for an idea to be put on
film. Nor is there ever any guarantee
that the public will accept the finished
product.

Somebody once said that this would
be a great business if there were no
stockholders or no public. Take it from
there.

A final word on Miss Taylor: she
has already earned close to two million
from her work on "Cleopatra". Don't
you think the company should charge
this to the advertising budget. Where
could you get this amount of advertis-
ing for this amount of money? She
has brought "Cleopatra" a minimum
of $10 million in free space.

■+ ► ►

If you like statistics, you may be
interested in the global facts of life now
available in the United Nations Year
Book. In addition to such stark infor-
mation that a high percentage of the
world's population subsists on less than
2,000 calories daily, you can learn a
thing or two about the state of the
motion picture business on all sectors.

It is evident that the comrades in the
U.S.S.R. put much importance on the
cinema, since the Soviet Union boasts
it has 73,800 movie theatres. It is our
assumption that even with all these
theatres there is very little shown in
them that could possibly add joy to the
proletariat. No doubt most of the fare
in these edifices of culture (Soviet
style) is designed for purpose of in-
doctrination. Judging from what we
have seen of Soviet movies, it's clear
that boy meets girl either on a tractor
or on an assembly line.

The United States puts every country
to shame in number of television sets.
In 1961 this country had sixty-two mil-
lion sets in operation. Nevertheless, in
the same year motion picture theatres'
patronage rose to 2.2 billions. However,
Japan is the world's top film producer,
having produced 536 features in that
year. Only 254 features were made in
the U.S. in 1961 as against 302 in Hong
Kong; Italy in 213; France 167.

You may well ask if Hollywood is
still the film capital of the world. Judg-
ing from the popularity of American
films in the world market in contrast
to the limited exhibition of foreign
films in this country, the answer should
be a happy "yes".

Salutations to Dr. Alfred Hitchcock
who recently was awarded an honorary
degree from Santa Clara University.
Dr. Hitchcock, who not only is an ex-
cellent movie craftsman, but a gent
who enjoys his work, said, that in
accepting this Doctor of Humane Let-
ters degree he assumed it was the same
as the one conferred on "Dr. Jekyll".

He told the graduating class: "All of
you will not be fortunate enough to
spend your lives committing murder,
on film or otherwise, but I do hope
that you can keep your work well flav-
ored with the saving salt of humor."

Such advice may well be taken not
only by graduates but by the film
industry as well. Dr. Hitchcock has
made a lot of money for himself, as
well as for exhibitors and distributors.
Yet, like many others, in the movie
business, he is taken for granted. Like
all stars in any field of activity, he
makes it look so easy, just as Joe
DiMaggio made it seem that he never
had any tough flyballs to catch.

I presume the difference between an
extraordinary talent and just another
talent is marked by the facility which
occurs in the process of creating. To
observe Hitchcock on the set is to get
a feeling that he has been through all
of this so many times that it has be-
come a hobby. Yet, no craftsmen puts
so much into preparation of a film as
he does. That's why it looks easy. When
he starts photography, it is already ac-
complished in his mind. But more im-
portant, it is also well drilled into the
minds of those working with him.

Isn't it about time that his own
industry gave the good Doctor an
honorary degree?

Page 18

Film BULLETIN June 10, 1943

CAST AND CREDITS

CAMPAIGN FOR 'DAY' BREAK

(Continued from P<ige 4)

F. Zanuck's war epic, "The Longest
Day."

A budget of $100,000 has been
allotted for advertising "Day" in its 32-
theatre New York area break, it was
revealed to representatives of the par-
ticipating theatres at a meeting in the
20th-Fox home office last Thursday.
The campaign was kicked off with a
full page advertisement on the back
page of the New York Times that
morning, and 20th-Fox vice president
Jonas Rosenfield, Jr., head of promo-
tion, disclosed that a substantial portion
of the huge expenditure will go for
television advertising. Two of the film's
stars, Rosenfield told the theatremen.
Red Buttons and Irina Demich, will
make appearances at a number of the
theatres.

ROSENFIELD & ZANUCK

President Zanuck dropped in on the
meeting to report that "The Longest
Day" is likely to be the largest domes-
tic grosser in Fox history to date, and
to note that the picture is drawing a
high percentage of repeat attendance.

Harold Rand, director of world pub-
licity, spoke on the vast publicity cov-
erage given the Zanuck production in
all media, especially the syndicated col-
umns and in the financial press.

Joseph M. Sugar, vice president in
charge of domestic sales, expressed the
view that "Day" is "one of the greatest
pieces of merchandise in the history of
the business." Advertising director Abe
Goodman and exploitation director
Rodney Bush were also at the session.

Joe Levine: Will He
Fill DeMille Shoes?

The enthusias-
tic reception ac-
corded Joseph E.
Levine at the
Paramount stock-
holders meeting
last week left no
doubt that the
company's execu-
tives and the
shareholders en-
vision dynamic
Levine as a pos-

levine sible successor to

Cecil B. DeMille.
Paramount president Barney Balaban
introduced him as "our industry's great-
est showman", and Paramount un-
doubtedly is counting heavily on the
three films Levine's Embassy Pictures
has committed to the distribution com-
pany. Throughout his lengthy and enor-
mously successful career the late
De Mille was Paramount's bulwark,
and in his final production, "The Ten
Commandments", he left the company
a monetary heritage which it is still
enjoying.

If Joe Levine matches his showman-
ship talent in producing epic films, the
Paramount management sees itself re-
gaining its former formidable position
in the industry. The three Embassy pro-
ductions being made for Paramount
are: "Zulu", (Stanley Baker, Jack Haw-
kins), currently shooting in South
Africa in Technirama 70 and Techni-
color; "The Carpetbaggers" (George
Peppard, Carol Baker, Alan Ladd,
Martha Hyer) in 70mm Super Panavi-
sion and Technicolor, scheduled to start
shooting in July, and "Nevada Smith",
a continuation of the "Carpetbaggers"
saga.

Levine last week announced the ap-
pointment of William S. Zimmerman
as vice-president and production super-
visor of Embassy. He will be in charge
of the company's burgeoning produc-
tion activities in the U. S. and abroad.

Cinerama Seams Go
In One-Lens System

Cinerama, always plagued by those
seams and the high cost of the three
projectors, seems to have found the so-
lution. A new single-lens system was
revealed in Hollywood last Thursday
(6th) before an audience of film execu-
tives, exhibitors, and the press.

Production and exhibition costs will
be cut approximately 30 percent, Ciner-

REISINI

ama president Nicolas Reisini told the
gathering. Theatres that presently have
the three Cinerama projectors will be
able to employ two of them for the
usual changeover procedure. Single-lens
cameras and projectors are to be avail-
able shortly after the new year, he said.
Present Cinerama product will be adapt-
able to the new single-lens system.

The audience at the Cinerama studio
was regaled by some 16 minutes of
scenes from Stanley Kramer's "It's a
Mad, Mad, Mad, Mad World" which
was shown in the new projection sys-
tem. Arthur Krim president of United
Artists which will release the film was
highly enthusiastic. He said, "This
event is a landmark in the history of
the film industry." Turning to producer
Kramer, he expressed the view that
"this picture will gross more than any
in the history of the motion picture
industry."

Viewpoints

(Continued from Page 5)
often heaped upon it as a great show-
place.

Much as we appreciate the distress
felt by Warner Brothers over the harsh
treatment of "Spencer's Mountain"
(which likely will be a big money-maker,
Mrs. Crist to the contrary notwithstand-
ing) and the chagrin suffered by theatre-
man Russell V. Downing's fine reputa-
tion, we cannot escape the conclusion
that a more sophisticated approach
should have been adopted in response
to Mrs. Crist's critique. The fact that
the august Herald Tribune was
prompted to express itself editorially
that it feels "sorry for film producers
who consider themselves above criti-
cism" reflects a poor image of our in-
dustry. After all, how do we appear in
our constant fight against censorship if
we, ourselves, would censor a critic who
doesn't like the contents of a movie or
the manner in which a theatre is oper-
ated ?

The press is here to stay. Our indus-
try must learn to live with it and to
strive always for the most amenable
relationship with it. Let's stop trying to
"cure" the critics.

Film BULLETIN June 10. 1963 Page 19

The Thrill of It All"
Scubteu &<itcHf O O O Pius

Has all the familiar elements of Universal' s prior comedy
successes: Doris Day, lavish production, sight gags. Some
of the humor lags, but it will be big moneymaker.

Universal, which seems to have an exclusive patent on the
lush, frothy, sight-gag romantic comedy technique, has stamped
out another film in the mold of "That Touch of Mink", "Pillow
Talk", etc. It has all the familiar — and money-making — ingre-
dients: Doris Day, plush settings, gorgeous cloths, an aura of
sophisticated glamor. While it doesn't have Rock Hudson or
Cary Grant, it does have James Garner to play Miss Day's
love-making and laugh-making partner. "Thrill' is sheer esca-
pist froth that will draw a big audience. Some of the comedy
this reviewer found a bit too contrived, but that will not be
sufficient to keep practically every young and not-so-young
female from leading her boyfriend or husband to the theatre
where "The Thrill of It All" will be playing. The Ross Hunter-
Martin Melcher production in Eastman color is dazzling in a
style that will make spectators, especially the fern contingent,
drool. Director Norman Jewison keeps things moving at a
good pace, although one wishes he had strived for a bit more
realism in the husband-wife relationship. Much of the fun
emanates from sight gags, such as the one in which Garner
arrives home from work and drives his car into a filled swim-
ming pool that had just been installed without his knowledge;
he sits still and sinks slowly into the water. Such incidents and
some of the lines in screenplay by Carl Reiner provide plenty
of laughs. On some occasions Reiner's material tends to sound
strained and a few of the sight gags appear to have been
dragged in for pure shock effect. Probably, they will get
laughs in the theatre. Miss Day is presumed to be a "typical"
American housewife, sporting a fabulous Jean Louis wardrobe
and living in a "typical" suburban $150,000 home. She is bliss-
fully content being the mate of the handsome young doctor.
Garner, and watching over their two beautiful and witty
children, while occasionally bottling her own ketchup (sic) in
the cellar. Their happy marriage is turned topsy-turvy when
she accepts an offer of $80,000 per year to appear in TV com-
mercials. From that point on, the story deals with Dr. Garner's
frantic efforts to restore both his household and his wife to
normalcy. Miss Day is as gay and scrubbed as usual. Garner
is no Cary Grant, but this is his most relaxed performance to
date. Arlene Francis plays a middle aged wife who has become
unexpectedly expectant. The late Zasu Pitts has some poor
material in her role as a maid.

Universal. 108 minutes. Doris Day, James Garner, Arlene Francis. Produced by
Ross Hunter, Martin Melcher. Directed by Norman Jewison.

Trma La Douce"
&u4cHed4 Kate*? O O O

Gay, sophisticated farce strictly for adult trade. Lemmon
and Mac Lai ne score again. Will be important grosser in
metropolitan markets.

Thanks to the performing magic of Jack Lemmon and Shirley
MacLaine, this should be an important grosser. Under the know-
ing hand of producer-director Billy Wilder, the stars work won-
ders with a gay, if repetitious, Wilder-I. A. L. Diamond script
to make "Irma La Douce" fast, funny, risque adult entertain-
ment. This United Artists release will find enthusiastic response
in metropolitan markets. The Technicolor-Panavision produc-
tion is lively, despite an occasional tendency to lag. This can be
blamed on the fact that the music in the original stage version
has been relegated to the background and some of the farce
played straight, with even some forays into topical satire. Con-

sidering that the story deals with the affair of a popular and
proud prostitute, played by Miss MacLaine and the young
policeman (Lemmon) who falls for her, the musical interludes
might have kept it in a lighter, more farcical vein. Nonetheless,
"Irma" will provide plenty of fun for adults with any degree of
sophistication. Lemmon, as the prudish young man who finds
himself acting as business manager for a prostitute, gives a re-
markably versatile performance. His impersonation of an Eng-
lish lord ranks among the great moments of celluloid comedy.
Miss MacLaine is a perfect foil as the prize poule of Paris, and
their scenes together generate a warmth and humor that no
other team today could duplicate. After Lemmon is booted off
the police force for taking his job too seriously, he becomes
enamored of Irma, the friendly tart he had previously arrested
in the line of duty. In a cafe fight, he unwittingly clobbers
Irma's procurer, the local bully, and soon finds himself in his
predecessor's shoes — and bed. Lemmon becomes intensely jeal-
ous of Irma's clients disguises himself as a titled English noble-
man who obtains her exclusive services. Complications develop
and Lemmon is sentenced to prison for "murdering" the imagi-
nary "Lord X." Everything ends happily, with Lemmon return-
ing to the police force to support his wife, Irma (who has now
retired), and their baby.

Un:ted Artists. 142 minutes. Jack Lemmon, Shirley MacLaine. Produced and di-
rected by Billy Wilder.

The Girl Hunters"

Satinet &€LtiHQ O O Plus

Rough, tough Mickey Spillane mystery-murder meller,
with author playing Hammer. Good exploitation entry
for general market.

Sadism, sex, and masochism, combined with the Mickey Spil-
lane name, will sell this searing melodrama in the general
market, especially where it is exploited. Robert Fellows' produc-
tion maintains a machine-gun pace from its opening shot in a
filth-strewn gutter to its blasting finale. Spillane, himself, plays
the Mike Hammer role and also collaborated on the screenplay
with Fellows and director Roy Rowland. This trio didn't miss a
trick — they even had it photographed in Panavision so that
audiences could get the full impact of the spattering gore. In
addition, a bluesy background theme, composed by Phil Green
and performed by Eddie Calvert, should get plenty of juke-box
and radio play. Although the story takes place in New York
and Washington, the picture was made in England, and at times
the discrepancy shows, particularly in the Washington scenes.
The plot opens with Mike Hammer, a Bowery alcoholic,
dragged out of the gutter by the police who beat him up and
then dispatch him to a hospital. This surprise introduction to
our hero is followed by talk — most of it while Hammer is
fighting off adversaries — about a girl, Velda, whose apparent
death caused Mike's descent to the gutter. It soon appears that
she is alive and captive of an enemy agent known only as "the
dragon." Whenever Hammer is about to get a clue to her
whereabouts his contact is murdered. The trail eventually leads
to the widow (Shirley Eaton) of a murdered Washington sena-
tor, with whom Hammer is soon embroiled in a passionate love
affair. With the help of secret agent Art Rickerby (Lloyd
Nolan) and columnist Hy Gardner, portraying himself, Ham-
mer tracks down the secret agent and, after beating him insen-
sible, drives a spike through his hand to prevent escape. Mike
suspects that the senator's wife is involved in the spy ring, but
wanting to give her the benefit of doubt, he fills the barrels of
her shotgun with moistened dirt. When she attempts to shoot
him her own head is blown off and Mike is spared the agony
of having to pull the trigger on the woman he loved.

Colorama Features. 103 minutes. Mickey Spillane, Shirley Eaton, Lloyd Nolan. Pro-
duced by Robert Fellows. Directed by Roy Rowland.

Page 20 Film BULLETIN June 10, 1963

eBOuiMjo ®p una® mm,

JOSEPH E. LEVINE
is proud to announce
that Embassy Pictures Corp.
will distribute in the United States and Canada

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—women in blind love and blistering hate, women carnal and
capricious, women at their most primitive and their most
sophisticated, women as they are in every part of the world!

Book the Big One For '63 From Embassy

You Have Never Seen Anything In The World Like

Directed by Gualtiero Jacopetti
in Technicolor®

JOSEPH

PICTURES CORP

Time & Life Bldg., Rockefeller Center,
New York 20, N Y.
JU 2-2100

"Jason and the Argonauts"
GcuiHtte IRatc*? GOO Plus

Strikingly, imaginatively filmed version of myth will
delight young and old. Big summer grosser.

This Columbia release has all the elements of a powerful
summer attraction. Handsomely produced by Charles H.
Schneer in Eastman Color and Dynamation 90, it is certain to
delight the young tykes and their imaginative elders as well.
Aside from being visually impressive, the mythological tale of
Jason's search for the Golden Fleece is told here by writers Jan
Reade and Beverley Cross with verve and some wit. And direc-
tor Don Chaffey keeps the journey of the Argonauts consistently
lively, suspenseful, always building towards the spectacular
climax. The dialogue is sparse, but sufficient, and the camera
work by Wilkie Cooper is eye-filling. However, it's the special
effects by Ray Harryhausen that will create the big stir in the
audience: on the Isle of Bronze, a gigantic image of Talos sud-
denly comes alive, chases Jason into the sea, picks up his ship
and tosses it into the waters as if it were a toy; Harpies, eerie,
batlike gobline descent from the sky to gobble a starved blind-
man's dinner; a huge Triton materializes from the ocean's depth
to hold back an avalanche of boulders; a seven-headed serpent
ferociously protects the Fleece and after the snake is slain, its
teeth pop open, revealing cadaverous skeletons, armed with
swords and shields, who give Jason a merry, grotesque chase. It
all, of course, ends happily for those true of heart, with the
film winding-up on a touch of sophistication: the hero's out-
rageous adventures have been the result of a chess game be-
tween Greek gods, Zeus and Hera, who have been using mortals
for pawns in their amusement atop Mount Olympus. As the hero
is newcomer Todd Armstrong, a handsome, lithe, brown-eyed
youth, with, for a change, as much brain as brawn. Others prom-
inent in the generally capable cast are Nancy Kovack, as a
fetching high priestess, and Gary Raymond, as the chief human
thorn in Jason's travels.

Columbia. 104 minutes. Todd Armstrong, Nancy Kovak. Produced by Ray Harry-
hausen. Directed by Don Chaffey.

"King Kong and Godzilla"

Sudute^ IZatuu? GOO

Wild, amusing showdown between screen's two prize
monsters. Kids will love it and the adults won't mind.
Good summer item.

King Kong is back and Godzilla's got him. The combination
of these two monsters gives this Japanese (Toho) production,
strong exploitation values, which Universal, the distributor,
plans to capitalize. It will draw all the school-free youngsters,
and even the adults won't mind the wild goings-on in view of
the Paul Mason and Bruce Howard tongue-in-cheek scripting
and the sharply satirical direction of Thomas Montgomery and
Inoshiro Honda. Japan's Toho studios must have studied all the
ingredients of Hollywoods' bread-and-butter epics of the '40's,
stirred well, and come up with this amusing visual stew that
occasionally becomes incoherant. Some of the lack of continuity
is likely due to the fact that some scenes were added over here
to make it more understandable to U.S. audiences. Since Kong's
native habitat is Faeroe Island, much of the footage is devoted
to luscious jungle scenery, native dances, a smoldering volcano,
and an attack on the village by a giant octopus. Don't try to
figure out how the octopus got on land — just wait for King
Kong to come to the rescue. The giant ape is more lovable than
ever and never really hurts anybody. His greatest crime is clum-
siness, as when he stumbles over a vacated apartment develop-
ment or sits on skyscrapers that crumble under the weight.
Trouble starts when Godzilla literally explodes from an iceburg

and then sinks an American submarine. The final battle between
the two monsters also is a dilly, providing alternate thrills and
cartoon-like hilarity. Kong, being the "goodie ", is, of course,
the victor, with Godzilla presumably buried in the sea under
lava from an erupting Mt. Fuji. In the fade-out the ape is seen,
via television relay, swimming back home while an American
newsman wishes him luck on his long journey. What more
could anyone want? Human performances are adequate and Mie
Hama, as the girl caressed by Kong, is a standout. Michael Keith
is an American UN reported and James Yagi, his oriental
counterpart. Harry Holcombe, as an American scientist who
illustrates television lectures with excerpts from childrens' pre-
school books, appears in a clever bit. Major credit though must
go to the special-effects staff and to the Technicolor cameramen.

Universal. 90 minutes. Michael Keith. James Yagi. Produced by John Beck. Di-
rected by Thomas Montgomery and Inoshiro Honda.

"The List of Adrian Messenger"

SuMtete 1£*ti*$ O O Plus

Well-made murder mystery gets boxoffice lift from bit
parts played by 5 top-drawer stars. Should be OK b.o.

John Huston, once the master of nerve-ending whodunits, is
back again in the suspense business. This time, he is on the
trail of a diabolical killer, who has taken eleven lives. If this
Universal release is a far cry from the director's superb handling
of his classic hair-raiser, "The Maltese Falcon,'' it is neverthe-
less a better than routine thriller, which should please mystery
devotees and viewers who like to have their criminal roundups
in the methodical, scientific tradition of Scotland Yard. How-
ever, for those who like their chase at a faster pace, the outcome
may be too slow in arriving. The boxoffice prospects of "The
List of Adrian Messenger" are enhanced by a gimmick — five
top flight stars play minor roles in heavy disguise. Kirk Doug-
las, Tony Curtis, Burt Lancaster, Robert Mitchum, and Frank
Sinatra add a fillip by keeping the audience guessing as to their
identities. The key roles in the main melodrama are played con-
vincingly by George C. Scott, as the dogged, well-mannered
detective; Jacques Roux as his likeable sidekick; Dana Wynter;
Clive Brook; Herbert Marshall, and young Tony Huston. Hus-
ton employs the wide-open fields of Ireland's fox-hunting coun-
try and dingy corners of London's waterfront to have Scott
track down the killer — which he does as the climax of a foxhunt.

Universal. 98 minules. George C. Scott. Dana Wynter. Produced by Edward Lewis.
Directed by John Huston.

"Werewolf in a Girls' Dormitory"
(The Ghoul in School)

Sudinedt IRaUtf O Plus

Cfever exploitation may get this fair returns.

The clever "Nervo Rama" campaign will help this Italian-
made M-G-M release get by in its initial dates, but word-of-
mouth will cut into its grossing power before long. While much
of the fault can be placed on a poor dubbing job, the film lacks
sufficient substance or frightening ingredients to sustain interest.
Director Richard Benson has staged the proceedings with little
suspense and the script, credited to Julian Berry, is of little help.
Plot revolves around a series of murders in a girls' reform
school. At first it is thought the victims were attacked by
wolves, but faculty member Carl Schell knows better and
captures the werewolf who serves as headmaster during die
day. Schell, brother of Maria and Maximilian, bears a strong
family resemblance and is competent in his role.

M-G-M. 84 minutes. Barbara Lass, Carl Schell. Produced by Jack Forrest. Directed
by Richard Benson.

Film BULLETIN June 10. 1963 Page 23

"Savage Sam"

JSu4iH€44 1£*u«$ O O Pius

New Disney boy-dog entry should satisfy family trade,
especially the kids. Will gross well as summer release.

"Savage Sam" is no "Old Yeller", not by a country mile. It
has a dog and a boy, but it lacks the heart-interest and the sus-
pense that made that prior Walt Disney film one of the best of
its type. "Sam", nevertheless, will have the support of a Disney
promotion campaign, and that means youngsters everywhere
will be waiting to see it. In the summertime, especially, that
spells above average grosses wherever the family trade abounds.
The kids and their parents will find enough hard riding and
slam-bang brawling between the whites and the Apaches to
satisfy them. Kevin Corcoran does well with the key role of
the high-spirited boy, owner of Sam. A minor teenage romance
involves his older brother, Tommy Kirk, and young Marta
Kristen. Brian Keith is rugged and leathery as the boys' wise
uncle. And Sam, the blue tick hound, may lack the appeal of
his sire, "Yeller", but he acts well enough, particularly when
he has to do his trailing on three legs because of a chewed-up
paw. The direction of Norman Tokar concentrates more on the
chase than on characterization. The Technicolor photography is
impressive. Set in the Texas of 1870, the story centers on the
capture of brothers Corcoran and Kirk and their neighbor, Miss
Kristen, by a band of Apaches. Sam, after shaking off the effects
of a clubbing by the Indians, takes off in pursuit. He finds Kirk,
left behind by the Indians, and they resume the chase together,
later are joined by Keith and a posse. In a climactic battle, the
youngsters are freed.

Buena Vista. 110 m'nutes. Brian Keith, Tommy Kirk, Kevin Corcoran. Produced by
Walt Disney. Directed by Norman Tokar.

Tall Me Bwana"

%>u4ute4& 'Rating Q O

Fair Bob Hope vehicle will do OK as summer release. Has
some fun for youngsters in animal sequences.

After a promising beginning, this new Bob Hob vehicle drops
off too a much lower level of comedy and will provide his fans
with only occasional pleasure. On the other hand, as a summer
release it does have the possibility of attracting the youngsters,
since it features jungle scenes involving a friendly lioness and
a baby elephant which mistakes Hope for one of the family.
All in all, "Call Me Bwana" shapes up as a fair grosser in the
general market. The Eastman Color production by Albert R.
Broccoli has been directed with reasonably good pace by
Gordon Douglas. Anita Ekberg and Edie Adams add some
marquee luster, as does the presence of Arnold Palmer who is
thrown in briefly to attract the golfers. The yarn, written by
Nate Naoaster and Johanna Harwood, starts brightly enough,
with Edie Adams, a comely, voluptuous CIA agent, accom-
panying Hope, an African explorer who's never been to
Africa, on safari to retrieve a space capsule. Miss Adams is
attracted to Hope — and Hope, well. Miss Ekberg a Russion
anthropologist and spy, arrives and gleefully pushes her sub-
ordinate out of a second-story window. Miss Adams rescues
Hope from a series of murder attempts, while her seductive
rival works her wiles on the unsuspecting Hope. Then the spy
weakens and the plot does likeswise, falling into the old
"Ninotchka" routine. Finally, Miss Ekberg reforms, defects
from Russia and gets her man. This could be accepted, but not
when the girl who has the audience sympathy, Miss Adams, is
left waiting, safe but unmated, in the bushes — with not even a
Bing Crosby around the bend.

United Artists. 103 minutes Bob Hope, Anita Ekberg, Edie Adams. Produced by
Albert R. Broccoli. Directed by Gordon Douglas.

"The Nutty Professor"

'SutlKCU "Rating O O Plus

Lewis doing a comic Dr. Jekyll-Mr. Hyde bit. Has fair
share of laughs. Technicolor and Stella Stevens help.

At one point in "The Nutty Professor" Jerry Lewis swallows
a potion that changes him from a mild, bumbling chemistry
prof into a brash, flashy, lower-case don juan. Yes, it's Dr.
Jekyll and Mr. Hyde again, and this schizo aspect is about the
only way to view a Lewis film. As far as boxoffice potential is
concerned, its a Dr. Jekyll. There is still a Lewis audience.
Lewis is mugging to his fans, singing to 'em and stumbling all
over the screen. Filmed in Technicolor, "Professor" has plenty
of beautiful gals, led by a stunning Stella Stevens packaged
in an array of sexy outfits, to form a backdrop for the frenetic
star. For any audience that desires comedy imaginative and
cliche-free, this film is a Mr. Hyde. The Lewis antics, as he
goes from Professor Julius Kelp to hipster Buddy Love, begin
to look and sound familiar, and the repetition will wear down
all but the devoted Jerry Lewis devotees. The comic, who
insists upon writing his own material (with Bill Richmond),
and directing his films, could do better by employing others.
He goes in for shopworn gags "Dr. Kelp, do you know who
Newton was?" — "A, I believe he had something to do with
figs." And he gives himself too much footage.

Paramount. 105 minutes. Jerry Lewis Stella Stevens. Produced by Ernest G.
Glucksman. Directed by Jerry Lewis.

"Corridors of Blood"

Su4cne4d /£<ntt*# Q Q

Well-made drama of doctor's research in drugs.

This British import has considerable merit. It is being coupled
with "Werewolf in a Girls Dormitory," as part of M-G-M's
"Nervo Rama" exploitation show. Despite the lurid title, it is
really not a true horror picture. Realism and integrity are
sustained throughout the John Croydon production by director
Robert Day. The literate script by Jean Scott Rogers is rooted
in fact and the setting of London, 1840, is authentically repro-
duced in the black-and-white framework. Boris Karloff will
draw the horror addicts, but this unusual film might have
been better suited for the art houses. Karloff virtually monopo-
lizes the film as an idealistic surgeon dedicated to developing
an anesthetic to relieve the tortures of patients undergoing
operations. Francis Matthews and Betta St. John provide ro-
mantic interest. Finlay Currie and Christopher Lee are effective
in small roles. The story concentrates on Karloff's research and
ultimates failures, during which he becomes addicted to experi-
mental drugs and finds his surgical ability impaired. Forced to
leave his hospital post, he is reduced to falsifying death cer-
tificates for underworld assassins in order to obtain drugs with
which to continue his experiments. When Karloff is no longer
useful to the underworld he is murdered. His name is vindicated
when anesthetics are perfected a few years later.

M-G-M. 84 minutes. Boris Karloff, Betta St. John, Finlay Currie. Produced by John
Croydon. Directed by Robert Day.

WANTED: Experienced Theatre Manager
for an expanding theatre circuit
■

Many benefits, including retirement plan

Apply immediately

WALTER READE / STERLING THEATRES

Mayfair House, Deal Road Oakhurst, N. J.

Page 24 Film BULLETIN June 10, 1963

I

United Artists Showmen Go Out
On Street To Bally Summer Shows

With the coming of the warm weather,
smart showmen invariably take to the out-
doors to exploit their films. United Ar-
tists boxofficers, traditionally, have de-
vised a host of street and lobby gimmicks
to attract the passing parade into theatres
playing UA releases. This season is no
exception.

At right are pictured several of the
stunts being employed to plug current UA
product. The top one, used on New York's
Broadway, shows a bikini-clad showgirl
relaying a secret message via a large conch
shell, in which was concealed a speaker
that urged the listener to visit one of the
Premiere Showcase theatres showing "Dr.
No."

The scene in the center took place in
Chicago. The stunt, promoted for the "Dr.
No" premiere at the State-Lake Theatre,
consisted of two shapely gals garbed as
"walking books" distributing paperback
copies of the Ian Fleming novel, and a
safe parked on the sidewalk in front of the
theatre. Clues to the combination of the
safe were given out by local radio station.
A color TV set went to the successful safe
cracker. Henry Levin, manager of the
State-Lake is at left of the safe.

The stunt on behalf of "I Could Go on
Singing" was promoted for the film's open-
ing at the United Artists Theatre, Chicago.
Models distributed crying hankies to fern
shoppers.

The disguise gimmick was used to exploit "The
List of Adrian Messenger" in N.Y. Radio sta-
tion WMCA broadcast from the lobby of the
Warner Theatre for (> hours, asking [lassersby
to identify the disguised disc jockey.

WR-S Managers To Vie for
Summer Promotion Prize Money

Theatre managers of the Walter Reade-
Sterling circuit wil be plugging harder
than ever this summer. They have their
eyes peeled on the $14,650 that will be
presented to winners of the "profit bo-
nanza drive", a reward for extra promo-
tion effort throughout the summer period.

Sheldon Gunsberg, WR-S executive vice
president, conducted a meeting of the
chain's managers at the company's Oak-
hurst, N. J., headquarters, where Mort
Hock, United Artists advertising manager
outlined his company's promotion plans
for "The Great Escape'' and "Irma La
Douce".

Playboy Kicks Off 'Playboy'
Campaign before Film Rolls

A full year before its scheduled release
and even before the cameras roll on the
first scene, the promotion campaign for
Columbia's "Playboy" is underway. The
Tony Curtis starrer is scheduled to go into
production next month.

Playboy magazine, whose publisher,
Hugh Hefner, will be portrayed by Curtis
has set the publicity wheels in motion by
inviting the mag's advertisers to supply all
the fashions to be worn by the star in the
film. Their participation will be reported
in a special promotion section that will be
a feature of the June, 1964, issue of Play-
boy to coincide with the release of the
movie. Curtis will model the clothes he
wears in the film and the full wardrobe
will get a big play in the magazine. Every-
thing from socks and ties to tuxedoes are
being solicited from manufacturers, and
those selected for Curtis' "Playboy" ward-
robe will have an opportunity to exploit
their product on that basis.

Manufacturers are being asked to style
the items a year in advance so that they
will be appropriate when the film is re-
leased. Howard W. Lederer, vice president
and advertising director of Playboy, called
for styles that will be stocked in retail out-
lets throughout the run of the movie. That
takes planning !

CONGRESS SEES 'CARETAKERS'

United Artists struck another show-
manship first by showing Hall Bartlett's
"The Caretakers" to a joint session of
Congress recently. No film had ever been
screened previously for the two congres-
sional bodies. And Senator Lister Hill
(Ala.) recorded the event in the Con-
gressional Record with the remark that
"this picture is a remarkable and effec-
tive weapon in the nation-wide fight
against mental illness."

United Artists was represented by Nice-
president Fred Goldberg. Also present
were Henry F. Greenberg, scenarist of
"The Caretakers" and his wife.

Senator Hill and "Caretakers" >7./r Robert
Stack converse at the capitol screening.

Film BULLETIN June 10, 1963

Page 25

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

April

DAY OF THE TRIFFIDS, THE CinemaScope. Color.
Howard Keel, Nicole Maurey, Janette Scott, Keiron
Moore. Producer Philip Yordan. Director Steve Sekely.
Science-fiction thriller. 93 min. 5/13/63.

May

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Lauren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.
88 min. 5/13/63.

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
A Julian Wintle, Leslie Parkyn Production. Director
Michael Winner. Musical.

June

55 DAYS AT PEKING Technirama, Technicolor.
Charlton Heston, David Niven, Ava Gardner, Flora
Robson, Harry Andrews, John Ireland. Producer Samuel
Bronston. Director Nicholas Ray. Story of the Boxer
uprising. 150 min. 4/29/63.

LONG CORRIDOR. THE Peter Breck, Constance Towers.
Producer-director Samuel Fuller. A Leon Fromkess
Production. A suspense drama.

July

GUNHAWK, THE Rory Calhoun, Rod Cameron, Ruta
Lee, Rod Lauren. Producer Richard Bernstein. Direc-
tor Edward Ludwig. Outlaws govern peaceful town of
Sanctuary.

Coming

GUNFIGHT AT COMANCHE CREEK Color. Cinema-
scope. Audie Murphy. Producer Ben Schwalb. Private
detective breaks up outlaw gang.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen, Tuesday Weld. Producer Martin Jurow. Director
Ralph Nelson. Army comedy.

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

December

SAMSON AND THE 7 MIRACLES OF THE WORLD

(Formerly Goliath and the Warriors of Genghis Kahn)
Color. CinemaScope. Gordon Scott, Yoko Tani. Samson
helps fight off the Mongol invaders. 80 min. 2/18/63.

January

RAVEN, THE Color. Panavision. Vincent Price Peter
Lorre, Boris Karloff. Producer-director Roger Corman
Edgar Allan Poe tale. 86 min. 2/4/63.

February

BATTLE BEYOND THE SUN IFilmgroupl Color & Vista-
scope. Ed Perry, Aria Powell. 75 min.

NIGHT TIDE IFilmgroupl Dennis Hopper Linda Law-
son. 84 min.

March

CALIFORNIA Jock Mahoney, Faith Domergue. Western.

April

FREE, WHITE AND 21 (Formerly Question of Consent)

Frederick O'Neal, Annalena Lund. Drama. 102 min.

OPERATION BIKINI (Formerly Seafighters) Tab Hunter,
Frankie Avalon, Eva Six. Producer-director Anthony
Carras. War action drama. 84 min. 4/29/63.

May

MIND BENDERS, THE Dirk Bogarde, Mary Ure, John
Clement. Producer Michael Relph. Director Basil Dear-
den. Science fiction. 99 min. 4/15/63.

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama. 84 min.

June

DEMENTIA #13 IFilmgroupl William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK, THE CONQUEROR I Formerly Miracle of the
Vikings). Color, CinemaScope. Cameron Mitchell. Ac-
tion drama. 90 min.

TERROR, THE IFilmgroupl Color, Vistascope. Boris Kar-
loff. Sandra Knight. Horror.

July

BEACH PARTY Color, Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funicello.
Producer James H. Nicholson. Director William Asher.
Teenage comedy.

August

HAUNTED PALACE. THE Color, Panavision. Vincent
Price, Debra Paget, Lon Chaney. Edgar Allan Poe

classic.

September

SUMMER HOLIDAY Technicolor, Technirama. Cliff
Richards, Lauri Peters. Teenage musical comedy.

"X" — THE MAN WITH THE X-RAY EYES Ray Milland,
Diana Van Der Vlis, John Hoyt, Don Rickles. Science
fiction .

October

NIGHTMARE (Formerly Schizo) Leticia Roman, John
Saxon. Producer-director Mario Bava. Suspense horror.

UNDER 21 Color, Panavision. Teen musical comedy.

November

DUEL, THE Color, Scope. Fernando Lamas, Tina Lou-
ise. Action.

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester. Horror.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

BLACK CHRISTMAS Color. Boris Karloff, Mark Damon,
Michele Mercier. Horror.

COMEDY OF TERROR, A Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff. Horror. Comedy.

DUNWICH HORROR Color. Panavision. Science Fiction.

GENGHIS KHAN 70mm roadshow.

MAGNIFICENT LEONARDO, THE Color, Cinemascope.
Ray Milland.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Vincent Price.
Producers Julian Wintle, Leslie Parkyn. H. G. Wells
classic.

December

OUT OF THE TIGER'S MOUTH Loretta Hwong, David
Fang. Producer Wesley Ruggles, Jr. Director Tim
Whelan, Jr. 81 min.

OUARE FELLOW, THE Patrick McGoohan, Sylvia Sims.
Walter Macken. Producer Anthony Havelock-Allan.

Director Arthur Dreifuss. 85 min. 11/26/62.

January

SWINDLE, THE Broderick Crawford, Giulietta Masina,
Richard Basehart. Director Federico Fellini. Melodrama.
92 min. I 1/12/62.

May

TRIAL, THE (Astor Productions, Inc.) Anthony Perkins,
Jeanne Moreau. Director Orson Welles. Welles' version
of Kafka novel. 118 min. 3/4/63.

Coming

TOTO, PEPPINO and LA DOLCE VITA Toto, Peppino.

WORLD BEGINS AT 6 P.M. Jimmy Durante, Ernest Borg-
nine. Director Vittorio DeSica.

October

ALMOST ANGELS Color. Peter Week, Sean Scully,
Vincent Winter, Director Steven Previn. 93 min. 9/3/62.

November

LEGEND OF LOBO, THE Producer Walt Disney. Live-
action adventure. 67 min. 11/12/62.

December

IN SEARCH OF THE CASTAWAYS Technicolor. Maurice
Chevalier, Hayley Mills, George Sanders. Producer
Walt Disney. Director Robert Stevenson. Based on the
Jules Verne story, "Captain Grant's Children." 110
min. 1/7/63.

February

SON OF FLUBBER Fred MacMurray, Nancy Olson.
Keenan Wynn. Walt Disney Production. Director Robert
Stevenson. Comedy. 100 min. 1/21/63.

April

MIRACLE OF THE WHITE STALLIONS Color. Robert
Taylor, Lili Palmer, Curt Jergens. A Walt Disney pro-
duction. Director Arthur Hiller. Story of the rescue of
the famous white stallions of Vienna. 118 min. 4/1/63.

June

SAVAGE SAM Brian Keith, Tommy Kirk, Kevin Cor-
coran, Marta Kristen, Dewey Martin, Jeff York. Direc-
tor Norman Tokar. Tale of the pursuit of renegade
Indians who kidnap two boys and a girl. 103 min.

July

SUMMER MAGIC Hayley Mills, Burl Ives, Dorothy Mc-
Guire, Deborah Walley, Peter Brown, Eddie Hodges.
Director James Neilson. Comedy musical. 108 min.

September

20.000 LEAGUES UNDER THE SEA Re-release. Fan-
tasia re-release.

■H.HH,'J=IM

February

DIAMOND HEAD Panavision, Eastman Color. Charlton
Heston, Yvette Mimieux, George Chakiris, France
Nuyen, James Darren. Producer Jerry Bresler. Director
Guy Green. Based on Peter Gilman's novel. 107
min. 1/7/63.

April

MAN FROM THE DINER'S CLUB, THE Danny Kaye, Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin. Comedy. 96 min. 4/15/63.

May

FURY OF THE PAGANS Edmund Purdom, Rosanna
Podesta.

June

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical. I 12 min. 4/15/63.

JASON AND THE ARGONAUTS (Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Novak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic.

July

13 FRIGHTENED GIRLS Murray Hamilton, Joyce Tay-
lor, Hugh Marlowe. Producer-director William Castle.
Mystery.

August

GIDGET GOES TO ROME James Darren, Cindy Carol,
Jody Baker. Producer Jerry Bresler. Director Paul
Wendkos.

JUST FOR FUN Bobby Vee. The Crickets, Freddie
Cannon, Johnny Tillotson, Kerry Lester, The Tornadoes.

September

DR STRANGE LOVE: OR HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers,
Sterling Hayden, George C. Scott, Keenan Wynn. Pro-
ducer-director Stanley Kubrick. Comedy.

Film BULLETIN — THIS IS YOUR PRODUCT

Coming

June

JUNE SUMMARY

Since our last count, the June re-
lease chart has been increased by
seven films bringing the total to a
strong 27. M-G-M offers four features
for the month. 20th-Fox, Universal, and
American International each promise
three. Six firms — United Artists, Colum-
bia, Allied Artists, Embassy, Continental
and Paramount — have two releases
scheduled. Warner Bros, and Buena
Vista each list one.

IN THE FRENCH STYLE Jean Seberg. Producer Irwin
Shaw. Director Robert Parrish.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/42.

January

GREAT CHASE, THE Douglas Fairbanks, Sr., Buster
Keaton, Lillian Gish. Producer Harvey Cort. Silent
chase sequences. 77 min. 1/7/43.

LONELINESS OF THE LONG DISTANCE RUNNER, THE

Michael Redgrave, Tom Courtenay, Avis Bunnage. Pro-
ducer-director Tony Richardson. Explores the attitudes
of a defiant young man sent to a reformatory for
robbery. 103 min. 10/1/42.

LOVERS OF TERUEL, THE (French, subtitled) Color.
Ludmila Teherina. A famous legend is transformed into
a dance-ballet drama. 93 min.

March

BALCONY, THE Shelley Winters, Peter Falk. Producers
Joseph Strick, Ben Maddow. Director Strick. Unusual
version of Genet's fantasy play. 85 min. 4/1/43.

April

WRONG ARM OF THE LAW. THE Peter Sellers,
Lionel Jeffries. Sellers uses Scotland Yard in pulling off
the laugh crime of the century. 91 min.

June

DAVID AND LISA Keir Dullea, Janet Margolin, How-
ard Da Silva. Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed young-
sters. 94 min. 1/7/43.

YOUR SHADOW IS MINE Jill Haworth, Michael Ruhl.
A European girl, raised by an Indo-Chinese family, has
to choose between her native sweetheart and the
society of her own people. 90 min.

July

THIS SPORTING LIFE Richard Harris, Rachel Roberts.

August

MEDITERRANEAN HOLIDAY 70 mm color. Travelogue
narrated by Burl Ives.

September

HAND OF ORLAC, THE Mel Ferrer, Christopher Lee,
Dany Carrel, Lucille Saint Simon. Producers Steven
Pallos, Donald Taylor. Director Edmond Greville.
Mystery. 84 min.

January

SEVEN CAPITAL SINS Jean-Pierre Aumont, Dany Saval.
Directors Claude Chabrol, Edouard Molinaro, Jean-Luc
Godard, Roger Vadim, Jaques Demy, Philippe De
Broca, Sylvain Dhomme. A new treatment of the classic
sins with a Gallic flavor. 113 min. 11/24/42.

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,
Christian Doermer. Directors Francois Truffaut, Andrez
Wajda, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world. 113
min. 2/18/43.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French
Revolution. 104 min. 3/4/43.

March

FACE IN THE RAIN. A Rory Calhoun, Marina Berti,
Niall McGinnis. Producer John Calley. Director Irvin
Kershner. Suspenseful spy-chase drama. 90 min. 4/1/43.

April

LANDRU Charles Denner, Michele Morgan, Danielle
Darrieux. Producers Carlo Ponti, Georges de Beaure-
gard. Director Claude Chabrol. Tongue-in-cheek drama
of the infamous lady killer. 114 min. 4/14/43.

LAW. THE Marcello Mastroianni, Melina Mercouri, Yves
Montand, Gina Lollobriglda. Producer, Jacques Bar.
Director, Jules Dassin. Romantic drama. 114 min.

May

PASSIONATE THIEF THE Anna Magnani, Ben Gazzara,
Toto. Producer, Silvio Clementelli. Director, Mario
Monicelli. Comedy. 95 min.

LIGHT FANTASTIC Dolores McDougal, Barry Bartle.
Producer, Robert Gaffney. Director, Robert McCarty.
Drama.

YOUNG GIRLS OF GOOD FAMILIES Ziva Rodann, Lilo,
Fred Clark, Marie-France Pisier, Christian Marquand.
Producer, Gilbert Bokanowski. Director, Pierre Mon-
tazel. Comedy.

July

CRIME DOES NOT PAY Edwige Feuillere, Michele
Morgan, Pierre Brasseur, Richard Todd, Danielle Dar-
rieux. Director Gerard Oury. Drama. 159 min.

WOMEN OF THE WORLD Technicolor. Director Gual-
tiero Jacopetti. Women as they are in every part of
the world.

August

FREDERICO FELLINI'S "8V2" Marcello Mastroianni,
Claudia Cardinale, Anouk Aimee, Sandra Milo. Pro-
ducer, Angelo Rizzoll. Director, Federico Fellini.
Drama .

September

THREEPENNY OPERA. THE Sammy Davis, Jr., Curt
Jurgens, Hildegarde Neff. Director Wolfgang Staudte.
Screen version of Bertolt Brecht and Kent Weill classic.

QUEEN BEE

Current Releases

ARMS AND THE MAN (Casino Films) Lilo Pulver,
O. W. Fischer, Ellen Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
94 min.

BERN ADETTE OF LOURDES (Janus Films) Daniele Ajoret
Nadine Atari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE ILopert) Lan Carmichael, Belinda
La*, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLACK FOX. THE (Capri Films) Produced, directed
and written by Louis Clyde Stoumen. 89 min. 4/29/43.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 48 min.

BLOODY BROOD, THE (Sutton) Peter Falk, Barbara
Lord, Jack Berts.

BOMB FOR A DICTATOR. A (Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

CANDIDE (Union Films) Jean-Pierre Cassel, Pierre
Brausseur, Dahlia Lavi. Director Norbert Carbonnaux.
90 min. I 1/24/42.

CLEOPATRA'S DAUGHTER IMedallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

DANGEROUS CHARTER Technicolor. Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
74 min.

DAY THE SKY EXPLODED, THE (Excelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR. THE IMedallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL MADE A WOMAN, THE (Medallion) Color, To-
talscope. Sarita Montiel. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE (Ultra Pictures) Anthony Quinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/43.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS [Crown International)
Technicolor, Totalvision. Yoko Tani, Oldrick Lukes. 81
min.

FIVE DAY LOVER, THE IKinqsley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 84 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 84 min.

FORCE OF IMPULSE (Sutton Pictures) Tony Anthony,
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

IMPORTANT MAN, THE ILopert) Toshlro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/42.

LAFAYETTE IMaco Film Corp.) Jack Hawkins, Orson
Welles, Vittorio De Sica. Producer Maurice Jacquin.
Director Jean Oreville. 110 min. 4/1/43.

LA NOTTE BRAVA I Miller Producing Co.) Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 94 min.

LAST OF THE VIKINGS (Medallion) Color, Totalscope.
Cameron Mitchell, Edmond Purdom. 102 min.

LAZARILLO (Union Films) Marco Paolerti, Juan Jose
Menendez. An Hesperia Films Production. Director
Cesar Ardavin. Tale of a 12-year-old rogue-hero's
efforts to survive in 14th century Spain. 110 min.
5/13/43.

LES PARISIENNES [Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

LOVE AND LARCENY (Major Film Distribution) Vit-
torio Gassman, Anna Maria Ferrero, Peppino DiFilippo.
Producer Mario Gori. Director Dino Risi. Satire on
crime. 94 min. 2/18/43.

MAGNIFICIENT SINNER (Film-Mart, Inc.) Romy
Schneider, Curt Jergens. Director Robert Siodmak. 91
min. 4/29/43.

MARRIAGE OF FIGARO, THE (Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin. Director Jean Meyer. French import.
105 min. 2/18/43.

MATTER OF WHO, A IHerts-Lion International) Alex
Nicol, Sonja Ziemann. Producers Walter Shenton,
Milton Holmes. Director Don Chaffey. 90 min. 8/20/42.

MONDO CANE (Times Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/43.

MOUSE ON THE MOON, THE Eastmancolor ILopert
Pictures) Margaret Rutherford, Bernard Cribbins. Terry
Thomas. Satirical comedy.

NIGHT OF EVIL (Sutton) Lisa Gaye, Bill Campbell.
88 min.

NO EXIT IZenith-lnternational) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/43.

PARADISE ALLEY ISutton) Hugo Haas. Corinne Griffith.

PASSION OF SLOW FIRE, THE (Trans-Lux) Jean
DeSailley, Monique Melinand. Producer Francois
Chavene. Director Edouard Molinaro. 91 min. 11/12/42.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I 1 5 min.

RICE GIRL (Ultra Pictures) Elsa Martinelli, Folco Lulli,
Michel Auclair. Producer Carlo Ponti. Director Raffa-
eilo Matarazzo. Dubbed Italian melodrama. 90 min.
2/4/43.

ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

SATAN IN HIGH HEELS (Cosmic). Meg Myles. Gray-
son Hair, Mike Keene. Producer Leonard M. Burton.
Director Jerald Intrator. 97 min. 5/14/42.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

SECRETS OF THE NAZI CRIMINALS (Trans-Lux). Pro-
ducer Tore Sjoberg. Documentary recounting Nazi
crimes. 84 min. 10/15/42.

SLIMfc PEOPLE, THE I Hutton-Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

SON OF SAMSON (Medallion) Color, Totalscope. Mark
Forest, Chelo Alonso. 89 min.

STAKEOUT Bing Russell, Bill Hale, Eve Brent. 81 min.

SUNDAYS AND CYBELE I Davis-Royal ) Hardy Kruger,
Nicole Courcel, Patricia Gozzi. Producer Romain Pines.
Director Serge Bourguignon. 110 min. 11/24/42.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Ca hill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

TROJAN HORSE, THE (Colorama) Steve Reeves, John
Drew Barrymore, Edy Vessel. Director Giorgio Ferroni.
105 min. 7/23/42.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

Film

BULLETIN — THIS IS YOUR PRODUCT

VIOLATED PARADISE (Times Films Eng. I Color. Pro-
ducer-director Marion Gering.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titlesl Eastman-
color. Madeileine Robinson, Jean-Paul Belmondo,
Jacgues Dacgmine. Director Claude Chabrol. 97 min.

WILD FOR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

YOJIMBO (Seneca-International) Toshiro M. Fune, Kyu
Sazanka, Nakadai. Director Akiro Kurosana. 101 min.
9/17/62.

METRO-GOLD WYN -MAYER:

January

CAIRO George Sanders, Richard Johnson. Producer
Ronald Kinnoch. Director Wolf Rilla. Drama of attempt
to rob the Cairo Museum. 91 min. 2/4/63.

PASSWORD IS COURAGE, THE Dirk Bogarde. Pro-
ducer-Director Andrew L. Stone. One man's war against
the Nazis during World War II. 116 min. 1/7/63.

February

HOOK, THE Kirk Douglas, Nick Adams. Producer Wil-
liam Perlberg. Director George Seaton. Drama sat

against background of the Korean War. 98 min.
1/21/63.

March

COURTSHIP OF EDDIE'S FATHER. THE Glenn Ford,
Shirley Jones. Producer Joe Pasternak. Director Vin-

cente Minnelli. Romantic comedy revolving about a
young widower and his small son. 117 min. 3/18/63.

FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
Randell, Russ Tamblyn, Janis Paige. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy. 95 min. 3/4/63.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate. Based on the life of Sir Francis Drake. 95 min.
3/18/63.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatoli de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.
109 min. 5/13/63.

IT HAPPENED AT THE WORLD'S FAIR Panavision.
Color. Elvis Presley. Producer Ted Richmond. Director
Norman Taurog. Romantic comedy. 105 min. 5/13/63.

RIFIFI IN TOKYO Karl Boehm, Barbara Lass, Charles
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo. 89 min. 4/1/63.

M ay

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris

Sagal. Race track comedy. 94 min. 4/1/63.

DRUMS OF AFRICA Frankie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

92 min. 4/29/63.

IN THE COOL OF THE DAY CinemaScope, Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz. 90 min. 5/13/63.

SLAVE, THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites the slaves to
revolt against the Romans.

June

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GriffTfh. Pro-
ducer Aaron Rosenberg. Director Lewis Milestone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/63.

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode .

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,
Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy.

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West.

DAY AND THE HOUR. THE I Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

GOLDEN ARROW. THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

TICKLISH AFFAIR, A (Formerly Moon Walk) Shirley
Jones. Producer Joe Pasternak. Director George Sid-
ney. Romantic comedy based on a story in the Ladies
Home Journal.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

August

GLADIATORS SEVEN Richard Harrison, Loredana Nus-
ciak. Producers Cleo Fontini, Italo Zingarelli. Director
Pedro Lazaga. Seven gladiators aid in overthrowing
a tyrant of ancient Sparta.

TIKO AND THE SHARK Producer Goffredo Lombardo.
Director F. Quilici. Filmed entirely in French Poly-
nesia with a Tahitian cast.

THE NATIVES ARE RESTLESS TONIGHT (Formerly
Tamahirel Nancy Kwan, Dennis Price. Producer John
Bryan. Director Philip Leacock. Romantic comedy of a
Tahitian girl and her impact on an English public
school.

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy. 84 min.
5/13/63.

September

V.I.P.'s, THE Color, tlizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama.

Coming

COUNTERFEITERS OF PARIS Jean Gabin, Dany Carol.
Producer Jacques Bar. Director Gilles Grangier. 99
min.

FOUR DAYS OF NAPLES, THE Jean Sorel, Lea Messari,
Producer Goffredo Lombardo. Director Nanni Loy.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HAUNTING. THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

HOW THE WEST WAS WON Cinerama, Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/63.

MURDER AT THE GALLOP Margaret Rutherford, Paul
Robson. Agatha Christie mystery.

OF HUMAN BONDAGE IMGM-Seven Arts) Laurence
Harvey, Kim Novak. Producer James Woolf. Director
Henry Hathaway. Film version of classic novel.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

WHEELER DEALERS, THE James Garner, Lee Remick.
Producer Martin Ransohoff. Director Arthur Hiller.
Story of a Texan who takes Wall Street bv storm.

^ZEECEHEEP

February

GIRL NAMED TAMIKO, A Technicolor. Laurence Har-
vey, France Nuyen. Producer Hal Wallis. Director John
Sturges. A Eurasian "man without a country" courts an
American girl in a bid to become a U.S. citizen.
WHO'S GOT THE ACTION Panavision. Technicolor.
Dean Martin, Lana Turner, Eddie Albert, Walter Mat-
hau, Nita Talbot. Producer Jack Rose. Director Daniel
Mann. A society matron becomes a "bookie" to cyra
her horse-playing husband. 93 min. 10/1/62.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleason,
Glynis Johns. Producer Jack Rose. Director George
Marshall. Comedy-drama based on childhood of silent
screen star Corinne Griffith. 98 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cliff
Robertson, David Jannsen. Producer Garet Gaither.
Director Gower Champion. Broadway star adopts six
abandoned children. 105 min. 3/18/63.

May

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director Ritt.
Drama set in modern Texas. 122 min. 3/4/63.

June

DUEL OF THE TITANS CinemaScope, Eastman color.
Steve Reeves, Gordon Scott. Producer Alessandro
Jacovoni. Director Sergio Corbucci. The story of
Romulus and Remes, the twin brothers who founded
the city of Rome.

NUTTY PROFESSOR, THE Technicolor. Jerry Lewis,
Stella Stevens. Producer Ernest D. Glucksman. Direc-
for Jerry Lewis. A professor discovers a youth-
restJring secret formula.

July

COME BLOW YOUR HORN Technicolor. Frank Sinatra.
Barbara Ruth, Lee J. Cobb. Producer Howard Koch Di-
rector Bud Yorkin. A confirmed bachelor introduces his
young brother to the playboy's world.

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmons,
Pat Hingle. Producer David Susskind. Director Alex
Segol. Film version of play and novel.

CARPETBAGGERS. THE Technicolor. Panavision 70.
George Peppard. Producer Joseph E. Levine. Director
Edward Dmytryk. Drama based on the best-seller by
Harold Robbins.

FUN IN ACAPULCO Technicolor. Elvis Presley, Ur-
sula Andress. Producer Hal B. Wallis. Director Rich-
ard Thorpe. Musical-comedy.

LADY IN A CAGE Olivia de Havilland, Ann Southern.
Producer Luther Davie. Director Walter Grauman.
Drama .

LOVE WITH THE PROPER STRANGER Natalie Wood,
Steve McQueen. Producer Alan J. Pakula. Director
Robert Mulligan. A young musician falls in love with
a Macy's sales clerk.

NEW KIND OF LOVE. A Technicolor. Paul Newman,
Joanne Woodward, Thelma Ritter, Maurice Chevalier.
Producer-director Melville Shavelson. Romantic drama.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Douglas,
Fredric March. Producer Edward Lewis. Director John
Frankenheimer. A Marine colonel uncovers a military
plot to seize control of the U.S. government.

WHO'S BEEN SLEEPING IN MY BED? Panavision.
Technicolor. Dean Martin, Elizabeth Montgomery, Carol
Burnett. Producer Jack Rose. Director Daniel Mann.
Comedy.

WHO'S MINDING THE STORE? Technicolor. Jerry
Lewis, Jill St. John, Agnes Moorehead. Producer Paul
Jones. Director Frank Tashlin. Comedy.

WIVES AND LOVERS Janet Leigh, Van Johnson, Shelley
Winters, Martha Hyer. Producer Hal B. Wallis. Direc-
tor John Rich. Romantic comedy.

20TH CENTURY-FOX

March

NINE HOURS TO RAMA CinemaScope, DeLuxe Colar.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

May

YELLOW CANARY, THE Pat Boone, Barbara Eden.
Producer Maury Dexter. Director Buzz Kulik. Suspense
drama. 93 min. 4/15/63.

June

LONGEST DAY, THE John Wayne, Richard Todd, Peter
Lawford, Robert Wagner, Tommy Sands, Fabian, Paul
Anka, Curt Jurgens, Red Buttons, Irina Demich, Robert
Mitchum, Jeffrey Hunter, Eddie Albert, Ray Danton,
Henry Fonda, Edmond O'Brien, Robert Ryan. Producer
Darryl Zanuck. Directors Gerd Oswald, Andrew Mar-
ton, Elmo Williams, Bernard Wicki, Ken Annakin.
180 min.

MARILYN Story of life of Marilyn Monroe narrated by
Rock Hudson.

STRIPPER, THE (Formerly A Woman in July) Joanne
Woodward, Richard Beymer, Gypsy Rose Lee, Claire
Trevor. Producer Jerry Wald. Director Franklin Schaf-
fner. Drama. 95 min. 4/29/63.

July

LEOPARD, THE Technicolor, Technirama. Burt Lan-
caster, Claudia Cardinale, Alain Delon. Producer Gof-
fredo Lombardo. Director Luchino Visconti. Story of
disintegration of traditional way of life in Italy.

August

OF LOVE AND DESIRE Merle Oberon, Steve Cochran,
Curt Jurgens. Producer Victor Stoloff. Director Richard
Bush. Romantic suspense drama.

September

CONDEMNED OF ALTONA. THE Sophia Loren, Maxi-
milian Schell, Fredric March, Robert Wagner. Pro-
ducer Carlo Ponti. Director Vittorio De Sica. Adapted
from Jean Paul Sartre's stage success.

Film BULLETIN — THIS IS YOUR PRODUCT

Coming

CLEOPATRA Todd-AO Color. Elizabeth Taylor, Richard
Burton, Rex Harrison. Producer Walter Wanger.
Director Joseph Mankiewicz. Story of famous queen.

LEOPARD, THE Burt Lancaster, Claudia Cardinale.

OUEEN'S GUARDS, THE CinemaScope, DeLuxe Color.
Daniel Massey, Raymond Massey, Robert Stephens.
Producer-Director Michael Powell'. A tale of the
tradition and importance of being a Guard.

UNITED ARTISTS

January

CHILD IS WAITING, A Burt Lancaster, Judy Garland,
Stephen Hill, Gena Rowland. Producer Stanley Kramer.
Director John Cassavetes. Drama dealing with retarded
children. 102 min. 1/21/63.

TARAS BULBA Tony Curtis, Yul Brynner, Brad Dexter,
Sam Wanamaker, Vladimir Sokoloff, Akim Tamiroff,
Christine Kaufmann. Producer Harold Hecht. Director
J. Lee Thompson. Action spectacle. 122 min. 12/10/62.

February

TWO FOR THE SEESAW Robert Mitchum, Shirley Mac-
laine. Producer Walter Mirisch. Director Robert Wise.
Based on the Brodaway hit. 119 min. 10/29/62.

March

FIVE MILES TO MIDNIGHT Sophia Loren, Anthony
Perkins, Gig Young, Jean-Pierre Aumont. Producer-
director Anatole Litvak. Suspense drama about an
American in Europe who schemes to defraud an insur-
ance company. 110 min. 3/4/63.

LOVE IS A BALL Technicolor, Panavision. Glenn Ford,
Hope Lange, Charles Boyer. Producer Martin H. Poll.
Director David Swift. Romantic comedy of the interna-
tional set. Ill min. 3/4/63.

April

I COULD GO ON SINGING Eastmancolor, Panavision.
Judy Garland, Dick Bogarde, Jack Klugman. Producers
Stuart Millar, Lawrence Turman. Director Ronald
Neame. Judy returns in a dramatic singing role. 99
min. 3/18/63.

May

DR. NO Technicolor. Sean Connery, Ursula Andress,
Joseph Wiseman, Jack Lord. Producers Harry Saltz-
man, Albert R. Broccoli. Director Terence Young. Action
drama based on the novel by Ian Fleming. I I I min.
3/18/63.

June

BUDDHA Technicolor, Technirama. Isojiro Hongo,
Charito Solis. Producer Masaichi Nagata. Director
Kenji Misumi. Drama.

CALL ME BWANA Bob Hope, Anita Ekberg, Edie
Adams. Producers Albert R. Broccoli, Harry Saltzman.
Director Gordon Douglas.

July

GREAT ESCAPE, THE Deluxe Color, Panavision. Steve
McQueen, James Garner, Richard Attenborough. Pro-
ducer-director John Sturges. Based on true prisoner of
war escape. 168 min. 4/15/63.

IRMA LA DOUCE Color. Jack Lemmon. Shirley Mac-
Laine. Producer-director Billy Wilder. Comedy about
the "poules" of Paris, from the hit Broadway play.

August

TOYS IN THE ATTIC Panavision. Dean Martin, Geral-
dine Page, Yvette Mimieux, Gene Tierney. Producer
Walter Mirisch. Director George Roy Hill. Screen
version of Broadway play.

STOLEN HOURS Susan Hayward, Michael Craig, Diane
Baker. Producers Stewart Miller, Lawrence Turman.
Director Daniel Petrie. Drama.

September

CARETAKERS. THE Robert Stack. Polly Bergen, Joan
Crawford. Producer-director Hall Bartlett. Drama
dealing with group therapy in a mental institution.

Coming

BEAUTY AND THE BEAST Joyce Taylor, Mark Damon,
Edward Franz, Merry Anders. 77 mm.

DIARY OF A MADMAN Vincent Price, Nancy Kovak.
Producer Robert E. Kent. Director Reginald Le Borq.
96 min. 3/4/63.

CEREMONY, THE Laurence Harvey, Sarah Miles, Rob-
ert Walker, John Ireland. Producer-director Laurence
Harvey.

February

40 POUNDS OF TROUBLE Color, Panavision. Tony Cur-
tis, Phil Silvers, Suzanne Pleshette. Producer Stan Mar-

ainles. Director Norman Jewison. Comedy. 105 min.
12/24/62.

MYSTERY SUBMARINE Edward Judd, Laurence Payne,
James Robertson Justice. Producer Bertram Oster.
Director C. Pennington Richards. 92 min. 1/21/63.

March

TO KILL A MOCKINGBIRD Gregory Peck, Mary Bad-
ham. Producer Alan Pakula. Director Robert Mulligan.
Based on Harper Lee's novel. 129 min. 1/7/63.

April

BIRDS, THE Technicolor Rod Taylor, Jessica Tandy,
Suzanne Pleshette, Tippi Hedren. Producer-Director Al-
fred Hitchcock. Suspense drama. 120 min. 4/1/63.

UGLY AMERICAN, THE Color. Marlon Brando, Sandra
Church. Yee Tak Yip. Producer-Director George Eng-
lund. Drama based on best-selling novel. 120 min.
4/15/63.

May

PARANOIC Janette Scott, Oliver Reed, Sheilah Burrell.
Producer Anthony Hinds. Director Freddie Francis.
Horror. 80 min. 4/15/63.

SHOWDOWN (Formerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen. Western. 79 min. 4/15/63.

June

LANCELOT AND GUINEVERE Color. Panavision. Cornel
Wilde, Jean Wallace, Brian Aherne. Producers Cornel
Wilde, Bernard Luber. Director Wilde. Legendary tale
of love and betrayal. 116 min. 5/13/63.

LIST OF ADRIAN MESSENGER. THE George C. Scott,
Dana Wynter, Clive Brook, Herbert Marshall. Producer
Edward Lewis. Director John Huston.

TAMMY AND THE DOCTOR Color. Sandra Dee, Peter
Fonda, Macdonald Carey. Producer Ross Hunter. Direc-
tor Harry Keller. Romantic comedy. 88 min. 5/13/63.

July

GATHERING OF EAGLES, A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann.

KING KONG VS. GODZILLA Eastmancolor. Michael
Keith, Harry Holcomb. Producer James Yogi. Director
Roy Montgomery.

August

THRILL OF IT ALL, THE Color. Doris Day, James Gar-
ner, Arlene Francis. Producers Ross Hunter, Martin
Melcher. Director Norman Jewison.

TRAITORS, THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson.

Coming

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN, M.D. Gregory Peck, Tony Curtis,
Angie Dickinson, Bobby Darin, Eddie Albert. Producer
Robert Arthur. Director David Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

CHARADE Color, Panavision. Cary Grant, Audrey Hep-
burn, Walter Matthau, James Coburn. Producer-Direc-
tor Stanley Donen.

DARK PURPOSE Color. Shirley Jones, Rossano Brazzi,
George Sanders, Micheline Presle, Georgia Moll. Pro-
ducer Steve Barclay. Director George Marshall.

FOR LOVE OR MONEY I Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven, Shirley Jones. Producers Robert Arthurs,
Stanley Shapiro. Director Ralph Levy.

MAN'S FAVORITE SPORT Color. Rock Hudson, Maria
Perschey, Paula Prentiss. Producer-director Howard
Hawks.

MONSIEUR COGNAC Color. Tony Curtis, Christine
Kaufman, Larry Storch. Producer Harold Hecht. Direc-
tor Michael Anderson.

WARNER BROTHERS

February

DAYS OF WINE AND ROSES Jack Lemmon, Lee
Remick. Producer Martin Manulis. Director Blake
Edwards. A drama of the effects of alcoholism in a
modern marriage. 117 min. 12/10/62.

TERM OF TRIAL Laurence Olivier, Simone Signoret. Pro-
ducer James Woolf. Director Peter Glenville. Drama of
young girl's assault charge against teacher. 113 min.
1/21/63.

March

GIANT Re-release.

A pril

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min. 4/1/63.

May

AUNTIE MAME Re-release.

ISLAND OF LOVE IFormerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece. 101 min. 5/13/63.

SUMMER PLACE. A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family. 119 min. 3/4/63.

September

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min.

DEAD RINGER Bette Davis, Karl Maiden. Producer
William H. Wright. Director Paul Herreid.

FBI CODE 98 Jack Kelly, Ray Denton. Producer Stanley
Niss. Director Leslie H. Martinson. Dramatic action
story.

FOUR FOR TEXAS Technicolor. Frank Sinatra, Dean
Martin, Anita Ekberg, Ursula Andress. Producer-direc-
tor Robert Aldrich. Big-scale western with big star
cast.

GREAT RACE, THE Technicolor. Burt Lancaster, Jack
Lemmon. Producer Martin Jurow. Director Blake Ed-
wards. Story of greatest automobile around-the-world
race of all time.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

MISTER PULVER AND THE CAPTAIN Robert Walker.
Producer-director Joshua Logan. Comedy sequel to
"Mister Roberts".

PALM SPRINGS WEEKEND Technicolor. Troy Donahue.
Connie Stevens, Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort.

PANIC BUTTON Maurice Chevalier, Eleanor Parker,
Jayne Mansfield. Producer Ron Gorton. Director
George Sherman. Comedy set in Rome.

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama.

YOUNGBLOOD HAWKE Technicolor. Warren Beatty,
Suzanne Pleshette. Producer-director, Delmer Daves.
From Herman Wouk's best-selling novel.

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Film

BULLETIN — THIS IS YOUR PRODUCT

"The Birds" tell me every showman uses trailers,
the "best director" to your boxoffice.

Alfred Hitchcock
Producer-Director
"The Birds"
A Universal Release

mwmi.Qcteen service

\J pnut easr of me mousmr

BULLETIN

Opinion of the Industry PMB^^M^^^^^w^^^^"^^^"

June 24, 1963

e KING BROTHERS
who brought you

"RODAN"

and

"GORGO"

NOW bring you
the most

SPECTACULAR

of them all! —

Sinribad

Presented by M-G-M

The valiant
Captain Sindbad
fights to the death
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horrible scylla
for the life
of the beautiful
Pagan Princess

The
attack
of the
giant
rocs,
fantastic
birds of
prey!

The vicious
whirlpools
in the
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of

death!

G3uY Williams -Heidi Bruhl- Pedro Armendariz • Abraham Sofaer

ETand HARRY REUS -0,RECTI?BYRON HASKIN • PR0DUCI? FRANK KlNG and HERMAN KlNG I

TARZAN MUST PROVE HE ISTAI

THIS TIME TARZAN HAS GONE ALL THE WAY
TO THAILAND TO FIND NEW THRILLS!

THIS LIFE-OR DEATH
TUG-OF-WAR IS ONLY
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CHALLENGES
HE FACES!

Filmed in

COLOR

in exotic
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AVAILABLE NOW!

M G M IS ON THE MOVE

What They're Talking About

□ □ □ In the Movie Business □ □ □

There has been a great deal of speculation
about the true meaning — particularly in terms
;of relief from the product shortage — of
jUniversal's recently announced project for
'searching out and developing new production
'talent. Edward Muhl, vice president in charge
of Universal's production was asked by the
Screen Producers Guild Journal to clarify the
studio's intention. He responded in the
following terms:

Since announcing Universal's "new film
, horizons" program recently, I have had dozens
of inquiries as to the real purpose of this
program. Many of the inquiries have been
sincere, some have been derisive and some
plainly crackpot. I will take this means of
reiterating that we are serious about our
program, which we feel can be very beneficial
to Universal and to the whole industry. Never
has there been a greater need for new talent,
both creative and artistic, than now. And if we
can play a part in unearthing such new talent,
,we will feel that we have performed a genuine
^service to the industry.

As set forth in our original announcement, this
program has a four-fold purpose:

(1) To answer the mounting demand by
theatres throughout the world for additional
suitable product.

(2) To reply to those critics contending that
young American picture-makers have not kept
pace with the recent "new wave" or neo-realism
school of producers abroad.

(3) To tackle in a concrete and practical
manner the problems of developing major new
picture-making talent behind the camera as
well as performing artists.

(4) To demonstrate anew Universal's deep
conviction as to the future of picture-making
in America.

What we are doing is offering an opportunity
to genuinely talented young people to carry
through to a conclusion truly meritorious ideas.
In other words, if a young man comes to us
with a good original idea for a picture and can

demonstrate his ability to put together a
package to actually make the picture, we will
finance the project, supply the facilities and
generally be as helpful and constructive as
we can. We have no preconceived limit on the
amount for which the picture must be made.
That will depend entirely on the scope of the
project — whether it appears primarily suited to
smaller, specialized theatres, the Radio City
Music Hall and general release, or somewhere
in between.

One of the laments from prospective film
makers, especially those with no previous
professional credits, is that obtaining financing
for their projects is virtually impossible. This is
an area in which we feel much can be
accomplished, both for the individual and the
industry. We will try to make it possible for the
individual to transform his idea into a finished
motion picture.

Again, however, I must qualify our position.
We are not going to finance everyone who
shows up with an idea for making a picture.
These ideas will be carefully screened and only
those that appear to us to have real merit will
get our backing. From past experience I would
guess that this would be a rather small
percentage of the ideas submitted. However, it
will be the idea that counts, not necessarily the
past experience of the person submitting it.
We don't care if he never has made a picture
before if his project has artistic merit and
salable qualities.

Our position with respect to actors is quite
similar. We are not going to sign a lot of players
just for the sake of having a large contract list.
We definitely are looking for potential big name
box office stars. Again, we are not particularly
concerned about their previous experience.
They can be absolute newcomers, such as
Rock Hudson and Sandra Dee were when we
signed them, as long as they appear to possess
that indefinable quality which we may as well
call "appeal," that will carry them to the top.
Or they can be established players, such as
Angie Dickinson, whom we recently signed,
as long as they have the potential of becoming
genuine box office names through carefully
planned casting coordinated with a strong
publicity build-up. Naturally, the selection of
such artistic talent requires a large measure
of guess-work. I don't think we are going to
guess right every time. But we're going to try.

UA Cautious on Sales
Of Films To TV-Krim

United Artists president had some
upbeat words for the company's stock-
holders and some soothing words for
theatremen at the annual meeting on
June 10.

Despite a decline in first quarter net
earnings and gross income this year,
Krim said that signs point to a "satis-
factory" 1963, and expressed himself
as "extremely bullish" about next year.

Board chairman Robert S. Benjamin
revealed that earnings for the first quar-
ter this year were $578,000 compared
with $916,000 in 1962. Gross income
was $26,994,000 compared to $32,065,-
000 in last year's first quarter. Benjamin

KRIM

cited the revenue obtained from the sale
of feature films to television as an im-
portant factor in the higher income for
'62. Subsequently, president Krim de-
clared that the company is taking a
"conservative approach" to TV sales in
the "interest of our exhibitor customers."

Krim based his upbeat attitude to-
ward the balance of this year on the
prospects of such films as "Irma La
Douce", "Dr. No", "The Great Escape"
and "The Caretakers." His bullish view
of the future was predicated largely on
the "monumental" prospects for the
two Cinerama specials, Stanley Kra-
mer's "It's A Mad, Mad, Mad, Mad
World" and George Stevens' "The
Greatest Story Ever Told."

Anti-Trust Attacks
Now Swing To States

Long plagued by federal anti-trust
suits, the film companies and larger
theatre circuits now face the threat of
attacks under state anti-monopoly laws.

This was highlighted by the suit
filed last week by the State of Wash-
ington against the seven major distribu-
tors, the Sterling Theatres chain of
Seattle and several individuals, includ-
ing William Forman, operator of United
Drive-In Theatres. The action, charging
the defendants with conspiracy to
"monopolize first subsequent-run and
entire subsequent-run of films" in metro-

CAST &
CREDITS
■

Report on the Industry's
PEOPLE and EVENTS

politan Seattle, was brought under
Washington's Consumer Protection Law,
passed in 1961.

Such state laws are spreading, and
while it has been contended in some
quarters that they conflict with the fed-
eral anti-trust laws, a Michigan version
was upheld recently. Washington at-
torney general John J. O'Connell takes
the view that "there are many areas of
trade which although technically in-
volve interstate commerce, are essen-
tially local or only state-wide in scope."

The suit in Superior Court for King
County seeks an order limiting the
Sterling chain to 50 percent of all prints
made available in Seattle, so that other
exhibitors might bid or negotiate for
simultaneous runs; an injunction re-
quiring Sterling to apply to the court
for right to acquire or construct addi-
tional theatres in Seattle; an injunction
preventing the distributors from grant-
ing Sterling any special concessions; a
civil penalty of $25,000 against each
defendant.

Assistant attorney general Frederic
C. Tausend told Film BULLETIN the
case has been under investigation since
January and was started on the "com-
plaint of other exhibitors" in Seattle.

Harling on Hartford

The first anniversary of the feevee
over-the-air experiment in Hartford,
Connecticut might have passed un-
noticed if Philip F. Harling, chairman
of the Joint Committee Against Pay-TV,
hadn't thought to mention it and to
take stock of its accomplishments.

Asking, "Is it an anniversary — or a
wake?", Harling concluded that RKO
General-Phonevision had little to cele-
brate. But he also warned theatremen
that they must push for legislation to
bar the pay system permanently lest
apathy allow it to slip through the back
door.

ROSENFIELD & MANKIEWICZ

No Hanky-Panky on
'Cleo' Set: Mankiewicz

Joseph L. Mankiewicz, the man be-
hind "Cleopatra", sought to clear up
the impression that the long and costly
production in Rome was a lark. Despite
all the seeming hysteria and panic, he
said, "a group of dedicated actors and
technicians were seriously making the
film . . . Personal involvements were
left at the stage door."

The director-writer admitted that he
originally wanted the blockbuster to be
divided into two separate films, each of
2l/2 hours running time, but was over-
ruled by 20th Century-Fox president
Darryl F. Zanuck. He disclosed this at a
press conference in New York the day
before "Cleopatra" premiered at the
Rivoli Theatre.

Rex Harrison, who portrays Caesar
in the film, also attended the confer-
ence, which was conducted by 20th-Fox
vice president and promotion chief
Jonas Rosenfield.

Burgeoning Bronston
Builds Organization

Producer Samuel Bronston continues
to reveal concrete signs that he is de-
termined to develop his own national
distribution organization.

His new Bronston Distributions, Inc.
acquired its first independent produc-
tion, "The War of the Buttons" for
U. S. release. The deal for the French
comedy was made by vice president Paul
N. Lazarus, Jr. Reportedly, it has been
a big success in European markets.

Bronston also announced that prom-
inent publicist Ralph Wheelwright has
been named vice president in charge of
public relations, and that all promo-
tional activities would be directed from
the distribution headquarters in New
York, with Howard E. Kohm, II as
world coordinator and Howard New-
man as publicity manager at the Ma-
drid production center. Wheelwright
will function out of Los Angeles.

Page & Film BULLETIN June 24, I9A3

u

JUNE 24, 1963

lewpoints

1963 M VOLUME 31, NO. 13

The Impact af 'Cleopatra,9 an Film Making

Is it too early to assess the impact of
"Cleopatra" upon the standards of film-
making? Unlike the cost accountants,
who must wait until the receipts are
well in hand, the policy-making execu-
tives and creative-minded people of the
film industry seem to have made up
their minds. They are not waiting for
boxoffice figures.

This is perhaps the most significant
aspect of the reaction to "Cleopatra."
Rarely has there been so much quiet
unanimity apparent among the strong-
minded men who make movies.
Whether "Cleopatra" turns out to be
the greatest money-maker of all time or
not, the general feeling seems to be that
this unique film represents the climax
of one production era and the begin-
ning of another. They regard "Cleo-
patra" as a once-in-a-lifetime proposi-
tion. They are shocked by the toll this
picture has taken — not the toll in dol-
lars, but rather in the dislocation of a
once sound organization. They are in-
clined to think that when the very
existence of a vast, multi-million dollar
corporate structure with enormous po-
tential is imperiled by one project,
things have gone too far. They believe a
reappraisal of movie-making methods
is in order.

The reasoning behind this point of
view is very hard-headed. If a picture
which cost $38,000,000 or more ends
up depending on the public interest in
the romance of its two stars, rather than
on its merits as a film, this is hardly
justification for the whole undertaking.
If "Cleopatra" makes a barrel of money,
it will still do so the hard way. The
question being asked is whether, even
with a fancy profit, any picture is worth
all this. And the softest answer to be
heard is, "Maybe this one, but never
again."

This is not just a conclusion drawn
from what the industry grapevine is
saying. It is reflected in the announced
plans and indicated budgets for the up-
coming productions of the major com-
panies and the leading independents.
The era of the well-spent production
dollar appears to be returning, and this,

we say, is healthy for the business.

What will be the impact of the
"Cleopatra" experience on future plan-
ning?

We do not agree with those who are
jumping to the conclusion that "Cleo-
patra" is the spectacle to end all spec-
tacles. There will be others, but they
will be sensibly budgeted and they will
be in the hands of efficient movie-
makers like Spiegel and Bronston, who
plan carefully in advance and hold a
tight rein on their operations.

But elsewhere we do find a growing
conviction that it is becoming increas-
ingly difficult to make blockbusters at
the "right" price and to sell pictures on
the strength of sheer size. With our
most lavish Cadillac now on display,
more film men are taking note that
there is a vast market for the compacts
still to be plumbed.

This burgeoning sentiment, fre-
quently expressed by theatre people but
now being echoed in distribution cir-
cles, is that the best protection for the
individual studios and for the industry
at large lies in production in depth. In-
stead of putting ten million dollars into
one production, wouldn't it be wiser to
put that same amount into five films?

This, of course, is not a new idea. It
has been suggested more than once in
these pages. And anyone who has his
ear to the feeling of theatremen knows
that the high cost blockbuster has not
been the solution to exhibition's prob-
lems. Theatres must have more product

BULLETIN

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if they are to continue operating on a
year-round basis. A "Cleopatra", aside
from its stimulation of public interest
in movies in a general way, offers no
comfort to the exhibitor who is looking
for next week's booking.

And, has the blockbuster brought
lasting prosperity to any film company?
"The Ten Commandments" held Para-
mount in the black for two or three
years, but without a DeMille to follow
it up, Paramount slipped down and
down, and finally went into the red
last year. Less spectacular and more
providently produced pictures will lift
it back into the black this year. Metro-
Goldwyn-Mayer's "Ben-Hur" restored
the fortunes of that company, but only
temporarily. The over-expenditure on
films like "Mutiny on the Bounty" and
"The Four Horsemen of the Apocalyse"
brought it fresh troubles, which presi-
dent Robert H. O'Brien is now labor-
ing to clear away.

The most vital lesson to be drawn
from 20th Century-Fox's ordeal is that
pre-production planning is the key to a
successful operation. With potential
ticket buyers now one-half the size of
the pre-TV audience, there is no room
for the production profligacy that was
once rampant and is still evident in
some cases. The creative talents must be
oriented away from "hang the expense"
psychology, and this can be accom-
plished only by a display of a business-
like attitude on the management level.
There is a call for budgetary sanity,
astute blueprinting and a firm hand in
the New York offices. We can no longer
afford to produce pictures on the assump-
tion that the exhibition market is a bot-
tomless well; it has its limitations, al-
though it can still provide plenty of
profit indeed for the properly budgeted,
smartly made, shrewdly exploited film.

"Cleopatra" will win its share of
awards, which it richly deserves, and is
likely to make lots of money, ultimately,
for 20th Century-Fox and for exhibi-
tors. But it would not be surprising if
this biggest blockbuster of them all will
be remembered longest for another
reason: it made the movie industry sit
down and think.

Film BULLETIN June 24, 1 963 Page 7

7ke Viet* tfwtt OutMde

by ROLAND PENDARIS

Pesty Patrons

Just for a change of pace, and in hope of bringing a smile to
your face.

Having devoted this space most recently to a jaundiced look
at obstreperous stockholders, I must now, in the interests of
fairness, apply the same sort of look to those whose only stock
in trade is a ticket. The great American moviegoer comes in all
shapes and sizes, of course, and I herewith nominate the follow-
ing categories for dubious immortality.

1. The head bobber: You settle down comfortably in your
seat, having found a clear line of vision over the shoulder of the
gent in front of you, and then he shifts in his seat. His head
bobs to the other side and your view is completely blocked.
So you, in turn, shift to the other side, only to have him
reverse his field. Sometimes the head bobber just wants to talk
to the people on either side of him. Sometimes he just can't
sit still. In any case, he is a menace to moviegoing sanity, and
I am absolutely at a loss to suggest a remedy. Maybe a discount
should be offered, upon leaving the theater, to any patron who
gets a note of commendation from the customer behind him.

2. The searcher: For some reason this particular category, in
my experience, seems to attract more females than males. The
searcher need not be sitting in front of you. She can also be
sitting alongside of you. While she is somewhat interested in
what is happening on the screen, she is infinitely more con-
cerned with events or people elsewhere in the theater. She is
looking for somebody or something. While you are concentrat-
ing on the screen action, she suddenly turns and looks past you
— and she keeps looking. It is somewhat difficult to devote your
full attention to the movie when a face practically on top of
yours is busy looking through your line of sight.

3. The misplaced child: Any adult who goes to a children's
movie deserves whatever sturm und drang he gets. After all,
he is intruding on the youngsters. By the same token, any adult
who brings a little child to an adult movie should be drawn
and quartered. The punishment is not because of any injury
to the feelings of the child, but rather because of the pain
inflicted upon innocent adults. There is nothing more likely
to destroy adult enjoyment of a serious drama than a four-year
old child patrolling the water fountain, the rest room and the
aisle. And I have seen many a fragile moment of high drama
loused up by the piping voice of a kid two rows ahead of me
saying something like "but you promised me I could have a
lollipop." I realize that very often the youngsters are brought
to the theater because there is simply no place to leave them,
but that is no reason to give an entire audience the occupational
hazards of the babysitter.

4. The hairdos: These are a comparatively recent phenomenon
and it must be said that they do add a certain element of sus-
pense to moviegoing. You are sitting quietly in your seat, with
a vacant seat in front of you. Suddenly there appears in the
aisle one (1) customer consisting of 51/2 feet of girl and II/2
feet of hardo, teased, puffed, ratted or otherwise distended. You
sit petrified. Is this wall of hair going to land in the seat in
front of you, completely blocking your view of the screen?
And if she does sit there, what can you say to her?" "Would
you kindly remove your head?"

A few weeks ago I was in a theater when a lady with a

Page 8 Film BULLETIN June 24, 1963

miraculously monumental coiffure arrived. You could hear the
sucking in of breath on the part of everybody in the theater as
they tensed up waiting to see where she would light. The show
was on, but it could not compete with the dramatic suspense
generated in the aisle. The lady finally sat down, and for three
rows the people directly behind her changed their seats.

Since many other types of difficult moviegoer are known and
familiar, I refrain from detailed description of such as these:
the sniffler, the loudmouthed explainer, the disinterested con-
versationalist who would rather talk about something else, the
candy box rustler, the in-and-out-of-his-seat row disturber, and
the arm rest jockey.

I would like to say a few words about the groper who never
really had a chance to perform until the usher shortage. The
groper, as you may have guessed, is the customer who heads
for his seat before his eyes have become accustomed to the dark.
If you are sitting on the aisle, he mistakes your shoulder for the
back of the chair, your toes for the floor and, occasionally, your
lap for the seat.

No account of the peculiarities of the paying customer would
be complete without some attention to the idiosyncrasies of said
customer while he is in the process of paying. For example,
there is the man who calls his wife over for a long discussion
with the cashier about whether they want to go in now and does
she really want to see this picture, etc., while 12 impatient
patrons are waiting behind him in line. There is the little old
lady who fumbles around in an apparently bottomless purse
and finally comes up with nothing smaller than a $20 bill.

In recent years I have not noticed kids hanging around the
box office waiting to find adults willing to take them in.
Whether this is a nationwide trend I do not know. I am heartily
in favor of it.

On the whole, of course, most picture patrons, like most pic-
ture stockholders, are well behaved and all they want is their
money's worth. The troublesome patrons, like the noisy nuts at
stockholders' meetings, are a minority. They are one minority,
however, on whom no sympathy need be wasted.

P.S. After committing the foregoing paragraphs to paper I
did some homework by venturing into the local neighborhood
house with my wife for an evening of relaxation. We encoun-
tered two additional kinds of problem patron. One was the
seat hogger. He had his raincoat rolled up one side next to him
and his briefcase (he must have gone to the movies right from
work) on another seat on his other side. When we asked him
to move over so we could sit together he glared at us, but
finally did us a great big personal favor. He reminded me of a
number of occasions when I have seen people searching vainly
for a place to sit down while some hog left his coat draped over
a seat which everybody assumed was taken, until one patron,
bolder than the rest, asked him to please remove the garment.

On our latest trek to the movies, we also encountered the
fusser — the lady who combed her hair once every five minutes, (
patted it — with her elbow obscuring my view — every second
minute in between, and started putting on her make-up fifteen
minutes before she rose to leave.

I would write more on the subject but I get nervous. As a
matter of fact, the man behind me asked me to stop moving my
head so much.

I guess it could happen to anybody, hm?

I

DARRYL F. ZANUCK

FINANCIAL APPRAISAL

The Outlook for 20th-Fox
In the 'Cleopatra' Era

The excitement over the premiere of "Cleopatra"
was not confined to the public and the critics
alone; it was just as keenly observed by the finan-
cial community. This appraisal of 20th Century-
Fox's financial picture within the frame of its $38
million blockbuster is for those readers contem-
plating the company as an investment.

By PHILIP R. WARD

Without dismissing one jot of the im-
pact Cleopatra will have upon the
earnings of 20th Century-Fox during
the next two or three (and more) years,
let it be stated immediately that we do
not regard this film as crucial to the
company's stability

Undoubtedly, the degree of success
the film enjoys (there is no point in
discussing possibility of failure) will
influence strongly 20th's intermediate,
and even long term, earnings. The com-
pany's current position already has been
handsomely enhanced to the extent of
some $20 million in advance payments
by 70-odd theatres throughout the
world. But other factors beyond this
one huge venture must be considered in
any perspicacious appraisal of 20th Cen-
tury's future.

The importance of Cleopatra has
been duly noted by Wall Street and esti-
mated to an overriding degree. Last
year it anticipated the total demise of
20th Century-Fox at the lovely hand of
the Queen of the Nile, and the stock
sank to a low of near 15. Bolstered by
the quiet confidence and business-like
management of the new president,
Darryl F. Zanuck, the buyers got back
in and early this month the shares were
valued on one trading day at $37.

As the Cleopatra premiere approach-
ed, the Wall Streeters acted as nervous
as an ingenue facing her opening night
debut. On Monday, June 10, the day
before the film was first revealed to the
critics, 20th stock was quite active and
closed up ll/g. Tuseday was a day of
anxious waiting and little change. June
12th, folowing the press previews (un-
doubtedly attended by representatives
of many important Wall Street firms),
came the deluge. The stock sold off
two points on volume of over 58,000

shares, and the decline continued, down
a total of six points to $29 on June 20.

Apparently, brokers and investors
were frightened by several unfavorable
reviews: the Herald Tribune's acidulous
Judith Crist called the picture "a monu-
mental mouse"; one of the wire services
was unkind; Time and Newsweek were
cool. Wall Street paid more attention to
the ripple of pans than to the flood
of praise, including a rave review by
the highly respected and influential Bos-
ley Crowther of the New York Times.

Had the financial crowd troubled to
checked the effect of the reviews on
ticket sales at theatres, they would have
relaxed. We checked. Within a week
after the critics had their say we phoned
six premiere theatres — RKO Pantages
(Los Angeles), Music Hall (Boston),
Warner (Washington), Loew's Ohio
(Cleveland), Stanley (Philadelphia),
and the Rivoli (New York) — and each
reported a sharp increase in advance
sales for Cleopatra. This information
apparently percolated through the Wall
Street grapevine: on Friday (21st) the
price of 20th- Fox jumped iy8.

We predict the rise will continue,
subject to the vagaries of the general
market. This opinion is not based,
however, solely on the undisputed
drawing power of Cleopatra, which,
incidentally, has been enhanced, we be-
lieve, by the post-preview scissoring of
some 22 minutes from the lagging sec-
ond half. Our optimism about the com-
pany's future derives even more from
other factors, principally its manage-
ment.

In Darryl Zanuck, 20th Century
boasts the most knowledgeable and ex-
perienced film man heading any film
company. In his less than one year as
president he has also displayed first-rate
executive acumen. The chaotic condition

of the studio was quickly remedied by
shutting it down for a while, cutting off
the waste, then reopening it when a
production program was blueprinted.
Under the management of young Rich-
ard Zanuck, a competent movie maker
in his own right, and under the watch-
ful eye of DFZ, we look for the 20th-
Fox studio to be one of the front-rank
sources of film supply within a year.

Other economies were effected to help
the company show a profit of $2,292,-
945 for the first quarter of the current
year on gross revenues that declined by
over $9 million from 1962's first three
months. The key element in the im-
proved earnings situation is Zanuck's
war epic, The Longest Day. This superb
film was a powerful grosser in its
lengthy roadshow runs, and now we
hear glowing reports from theatres
which are just starting to show it for
extended general release engagements.
We venture the opinion that The Long-
est Day will be the biggest grossing film
of the summer and fall months. On this
assumption, plus the income from
Cleopatra and the boxoffice potential of
two other forthcoming releases — The
Leopard (Burt Lancaster, Claudia Card-
inale), winner of the Cannes Film Festi-
val award, and Condemned of Altona
(Sophia Loren, Maxmillian Schell,
Fredric March, Robert Wagner) — it
appears safe to predict that 1963 will
mark an astounding turn-about in the
fortunes of 20th Century-Fox.

With much of the enormous cost of
Cleopatra written off, a $17 million
loan from Chase Manhattan Bank paid
off since Zanuck took over, and a juicy
$20 million tax loss carry-forward at
hand to offset income taxes for the tiexl
few years, prospects look bright, in-
deed. 20th Century-Fox is very much a
live film company .

Film BULLETIN June 24, 1943 Page 9

FAN MAGAZINES . . . CRITICS & THE BOXOFFICE . . . 'DR. NO.'

With characteristic dedication to
essays into the secrets of our Hollywood
elite, the latest issues of the fan mag-
azines have induced in me a melan-
cholia and a sense of appreciation for
the Spartan spirit of the heroes and
heroines of Kitschland.

Let us not denigrate these journals.
As a result of my excursion into their
dream world, I now know that the
vicissitudes of screen popularity exacts
a toll that is difficult but nevertheless
bravely faced by our idols.

For a small investment of $1.70, I
was able to scan both the psychic and
mundane matters such as: "Liz and
Burton's Secret Plans" (Modern
Screen); "The girl Elvis Keeps Hidden"
(Motion Picture); "The Facts Behind
Hollywood's Sensational Divorces"
(Modern Screen); "Troy Admits One
Girl Isn't Enough" (Screen Stars);
"Troy Donahue's Secret Marriage"
(Screen Parade); "Liz' Wedding Dress"
(Photoplay).

This latter headline appeared on the
cover of Photoplay and surely, I said
eagerly, now we are getting some place
with this lady. However, when I turned
to the article, imagine my disappoint-
ment when I discovered that three top
designers created designs for the kind
of wedding gown they conjured for Liz.

Says the lead head on the article:
"As we go to press, Richard Burton's
wife Sybil, says she will never divorce
him. But there hasn't been a man, mar-
ried or not, whom Liz couldn't wed if
she wanted to. So with this in mind, we
asked three top designers what they
thought Liz should wear — and why.
What do you think? At the end of the
story, there is a ballot. "Vote your
choice. We want to pass your rec-
ommendations to Liz."

How is this for democracy in action?
It's sad but true that Liz can't have all
her fans in for the wedding (still
speculative), but how nice of Photo-
play to let them have a hand in the
selection of her wedding gown. So this
is really something more than a con-
tribution to the haute couture on the
part of these designers and Photoplay.
I have not sent in my vote because I
have my own idea of what Liz should
wear at her wedding, if any. I vote for
one of the "Cleopatra" gowns.

Anyhow, even if Liz doesn't marry,
what's wrong with having an extra
wedding gown around the house — just
for an emergency.

I'm all for the fan magazines, but
Photoplay, my favorite, receives most
of my reading time. Interested, as I
am, in parenthood and genetics, I was

11 El \r <o>

ADAM WEILER

impressed with a line on Photoplay's
cover reading: "A New Baby for
Debbie — the Medical Risks". Being
quite up on these things, I knew imme-
diately this referred to Debbie Rey-
nolds. I turned to the story. The risks
were set forth most sensibly and dig-
nifiedly. I'm rooting for Debbie and
the baby.

As to the other subjects cited earlier,
I suggest you buy the magazines. You
are in the movie business and, whether
you like it or not, so are the fan mag-
zines. Lots of persons read these books
(as we say in the trade) and we can
only hope that most of the readers are
movie fans. It is interesting that the
heads of these mags feel they are dis-
criminated against, since publicity de-
partments give little cooperation and
distributors spend little in their adver-
tising pages.

For years there have been abortive
efforts to publish and circulate a mag-
azine that would be published by the
industry. The last effort was in the
form of a giveaway backed by ABC-
Paramount. If I remember correctly,
only one issue was published, and no
film company showed any interest.

► M ►

The hassle between the New York
Herald Tribune and Warner Brothers
will have very little to do with the de-
gree of success attained by "Spencer's
Mountain", cause of the controversy.
For years and years, there has always
been a low boiling point in the chem-
istry of producers when one of their
pictures is treated badly by reviewers.

Without getting into the pros and
cons of such disputes, the question may
well be asked if pictures made for mass
audiences ever really suffer much when
the notices are not good. As a matter
of fact, we have no idea what influence
the reviews have at the boxoffice. I re-
call when "Abe Lincoln in Illinois"
opened at the Rivoli theatre on Broad-
way, the reviews were excellent — raves,
in fact. However, no one came to the
theatre. Harry Goetz, the producer, was
bemused with this disparity and he ex-

plained his bewilderment to Spyros
Skouras.

"I can't understand this," Harry
said." We have wonderful reviews,
good word of mouth, but nobody
comes. What do you make of it,
Spyros."

Whereupon Mr. Skouras replied:
"Harry, they just don't want Lincoln."

If no reader of the Herald Tribune
went to the Music Hall, it would make
very little difference. Lets face it: the
Daily News and its star ratings have
much more impact on the average
moviegoer. In fact, I wonder how many
Herald Tribune readers really go to the
movies as against the number of Daily
News readers (4,000,000) who prob-
ably are more enthused about and less
specious about the whole idea of mov-
ies.

► ►

Now that the world of Ian Fleming
has crashed the screen and James Bond
has become incarnate in the person of
Sean Connery, we have in "Dr. No" a
picture that is both fun and terrifying.
A mixture such as this is bound to make
lots of money as well as bring lots of
folks into the theatres who gave up the
habit since the demise of "Fu Manchu."

The fun of "Dr. No" is found in its
absurdity and in the fact that our hero
Bond has resources no villainy can
surmount. "Dr. No", an evil gent if I
ever saw one on the screen, becomes
terrifying because one realizes that the
dividing line between genius and mad-
ness is very thin, indeed.

Not since the late Errol Flynn demon-
strated that a brave man could over-
come any odds, have we had such a
picturesque personality as Sean Con-
nery. We need a gent like this. Tough
with his fists, clever with his automatic
and ingenious with his electronics, we
know from the start of "Dr. No" that
this lad not only is going to get his
man but a few dames along the route.

It so happens that Sean Connery is
no synthetic actor. He not only looks
the part, but he can act it, and it might
be added that his acting talent makes
the whole dish seem much more appe-
tizing.

No doubt there will be more of
James Bond. I had not read much of
Mr. Fleming's ouvre, but President
Kennedy, I am informed, keeps a vol-
ume at bedside. I wonder if he thought
the movie was as good as the book, or
for that matter I wonder if he saw
the movie. But I'm sure United Artists
didn't overlook sending a print to the
White House.

Page 10 Film BULLETIN June 24, 1943

?//*> eff ktitinctioh

"Cleopatra" The Blockbuster of Them All

Never been approached for sheer magnificence. First
half (Caesar and Cleopatra) is a great, literate screen-
play; the second half (Antony and Cleopatra) lags. Has
a timeless quality that will draw audiences for many
years to come.

The talk about "Cleopatra" is just beginning. Long before
this costliest of all motion pictures was completed, it had
become the most discussed, praised, damned — and eagerly
awaited — motion picture ever conceived. Now that it is finally
before us, it defies ordinary classifications. There are bound to
be those who will relish the opportunity to heap critical abuse
on a film that cost $38 million to produce, but it is our predic-
tion that the vast majority of viewers on every audience level
will regard it as a monumental achievement of movie-making,
a spectacle beyond compare, a literate, compelling historical
drama, a topic of endless conversation and controversy, some-
thing that must be seen.

"Cleopatra" has its flaws, and at the very outset of this report
let us dispose of the one major defect apparent at the initial
press showings — its inordinate length. Four hours and three
minutes is just too much of any entertainment, even the best, a
tax on the physical comfort of most spectators. This apparently
was recognized by 20th Century-Fox president Darryl F. Zan-
uck and director-coauthor Joseph L. Mankiewicz, who hastened
to cut 22 and a fraction minutes within a few days after the
world's premiere at the Rivoli in New York. Most of the cuts,
we understand, were made in the second half of the film, the
Cleopatra and Antony story which, in the original print, tended
to become diffuse and finally anticlimactic. This tightening must
have improved the picture and will allow the audience to leave
the theatre more fully appreciating all the wondrous and stimu-
lating things they have witnessed.

The first segment, the story of the beauteous, ambitious
Egyptian queen and the Caesar she captivates is sheer magnifi-
cence, pictorially and dramatically recorded by the Todd-AO
cameras in superb DeLuxe Color. It towers so far above any
previous conception of what the screen can encompass that it
seems to open vast new vistas for movies as an art form. It has
power and depth, the mark of history is upon it, yet it is the
story of two vibrant human beings. One gathers the impression
that this portion was the handiwork of a fresh, lucid, imagina-
tive Mankiewicz, whereas, following the intermission, the
Antony sequence shows signs of a weakening of the creative
force, and, perhaps, the ravaging effects of pressures brought to
bear by home office demands for an end to the drain on the
company treasury.

Will the 20th Century-Fox treasury recoup the staggering out-
lay? There can be no question that it will, in the long run, for
this is a motion picture that will be timeless. Countless viewers
will return again and again through the years to savor its full
beauties. The oddity is that it will not thrive on the basis of the
torrid Taylor-Burton publicity it enjoyed throughout the film-
ing; their on-screen affair is far less hot than the headlines made
their real-life romance appear. And for many, especially women,
this will prove disappointing. The ultimate success of "Cleo-
patra", rather, will be due to its intrinsic quality, its appeal to
the mind as well as the eyes.

Cleopatra entertains Mark Antony on her barge.

The lion's share of the credit must go to Mankiewicz, who
bore the enormous task of writing most of the story (his collabo-
rators were Ranald MacDougall and Sidney Buchman) and
directing it. More noted as a movie-maker of finesse, Man-
kiewicz also reveals here a flair for spectacle beyond anything
the late Cecil B. DeMille might have conceived. The triumphal
entry of Cleopatra into the Forum of Rome is a truly awe-
inspiring scene in scope and in conception. Gaudy it is, but
great. The Battle of Actium and the festive banquet on Cleo-
patra's royal barge are other memorable visual treats. For these
parts of "Cleopatra", producer Walter Wanger, also, is entitled
to take a bow.

The screenplay has its high and low points. As noted, the
relationship of Caesar and Cleopatra is developed with artistry
and feeling. There are flashes of wit, intelligence and poignancy.
These are two star-crossed people of destiny to whom the audi-
ence is drawn. Much of this quality is lacking in the Antony
sequence; the love scenes are cliched, the dialogue sometimes
trite, and there is repetition. What of this has been eliminated
in the late cutting remains to be seen.

Acting honors are taken by Rex Harrison as Caesar. He is
incandescent, captivating, all over the heroic figure he depicts,
yet always human. His assassination (a brilliantly staged scene)
at the half-way point removes the film's most fascinating char-
acter. There are many who will disagree, since Elizabeth Taylor
certainly dominates the film and creates a masterful portrait of
the proud, arrogant, ambitious Queen of the Nile. And what a
ravishing sight for the eyes! But her voice at times is waspish
and irritating. Richard Burton, of the leads, comes off worst as
Mark Antony, but his role is the least clearly defined. In several
scenes he displays his great talent. In support, Roddy McDowall
slowly builds up his characterization of Octavian, Antony's poli-
tical rival, while Hume Cronyn misplays the role of Sosigenes,
adviser to Cleopatra.

Special bows must be made to director of photography Leon
Shamroy and to the brilliant art direction by a large staff headed

(Continued on Page 15)

Film BULLETIN June 24, 1963 Page 11

"I

starring in
"COME BLOW YOUR HORN"

a PARAMOUNT release
an ESSEX-TANDEM Production
TECHNICOLOR®

nnTionni#Cb£tW service

y_J pmzc atier of me WDUSTHY

A FILM COMPANY THAT DOESN'T 'LET GEORGE DO IT'

7V dot tie
S6ocuwe*t

MEICHANDISIN6' I ,

M-G-M Provides Theatres with
Ballyhoo Treats To Sell 'Sindbad'

1001 FABULOUS SIGHTS H! 1001 FANTASTIC THRILLS !!!

Inside spread of the striking two-color spread on "Captain
Sindbad" being offered to theatres by M-G-M free of charge.

M-G-M is following no "let George do
it" policy in its campaign to make "Cap-
tain Sindbad" a big grosser this summer.
The film company is working hand-in-
hand with exhibitors on a grass-roots level
to excite the interest of millions of young-
sters in the King Brothers Production.

Usually a distributor does not extend
its promotion effort much beyond the first
run engagements. Occasionally a saturation
break gets the advantage of a cooperative
newspaper ad, or, perhaps, some radio-TV
time on a sharing basis. But Metro is go-
ing far beyond this approach by providing
all theatres with "gimmick" materiel and
circulars to plug "Sindbad."

Since feats of magic play a major role in
the story of the adventuresome hero, exhibi-
tors are urged to distribute to the young-
sters a variety of magic tricks during the
engagement of the film. These are being
furnished by M-G-M branches at a cost
to theatres of a nominal IV20 per item,
Metro assuming one-half of the actual
cost.

The herald, an attractive, flashy color
job, is being offered to theatres free of
charge. Only the imprinting and distribu-
tion are the theatre's responsibility.

This kind of distributor-to-theatre co-
operation should pay off handsomely to
both ends of the deal.

'Mouse' Has No Fear of Mighty 'Cleo'

Launching a successful publicity cam-
paign for a light British comedy, the morn-
ing after the "Cleopatra" premiere may
seem like madness, but the intrepid admen
at United Artists found the $40 million
spectacle provided the perfect blast-off for
their Lopert Pictures release, "The Mouse
on the Moon."

Fox couldn't get Liz to attend their open-
ing, but at the early morning (June 13)
press conference called by UA, they intro-
duced newsmen to bonafide royalty (they
claimed), Her Royal Highness Gloriana
XIII, known as the "Cleopatra of Grand
Fenwick." The point of the press meeting,
of course, was to reveal some of the ways
in which the public will be made aware of
"The Mouse on the Moon," and the regal
but buxom queen bore a suspicious resem-

blance to British personality Margaret
Rutherford, who appears in the film.

Producer Walter Shenson heralded his
production as the costliest film ever made:
42,000,000 lopperz, the exact worth of
which has never been evaluated by the
World Bank. UA vice president Fred Gold-
berg and national promotion director Gabe
Sumner detailed phases of the campaign
to back "Mouse": Extensive radio and TV
promotion utilizing 60-second to 10-second
spots will hail the arrival of the film in
key cities. Replica space laboratories show-
ing Grand Fenwick's truly unbelievable
progress in space research will be built for
public inspection throughout the country.
Commercial tie-ins include a recording by
the Grand Fenwick Philharmonic on the
United Artists label, and marketing of toy
kazoos, official instrument of the orchestra.

Loew's Plans Big Summer
Push for Promising Product

Loew's Theatres
management sees this
as a bright, sunny sum-
mer, and they plan to
make hay.

Spurred by its con-
fidence in the array of
summer product, the
circuit is launching a
huge merchandising
campaign starting July 17 in New York
and other key cities. Plans will be laid at
a meeting of company executives, New
York area managers, division managers
and publicists on Tuesday (25). The ses-
sion will be headed by Arthur M. Tolchin,
John F. Murphy, Charles Kurtzman and
Ernest Emerling. Advertising executives of
several film companies will outline plans.

Tolchin keynoted the drive with this
statement: "It's been a long time since we
have had so many pictures with obvious
boxoffice apeal locked into a week-after-
week series. Both our local theatre man-
agers and our home office executives are
pulling out all of the stops to insure that
this summer will be one of the most prof-
itable in many years."

Warner Bros, unveiled a life-size painting of
Ursula Andress as a reclining nude to stimulate
interest in "Four for Texas." The painting and
Miss Andress share billing tt ith Frank Sinatra.
Dean Martin and Anita F.kberg in the Robert
Aldrich production for \\"B release.

Film BULLETIN June 24, l?63 Page 13

"Come Blow Yoor Horn"

'SuaiKCM IZcitiK? O O O

Jazzed up version of sfage hit has Sinatra and plenty of
laughs. Warmth of stage play is missing. Good metro-
politan grosser.

Laughter for the masses, if not the classes, is supplied in
this adaptation of the stage hit. With Frank Sinatra for the
marquee, it will draw strongly in most metropolitan houses, and
above average elsewhere. Neil Simon's long-running Broadway
comedy has been jazzed up in the gaudily-mounted Technicolor-
Panavision version produced by Bud Yorkin and Norman Lear,
with the result that the story has lost much of its warmth.
That wonderful Jewish family of the original has been replaced
by the Bakers, who may or may not be Jewish. Mama speaks
with Hollywood's all-purpose "lovable" accent while Papa
talks good like a native American should. Molly Picon and
Lee J. Cobb broadly caricature these stereotyped roles and in
so doing provide most of the laughs. Miss Picon does an old,
old telephone routine and makes it the funniest scene in the
entire film. Cobb blusters his way through the part of a waxed-
fruit manufacturer with such aplomb that he makes the single
epithet, "bum", hurled at Frankie repeatedly, seem hilarious.
Sinatra is around to play the carefree older son and to sing
the title song. He initiates kid brother Tony Bill, a sort of 1963
Andy Hardy, into the glories of girl chasing. The objects of
their pursuits are Barbara Rush, Jill St. John, and Phyllis
McGuire. Doors slam, telephones ring, girls hide and even-
tually Sinatra winds up marrying Miss Rush. That's all there
is to Lear's screenplay. Yorkin directed as though it was "two-
a-day at the Palace", and after awhile the slapstick antics will
seem pretty tedious to discriminating audiences.

Paramount. 112 minutes. Frank Sinatra, Lee J. Cobb, Molly Picon, Barbara Rush,
Jill St. John, Tony Bill. Produced by Norman Lear and Bud Yorkin. Directed by
Bud Yorkin.

"The Mouse on the Moon"

^UtlHCte O O PIUS

Highly amusing successor to "Mouse That Roared" pokes
fun at the international space race. Strong for art and
class markets.

This wacky, broadly satirical spoof at the space race is sure
to delight devotees of British comedy and amuse others. It
should rocket to high level grosses in the art houses, while
garnering considerable interest in the better class theatres of
the general market. It will get plenty of laughs in every type
of theatre. Public anticipation will build through the tongue-
in-cheek promotion and the word-of-mouth support it will
receive. Producer Walter Shenson very shrewdly gave this
sequel to the illustrious "Mouse That Roared" an even wider
appeal by utilizing enough American accents to keep the mass
audience from feeling that they are watching a "foreign" film.
Director Richard Lester paced this Eastman color import so that
the only thing that moves slowly is the outmoded rocketship
that ultimately reaches the moon. Grand Fenwick, a satirical
paradise created by Leonard Wibberly and adapted for the
screen by Michael Pertwee, is now ruled by Margaret Ruther-
ford, known her as Gloriana XIII. Her Prime Minister, sweaty-
eyed Ron Moody, feels a desparate need for indoor plumbing
and applies to the United States for a loan. Munificent Wash-
ington diplomats, told that the money is needed for rocket

Page 14 Film BULLETIN June 24, 1963

research, realize both the absurdity and the propaganda value
of the request and instead donate $1,000,000 to the country.
Russia retaliates by bestowing a hopelessly outdated rocket
A disturbed Britain dispatches spy Terry Thomas to Grand
Fenwick. Thomas gloriously upholds his nation's record of
ineptitude in government service. The rocket, propelled by
Grand Fenwick's potent wine and piloted by scientist David
Kossoff and astronaut Bernard Cribbins, gradually works its
way to the moon. June Ritchie, the girl with a cause, initiates
a "Stop Shooting At Our Moon" campaign. Everything ends
happily for the Fenwickians, if not for the "former" world
powers.

Lopert Pictures. 84 minutes. Margaret Rutherford, Bernard Cribbins, Ron Moody,
David Kossoff, Terry Thomas, June Ritchie. Produced by Walter Shenson.
Directed by Richard Lester.

"The Main Attraction"

Romance, with some lurid undertones, against European
circus background. Pat Boone as singing drifter. Fair b.o.

While the background of this Seven Arts Production for
M-G-M release is a traveling European circus, this isn't exactly
a picture for the kiddies; to the contrary, it is basically adult
fare. Pat Boone has another change-of-pace role as a circus
drifter who becomes emotionally and sexually involved with
two women. His teenage fern following will be pleased to
know that he warbles four tunes, although they may be a bit
shocked by the rather unsavory character he portrays. "The
Main Attraction" should be a fair grosser in the general
market. John Patrick's Metrocolor production provides attrac-
tive circus backgrounds, as well as some colorful shots of the
Italian Alps. Daniel Petrie's direction, while it has good pace,
fails to develop fully the principal characters, a fault which can
be attributed also to Patrick's screenplay. Nancy Kwan is
appealing as the circus star and co-owner, with Yvonne
Mitchell, her crippled sister. Mai Zetterling turns in the film's
most intriguing performance as another circus performer, who
hires Boone to round out her act and share her bed. Miss
Zetterling delivers a sultry, striking interpretation of the1
other-woman role. Boone is attracted to Miss Kwan and finds
himself falling in love with her. This arouses the jealousy of
her brother-in-law Kieron Moore, who yearns for Miss Kwan.
When Boone attempts to break with Miss Zetterling, she sparks
a fuse which leads to a fight between Boone and her former
husband. Accidentally stabbing the latter, and thinking he is
dead, Boone makes a get away. Meanwhile, Miss Kwan has also
left the circus and the two lovers meet on a bus to cross the
mountains. When the trip is halted by police warning of an
avalanche, Boone runs away and is followed by Miss Kwan.
They hide away in a mountain lodge and spend the night in
each others arms. When the avalanche hits, Boone rescues her,
and they realize they're really in love.

M-G-M. 85 minutes. Pat Boone, Nancy Kwan, Mai Zetterling, Yvonne Mitchell,
Kieron Moore. Produced by John Patrick. Directed by Daniel Petrie.

WANTED: Experienced Theatre Manager
for an expanding theatre circuit
■

Many benefits, including retirement plan

Apply immediately
WALTER READE / STERLING THEATRES
May fair House, Deal Road Oakhurst, N. J.

I

"Captain Sindbad"

Satinet* Ratine Q © Plus

lively, imaginative fantasy wtih special effects, magic,
color to delight the youngsters. Good summer entry.

The King Brothers have turned out one of those imaginative,
legendary adventures designed to delight the youngsters and
many an elder with a taste for such fantasy fare. M-G-M is
exploiting "Captain Sindbad" to the hilt for saturation play-
dates, and it figures to be one of the lively grossers of this
summer. It has been done up in a handsome Technicolor-
Wondrascope package, and is sparked by some excitement-
provoking special effects and feats of magic. Of course, the
screenplay by Samuel B. West and Harry Relis and the well-
paced direction of Byron Haskin are aimed straight at the
moppets, and hit their mark. Guy Williams, although a bit
paunchy, lends dash to the title role, while Heidi Bruhl is the
prettiest darn princess to turn up in many a Technicolor moon,
and what's more she can act. The late Pedro Armendariz adds
'class with another of his masterly villains. Most of the action
takes place in mythical Baristan, where Sindbad struggles to
free the country, and his fiance, from the clutches of the vil-
lainous dictator, El Kerim (Armendariz). When Sindbad runs
!a sword through El Kerim, he discovers that the man is so
cruel that he has no heart; it is kept in the Castle of 100
Horrors. Sindbad sets out to capture the heart and thus destroy
El Kerim. Enroute, he battles a giant Scylla with nine heads
and dozens of snake arms. Prehistoric birds, a giant steel fist,
an invisible monster, scores of wild animals, and other diver-
sions take up Sindbad's time before he finally conquers the
heartless dictator, with the aid of the local magician.

M-G-M. 85 minutes. Guy Williams, Heidi Bruhl, Pedro Armendarii. Produced by
Frank and Herman King. Directed by Byron Haskin.

"Never Let Go"

ellers in heavy crime melodrama. The British import
may do better in action than in usual class market.

Peter Sellers was at a low point in his prolific career with
this humorless but fairly exciting, melodrama, made in I960
: and just now reaching American shores. A portly and sinister
; Sellers, hamming it up and screaming through clenched teeth,
took second billing to Richard Todd in this Peter de Sarigny
production, routinely directly by John Guillermin from a screen-
iplay by Alun Falconer. Production is average and features a
i few interesting shots of a motorcycle gang in action. The Sellers-
Todd names will give this Continental release a lift in class
houses, but word-of-mouth will not be favorable. It has enough
rough stuff to make it useful in the action market. The story
begins when Todd's car is stolen. Refused police aid, Todd con-
ducts his own investigation, ferrets out a teen-age gang and
follows the leader to Sellers, the brains. Sellers, incensed by
the youth's foolishness in coming to him, smashes the boy's
fingers, pummels an aged news dealer who has knowledge of
the theft, forcing the old man's suicide. Now hysterical with
fear, Sellers beats his teen-age mistress, viciously slugs Todd's
wife (Elizabeth Sellers) and arranges Todd's beating. The
police threaten to arrest Todd and warn him that his life will
be in danger if he continues to interfere in their work. Already
fired from his job, and with his wife ready to leave him, Todd
feels he has nothing to lose. He breaks into a garage, finds his
car and encounters Sellers. The two fight violently with broken
bottles and tire chains. Todd wins just as the police arrive. He
drives home and his wife soon returns.

Continental Distributing. 90 minutes. Richard Todd, Peter Sellers, Elizabeth Sel-
lers. Produced by Peter de Sarigny. Directed by John Guillevmin.

"A Gathering ul Eagles"

ScuiKCte RoUtf O O Plus

Military phase of this Rock Hudson starrer is interesting,
but wife vs. career part of story is too familiar. OK
returns in general market.

A red telephone that within seconds can alert the nation to
war hovers over the lives of Strategic Air Command (SAC)
personnel and serves as the focal point for this visually exciting
military drama. However, when the Robert Pirosh screenplay
reverts to off-duty hours and a cliched wife vs. career situation,
interest lags. With Rock Hudson topcast to lure feminine trade,
"A Gathering of Eagles" should prove an above-average attrac-
tion in general situations. The Eastman color cameras have
stirringly captured the excitement of jet formations and man-
euvers and have also caught the complexity and split-second
precision of ground force operations. Producer Sy Bartlett and
director Delbert Mann have infused suspense and an aura of
documentary realism into these episodes. Hudson is given
little opportunity to display acting skills as the steely Air Force
Colonel ordered to whip into shape a lagging unit. He becomes
a "hatchet man" ruthlessly destroying the lives of those closest
to him. Rod Taylor scores with a colorful portrayal as Hudson's
best friend and lenient second-in-command, the inevitable vic-
tim of tightening-up policies. British actress Mary Peach has the
unrewarding role of the wife. Barry Sullivan, an alcoholic
officer sacrified for the sake of efficiency, and Leora Dana, his
wife, are effective. An operational readiness inspection provides
the tense climax. The results of the inspection justify Hudson's
tactics in the eyes of his men and make Miss Peach realize that
military dedication must come above personal involvements.
The ever-present red telephone can now be accepted as part of
their lives.

Universal. 115 minutes. Rock Hudson, Mary Peach, Rod Taylor. Produced by
Sy Bartlett. Directed by Delbert Mann.

'Cleopatra

( Continued from Page 11)

by Jack Martin Smith. The use of classic art works and frescoes
as bridges to the narrative is handled with startling effect as
they melt into the live scenes. Alex North's score is distin-
guished; it augments and highlights what appears on screen but,
thankfully, never predicts the action. As for the costumes, they
are all that has been predicted. Miss Taylor has more than 50
costume changes, most of them amply displaying her physical
endowments. The nude scenes reveal much less than her ordi-
nary queenly garb.

The story begins with the battle at Pharsalia in 48 B.C.,
depicting Caesar's conquest of Pompey. Caesar goes to Egypt
and to Alexandria, Cleopatra the supposedly dead queen, is
smuggled into Caesars apartment by Apollodorus, disguised as a
rug merchant and carrying his queen wrapped in a rug. Cleo-
patra seduces Caesar by promising him a son and the two are
married by Egyptian law, not recognized by the Romans. Cleo-
patra and her son make a spectacular entrance into Rome but
after Caesar's assassination — her ambition shattered — she returns
to Egypt. The second half of the film deals with Cleopatra's
romance with Mark Antony and her ambitions to obtain world
power through him. Instead, she reduces him to a self-indulgent
alcoholic coward, eventually bringing destruction and death
upon them both.

Film BULLETIN June 24, l?»3 Page IS

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

A pril

DAY OF THE TRIFFIDS, THE CinemaScope. Color.
Howard Keel, Nicole Maurey, Janette Scott, Keiron
Moore. Producer Philip Yordan. Director Steve Sekely.
Science-fiction thriller. 93 min. 5/13/63.

May

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Lauren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.
88 min. 5/13/63.

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
A Julian Wintle, Leslie Parkyn Production. Director
Michael Winner. Musical.

June

55 DAYS AT PEKING Technirama, Technicolor.
Charlton Heston, David Niven, Ava Gardner, Flora
Robson, Harry Andrews, John Ireland. Producer Samuel
Bronston. Director Nicholas Ray. Story of the Boxer
uprising. 150 min. 4/29/63.

SHOCK CORRIDOR (Formerly The Long Corridorl
Peter Breck, Constance Towers. Producer-director
Samuel Fuller. A Leon Fromkess Production. A suspense
drama .

July

GUN HAWK, THE Rory Calhoun, Rod Cameron, Ruta
Lee, Rod Lauren. Producer Richard Bernstein. Direc-
tor Edward Ludwig. Outlaws govern peaceful town of
Sanctuary.

Coming

GUNFIGHT AT COMANCHE CREEK Color. Cinema-
scope. Audie Murphy, Colleen Miller, Susan Seaforth.
Producer Ben Schwalb. Director Frank McDonald. Pri-
vate detective breaks up outlaw gang.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen, Tuesday Weld. Producer Martin Jurow. Director
Ralph Nelson. Army comedy.

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

December

SAMSON AND THE 7 MIRACLES OF THE WORLD

I Formerly Goliath and the Warriors of Genghis Kahn)
Color. CinemaScope. Gordon Scott, Yoko Tani. Samson
helps fight off the Mongol invaders. 80 min. 2/18/63.

January

RAVEN, THE Color. Panavision. Vincent Price, Peter
Lorre, Boris Karloff. Producer-director Roger Corman.
Edgar Allan Poe tale. 86 min. 2/4/63.

February

BATTLE BEYOND THE SUN [Filmgroup] Color S Vista-
scope. Ed Perry, Aria Powell. 75 min.

NIGHT TIDE I Filmgroup) Dennis Hopper, Linda Law-
son. 84 min.

March

CALIFORNIA Jock Mahoney, Faith Domergue. Western.

April

FREE. WHITE AND 21 (Formerly Question of Consent)

Frederick O'Neal, Annalena Lund. Drama. 102 min.

OPERATION BIKINI (Formerly Seafighters) Tab Hunter,
Frankie Avalon, Eva Six. Producer-director Anthony
Carras. War action drama. 84 min. 4/29/63.

May

MIND BENDERS. THE Dirk Bogarde, Mary Ure, John
Clement. Producer Michael Relph. Director Basil Dear-
den. Science fiction. 99 min. 4/15/63.

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama. 84 min.

Film

June

DEMENTIA #13 (Filmgroup) William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK. THE CONQUEROR (Formerly Miracle of the
Vikings). Color, CinemaScope. Cameron Mitchell. Ac-
tion drama. 90 min.

July

TERROR, THE IFilmgroup) Color, Vistascope. Boris Kar-
loff. Sandra Knight. Horror.

August

BEACH PARTY Color, Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funicello.
Producer James H. Nicholson. Director William Asher.
Teenage comedy.

September

HAUNTED PALACE, THE Color, Panavision. Vincent
Price, Debra Paget, Lon Chaney. Edgar Allan Poe
classic.

SUMMER HOLIDAY Technicolor, Technirama. Cliff
Richards, Lauri Peters. Teenage musical comedy.

October

NIGHTMARE (Formerly Schiio) Leticia Roman, John
Saxon. Producer-director Mario Bava. Suspense horror.

"X"— THE MAN WITH THE X-RAY EYES Ray Milland,
Diana Van Der Vlis, John Hoyt, Don Rickles. Science
fiction.

November

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester. Horror.
UNDER 21 Color, Panavision. Teen musical comedy.

December

BLACK CHRISTMAS Color. Boris Karloff, Mark Damon,
Michele Mercier. Horror.

DUEL, THE Color, Scope. Fernando Lamas, Tina Lou-
ise. Action.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

COMEDY OF TERROR, A Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff. Horror. Comedy.

DUNWICH HORROR Color. Panavision. Science Fiction.

GENGHIS KHAN 70mm roadshow.

MAGNIFICENT LEONARDO, THE Color, Cinemascope.
Ray Milland.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Vincent Price.
Producers Julian Wintle, Leslie Parkyn. H. G. Wells
classic.

October

ALMOST ANGELS Color. Peter Week, Sean Scully,
Vincent Winter, Director Steven Previn. 93 min. 9/3/62.

November

LEGEND OF LOBO, THE Producer Walt Disney. Live,
action adventure. 67 min. 11/12/62.

December

IN SEARCH OF THE CASTAWAYS Technicolor. Maurice
Chevalier, Hayley Mills, George Sanders. Producer
Walt Disney. Director Robert Stevenson. Based on the
Jules Verne story, "Captain Grant's Children." 110
min. 1/7/63.

February

SON OF FLUBBER Fred MacMurray, Nancy Olson,
Keenan Wynn. Walt Disney Production. Director Robert
Stevenson. Comedy. 100 min. 1/21/63.

April

MIRACLE OF THE WHITE STALLIONS Color. Robert
Taylor, Lili Palmer, Curt Jergens. A Walt Disney pro-
duction. Director Arthur Hiller. Story of the rescue of
the famous white stallions of Vienna. 118 min. 4/1/63.

June

SAVAGE SAM Brian Keith, Tommy Kirk, Kevin Cor-
coran Marta Kristen. Dewev Martin Jeff York. Pro-
ducer Walt Disney. Director Norman Tokar. Tale of the
pursuit of renegade Indians who kidnap two boys and
a girl. I 10 min. 6/10 /63.

July

SUMMER MAGIC Hayley Mills, Burl Ives, Dorothy Mc-
Guire, Deborah Walley, Peter Brown, Eddie Hodges.
Director James Neilson. Comedy musical. 108 min.

October

20J00O0 LEAGUES UNDER THE SEA Re-release.
FANTASIA Re-release.

February

DIAMOND HEAD Panavision, Eastman Color. Charlton
Heston, Yvette Mimieux, George Chakiris, France
Nuyen, James Darren. Producer Jerry Bresler. Director
Guy Green. Based on Peter Gilman's novel. 107
min. 1/7/63.

April

MAN FROM THE DINER'S CLUB, THE Danny Kaye, Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin. Comedy. 96 min. 4/15/63.

May

FURY OF THE PAGANS Edmund Purdom, Rosanna
Podesta.

June

December

OUT OF THE TIGER'S MOUTH Loretta Hwong, David
Fang. Producer Wesley Ruggles, Jr. Director Tim
Whelan, Jr. 81 min.

OUARE FELLOW, THE Patrick McGoohan, Sylvia Sims.
Walter Macken. Producer Anthony Havelock-Allan.

Director Arthur Dreifuss. 85 min. 11/26/62.

January

SWINDLE, THE Broderick Crawford, Giulietta Masina,
Richard Basehart. Director Federico Fellini. Melodrama.
92 min. 1 1/12/62.

May

TRIAL, THE (Astor Productions, Inc.) Anthony Perkins,
Jeanne Moreau. Director Orson Welles. Welles' version
of Kafka novel. 118 min. 3/4/63.

Coming

TOTO, PEPPINO and LA DOLCE VITA Toto, Peppino.

WORLD BEGINS AT 6 P.M. Jimmy Durante, Ernest Borg-
nine. Director Vittorio DeSica.

BULLETIN — THIS IS YOUR PRO

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical. 112 min. 4/15/63.

JASON AND THE ARGONAUTS (Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Novak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic. 104 min. 6/10/63.

JUST FOR FUN Bobby Vee. The Crickets, Freddie
Cannon, Johnny Tillotson, Kerry Lester, The Tornadoes.

72 min.

July

13 FRIGHTENED GIRLS Murray Hamilton, Joyce Tay-
lor, Hugh Marlowe. Producer-director William Castle.
Mystery. 89 min.

August

GIDGET GOES TO ROME James Darren, Cindy Carol,
Jobv Baker. Producer Jerrv Bresler. Director Paul
Wendkos.

September

DR STRANGE LOVE: OR HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers,
Sterling Hayden, George C. Scott, Keenan Wynn. Pro-
ducer-director Stanley Kubrick. Comedy.

U C T

JULY SUMMARY

The month of July will see at least
one release from each of the film
companies, with an over-all total of
20 films scheduled. M-G-M, heading
the group, has four features. United
Artists, Universal, Warner Bros., Em-
bassy and Paramount each have two
listings. All of the other major com-
panies — 20th-Fox, Columbia, Allied
Artists, Continental, Buena Vista and
American International — to date have
one release scheduled for the month.

Coming

CONGO VIVO Jean Seberg, Gabriele Ferietti.

IN THE FRENCH STYLE Jean Seberg. Producer Irwin
Shaw. Director Robert Parrish.

IRON MAIDEN, THE Michael Craig, Anne Helm, Jeff
Donnell.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Pater O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins. Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/42.

MANIAC, THE Kerwin Mathews, Nadia Gray.

VICTORS, THE Vincent Edwards, Melina Mercouri,
Jeanne Moreau, Romy Schneider. Producer-director
Carl Forman.

January

GREAT CHASE, THE Douglas Fairbanks, Sr., Buster
Keaton, Lillian Gish. Producer Harvey Cort. Silent
chase sequences. 77 min. 1/7/63.

LONELINESS OF THE LONG DISTANCE RUNNER. THE

Michael Redgrave, Tom Courtenay, Avis Bunnage. Pro-
ducer-director Tony Richardson. Explores the attitudes
of a defiant young man sent to a reformatory for
robbery. 103 min. 10/1/62.

LOVERS OF TERUEL, THE I French, subtitled) Color.
Ludmila Teherina. A famous legend is transformed into
a dance-ballet drama. 93 min.

March

BALCONY, THE Shelley Winters, Peter Falk. Producers
Joseph Strick, Ben Maddow. Director Strick. Unusual
version of Genet's fantasy play. 85 min. 4/1/63.

April

WRONG ARM OF THE LAW, THE Peter Sellers.
Lionel Jeffries. Sellers uses Scotland Yard in pulling off
the laugh crime of the century. 91 min.

June

DAVID AND LISA Keir Dullea, Janet Margolin, How-
ard Da Silva. Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed young-
sters. 94 min. 1/7/63.

YOUR SHADOW IS MINE Jill Haworth, Michael Ruhl.
A European girl, raised by an Indo-Chinese family, has
■ to choose between her native sweetheart and the
society of her own people. 90 min.

July

THIS SPORTING LIFE Richard Harris, Rachel Roberts.
129 min.

August

MEDITERRANEAN HOLIDAY 70 mm color. Travelogue
narrated by Burl Ives.

September

HANDS OF ORLAC, THE Mel Ferrer, Christopher Lee,
Dany Carrel, Lucille Saint Simon. Producers Steven
Pallos, Donald Taylor. Director Edmond Greville.
Mystery. 86 min.

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,
Christian Doermer. Directors Francois Truffaut, Andrez
Wajda, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world. 113
min. 2/18/63.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French
Revolution. 100 min. 3/4/63.

March

\ FACE IN THE RAIN, A Rory Calhoun, Marina Berti,
; Niall McGinnis. Producer John Calley. Director Irvin
Kershner. Suspenseful spy-chase drama. 90 min. 4/1/63.

April

LANDRU Charles Denner, Michele Morgan, Danielle
Darrieux. Producers Carlo Ponti, Georges de Beaure-
i gard. Director Claude Chabrol. Tongue-in-cheek drama
of the infamous lady-killer. 114 min. 4/16/63.

LAW, THE Marcello Mastroianni, Melina Mercouri, Yves
Montand, Gina Lollobrigida. Producer, Jacques Bar.
Director, Jules Dassin. Romantic drama. 114 min.

May

BEAR. THE I English-dubbed ) Renato Rascel, Francis
Blanche, Gocha.

PASSIONATE THIEF THE Anna Magnani, Ben Gazzara,
Toto. Producer, Silvio Clementelli. Director, Mario
Monicelli. Comedy. 95 min.

June

LIGHT FANTASTIC Dolores McDougal, Barry Bartle.
Producer, Robert Gaffney. Director, Robert McCarty.
Drama.

July

CRIME DOES NOT PAY Edwige Feuillere, Michele
Morgan, Pierre Brasseur, Richard Todd, Danielle Dar-
rieux. Director Gerard Oury. Drama. 159 min.

WOMEN OF THE WORLD Technicolor. Director Gual-
tiero Jacopetti. Women as they are in every part of
the world.

August

FREDERICO FELLINI'S "8V2" Marcello Mastroianni,
Claudia Cardinale, Anouk Aimee, Sandra Milo. Pro-
ducer, Angelo Rizzoli. Director, Federico Fellini.
Drama. 135 min.

September

THREEPENNY OPERA Sammy Davis, Jr., Curt Jurgens,
Hildegarde Neff. Director Wolfgang Staudte. Screen
version of Bertolt Brecht anH Kurt Weill classic.

QUEEN BEE

Current Releases

ARMS AND THE MAN ICasino Films) Lilo Pulver,
O. W. Fischer, Ellen Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
96 min.

BERNADETTE OF LOURDES [Janus Films) Daniele Ajoret
Nadine Atari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY. THE (Lopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLACK FOX, THE ICapri Films) Produced, directed
and written by Louis Clyde Stoumen. 89 min. 4/29/63.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 68 min.

BLOODY BROOD, THE ISuttonl Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR, A (Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

CLEOPATRA'S DAUGHTER (Medallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

DAY THE SKY EXPLODED. THE I Excelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR. THE (Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL MADE A WOMAN. THE (Medallion) Color, To-
talscope. Sarita Montiel. 87 min.

DEVIL'S HAND. THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE (Ultra Pictures) Anthony Quinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS (Crown International)
Technicolor, Totalvision. Yoko Tani, Oldrick Lukes. 81
min.

FIVE DAY LOVER, THE (Kinosley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FORCE OF IMPULSE (Sutton Pictures) Tony Anthony,
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

GIRL HUNTERS, THE IColorama). Mickey Spillane,
Shirley Eaton, Lloyd Nolan. Producer Robert Fellows.
Director Roy Rowland. Mickey Spillane mystery. 103
min. 6/10/63.

IMPORTANT MAN, THE (Lopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

LAFAYETTE IMaco Film Corp.) Jack Hawkins, Orson
Welles, Vittorio De Sica. Producer Maurice Jacquin.
Director Jean Oreville. 110 min. 4/1/63.

LA NOTE BRAVA IMi'lor Producing Co.) Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LAST OF THE VIKINGS (Medallion) Color, Totalscope.
Cameron Mitchell, Edmond Purdom. 102 min.

LAZARILLO (Union Films) Marco Paoletti, Juan Jose
Menendez. An Hesperia Films Production. Director
Cesar Ardavin. Tale of a 12-year-old rogue-hero's
efforts to survive in 16th century Spain. 100 min.
5/13/63.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

LOVE AND LARCENY (Major Film Distribution) Vit-
torio Gassman, Anna Maria Ferrero, Peppino DiFilippo.
Producer Mario Gori. Director Dino Risi. Satire on
crime. 94 min. 2/18/63.

MAGNIFICIENT SINNER IFilm-Mart, Inc.) Romy
Schneider Curt Jergens. Director Robert Siodmak. 91
min. 4/29/63.

MARRIAGE OF FIGARO, THE (Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin. Director Jean Meyer. French import.
105 min. 2/18/63.

MONDO CANE (Times Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/63.

MOUSE ON THE MOON, THE Eastmancolor (Lopert
Pictures) Margaret Rutherford, Bernard Cribbins. Terry
Thomas. Satirical comedy.

NIGHT OF EVIL (Sutton) Lisa Gaye, Bill Campbell.
B8 min.

NO EXIT (Zenith-International) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.

PARADISE ALLEY (Sutton) Hugo Haas, Corinne Griffith.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
115 min.

RICE GIRL (Ultra Pictures) Elsa Martinelli, Folco Lulli,
Michel Auclair. Producer Carlo Ponti. Director Raffa-
eilo Matarazzo. Dubbed Italian melodrama. 90 min.
2/4/63.

ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

SLIME PEOPLE, THE (Hutton-Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

SON OF SAMSON (Medallion) Color, Totalscope. Mark
Forest, Chelo Alonso. 89 min.

STAKEOUT Ping Russell. Bill Hale, Eve Brent. 81 min.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

VARAN THE UNBELIEVABLE Myron Healy. Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Times Films Eng.) Color. Pro-
ducer-director Marion Gering.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips.
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FOR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

YOJIMBO (Seneca-International) Toshiro M. Fune, Kyu
Sazanka, Nakadai. Director Akiro Kurosana. 101 min.
9/17/62.

M ET RO -GO LDWYN- MAYER

February

HOOK. THE Kirk Douglas. Nick Adams. Producer Wil-
liam Perlberg. Director George Seaton. Drama set
anninst background of the Korean War. 98 min.
1/21/63.

Film

BULLETIN — THIS IS YOUR PRODUCT

March

November

Coming

COURTSHIP OF EDDIE'S FATHER, THE Glenn Ford,
Shirley Jones. Producer Joe Pasternak. Director Vin-
cents M ii Korneniic comedy revolving about a

young widower and his small son. 117 min. 3/18/63.

FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
Randell, Russ Tamblyn, Janis Paige. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy. 95 min. 3/4/43.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate. Based on the life of Sir Francis Drake. 95 min.
3/18/63.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatole de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.
109 min. 5/13/63.

IT HAPPENED AT THE WORLD'S FAIR Panavision,
Color. Elvis Presley. Producer Ted Richmond. Director
Norman Taurog. Romantic comedy. 105 min. 5/13/63.

RIF1FI IN TOKYO Karl Boehm. Barbara Lass, Charles
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo. 89 min. 4/1/63.

May

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris

Sagal. Race track comedy. 94 min. 4/1/63.

DRUMS OF AFRICA Frankie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

92 mm. 4/29/63.

IN THE COOL OF THE DAY CinemaScope, Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz. 90 min. 5/13/63.

SLAVE, THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites the slaves to
revolt against the Romans.

June

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West.

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh Griffffh. Pro-
ducer Aaron Rosenberq. Director Lewis Mil°stone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/63.

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,
Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy.

DAY AND THE HOUR. THE (Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

TICKLISH AFFAIR, A (Formerly Moon Walk) Shirley
Jones. Producer Joe Pasternak. Director George Sid-
ney. Romantic comedy based on a story in the Ladies
Home Journal.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

August

TAMAHINE Nancy Kwan, Dennis Price. Producer John
Bryan. Director Philip Leacock. Romantic comedy of a
Tahitian girl and her impact on an English public
school.

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy. 84 min.
5/13/63.

September

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

V.I.P.'s, THE Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama.

October

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ros-

sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

TIKO AND THE SHARK Producer Goffredo Lombardo.
Director F. Quilici. Filmed entirely in French Poly-
nesia with a Tahitian cast.

WHEELER DEALERS. THE James Garner, Lee Remick.
Producer Martin Ransohoff. Director Arthur Hiller.
Story of a Texan who takes Wall Street bv storm.

GLADIATORS SEVEN Richard Harrison, Loredana Nus-
ciak. Producers Cleo Fontini, Italo Zingarelli. Director
Pedro Lazaga. Seven gladiators aid in overthrowing
a tyrant of ancient Sparta.

Coming

CORRIDORS OF BLOOD Boris Karloff, Betla St. John,
Finlay Currie. Producer John Croydon. Director Robert
Day. Drama. 84 min. 6/10/63.

COUNTERFEITERS OF PARIS Jean Gabin, Martine
Carol. Producer Jacques Bar. Director Gilles Grangier.
99 min.

FOUR DAYS OF NAPLES. THE Jean Sorel, Lea Messari,
Producer Goffredo Lombardo. Director Nanni Loy.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HOW THE WEST WAS WON Cinerama, Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/63.

MURDER AT THE GALLOP Margaret Rutherford, Paul
Robson. Producer George Brown. Director George Pol-
lock. Aqatha Christie mystery.

OF HUMAN BONDAGE IMGM-Seven Arts) Laurence
Harvey, Kim Novak. Producer James Woolf. Director
Henry Hathaway. Film version of classic novel.

SUNDAY IN NEW YORK IMGM-Seven Artsl Cliff
Robertson, Jane Fonda, Rod Taylor. Producer Everett
Freeman. Director Peter Tewksbury. The eternal ques-
tion: should a qirl or shouldn't she, prior to the
nuptials?

THE PRIZE Paul Newman, Edward G. Robinson, Elke
Sommer. Producer Pandro Berman. Director Mark
Robson. Based on the Irving Wallace bestseller.

TWILIGHT OF HONOR Richard Chamberlain, Nick
Adams, Joan Blackman, Joey Heatherton. A Pearlberg-
Seaton Production. Director Boris Sagal. A young
lawyer falls victim to the biqoted wrath of a small
town when he defends a man accused of murdering
the town's leading citizen.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro.
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

WEREWOLF IN A GIRL'S DORMITORY Barbara Lass,
Carl Schell. Producer Jack Forrest. Director Richard
Benson. Horror show. 84 min. 6/10/63.

gn;M!MIIH«

February

GIRL NAMED TAMIKO, A Technicolor. Laurence Har-
vey, France Nuyen. Producer Hal Wallis. Director John
Sturges. A Eurasian "man without a country" courts an
American girl in a bid to become a U.S. citizen.

WHO'S GOT THE ACTION Panavision. Technicolor.
Dean Martin, Lana Turner, Eddie Albert, Walter Mat-
hau, Nita Talbot. Producer Jack Rose. Director Daniel
Mann. A society matron becomes a "bookie" to c«r«
her horse-playing husband. 93 min. 10/1/62.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleason,
Glynis Johns. Producer Jack Rose. Director George
Marshall. Comedy-drama based on childhood of silent
screen star Corinne Griffith. 98 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cliff
Robertson, David Jannsen. Producer Garat Gaither.

Director Gower Champion. Broadway star adopts six
abandoned children. 105 min. 3/18/63.

May

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Rirt. Director Ritt.
Drama set in modern Texas. 122 min. 3/4/63.

June

DUEL OF THE TITANS CinemaScope, Eastman color.
Steve Reeves, Gordon Scott. Producer Alessandro
Jacovoni. Director Sergio Corbucci. The story of
Romulus and Remes, the twin brothers who founded
the city of Rome.

NUTTY PROFESSOR. THE Technicolor. Jerry Lewis,
Stella Stevens. Producer Ernest D. Glucksman. Direc-
tor Jerry Lewis. A professor discovers a youth-
restoring secret formula. 105 min. 6/10/63.

July

COME BLOW YOUR HORN Technicolor. Frank Sinatra.
Barbara Ruth, Lee J. Cobb. Producer Howard Koch. Di-
rector Bud Yorkin. A confirmed bachelor introduces his
young brother to the playboy's world.

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific.

ALL THE WAY HOME Robert Preston, Jean Simmons,
Pat Hlngle. Producer David Susskind. Director Ale,
Segol. Film version of play and novel.

CARPETBAGGERS. THE Technicolor. Panavision 70.
George Peppard. Producer Joseph E. Levine. Director
Edward Dmytryk. Drama based on the best-seller by
Harold Robbins.

FUN IN ACAPULCO Technicolor. Elvis Presley, Ur-
sula Andress. Producer Hal B. Wallis. Director Rich-
ard Thorpe. Musical-comedy.

LADY IN A CAGE Olivia de Havilland, Ann Southern.
Producer Luther Davie. Director Walter Grauman.
Drama .

LOVE WITH THE PROPER STRANGER Natalie Wood,
Steve McQueen. Producer Alan J. Pakula. Director
Robert Mulligan. A young musician falls in love with
a Macy's sales clerk.

NEW KIND OF LOVE, A Technicolor. Paul Newman,
Joanne Woodward, Thelma Ritter, Maurice Chevalier.
Producer-director Melville Shavelson. Romantic drama.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Douglas,
Fredric March. Producer Edward Lewis. Director John
Frankenheimer. A Marine colonel uncovers a military
plot to seize control of the U.S. government.

WHO'S BEEN SLEEPING IN MY BED? Panavision.
Technicolor. Dean Martin, Elizabeth Montgomery, Carol
Burnett. Producer Jack Rose. Director Daniel Mann.

Comedy.

WHO'S MINDING THE STORE? Technicolor. Jerry
Lewis, Jill St. John, Agnes Moorehead. Producer Paul
Jones. Director Frank Tashlin. Comedy.

WIVES AND LOVERS Janet Leigh, Van Johnson, Shelley
Winters, Martha Hyer. Producer Hal B. Wallis. Direc-
tor John Rich. Romantic comedy.

20TH CENTURY-FOX

March

NINE HOURS TO RAMA CinemaScope, DeLuxe Colar.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

May

YELLOW CANARY, THE Pat Boone, Barbara Eden.
Producer Maury Dexter. Director Buzz Kulik. Suspense
drama. 93 min. 4/15/63.

June

LONGEST DAY, THE John Wayne, Richard Todd, Peter
Lawford, Robert Wagner, Tommy Sands, Fabian, Paul
Anka, Curt Jurgens, Red Buttons, Irina Demich, Robert
Mitchum, Jeffrey Hunter, Eddie Albert, Ray Danton,
Henry Fonda, Edmond O'Brien, Robert Ryan. Producer
Darryl Zanuck. Directors Gerd Oswald, Andrew Mar-
ton, Elmo Williams, Bernard Wicki, Ken Annakin.
180 min.

MARILYN Story of life of Marilyn Monroe narrated by
Rock Hudson.

STRIPPER, THE (Formerly A Woman in July) Joanne
Woodward, Richard Beymer, Gypsy Rose Lee, Claire
Trevor. Producer Jerry Wald. Director Franklin Schaf-
fner. Drama. 95 min. 4/29/63.

July

LEOPARD, THE Technicolor, Technirama. Burt Lan-
caster, Claudia Cardinale, Alain Delon. Producer Gof-
fredo Lombardo. Director Luchino Visconti. Story of
disintegration of traditional way of life in Italy.

August

OF LOVE AND DESIRE Merle Oberon, Steve Cochran,
Curt Jurgens. Producer Victor Stoloff. Director Richard
Bush. Romantic suspense drama.

September

CONDEMNED OF ALTONA, THE Sophia Loren, Maxi-
milian Schell, Fredric March, Robert Wagner. Pro-
ducer Carlo Ponti. Director Vittorio De Sica. Adapted
from Jean Paul Sartre's stage success.

Coming

CLEOPATRA Todd-AO Color. Elizabeth Taylor, Richard

Burton, Rex Harrison. Producer Walter Wanger.
Director Joseph Mankiewicz. Story of famous queen.

LEOPARD, THE Burt Lancaster, Claudia Cardinale.

QUEEN'S GUARDS, THE CinemaScope, DeLuxe Color.
Daniel Massey, Raymond Massey, Robert Stephens.
Producer-Director Michael Powelr. A tale of the
tradition and importance of being a Guard.

Film

BULLETIN — THIS IS YOUR PRODUCT

UNITED ARTISTS

March

FIVE MILES TO MIDNIGHT Sophia Loren, Anthony
Perkins, Gig Young, Jean-Pierre Aumont. Producer-
director Anatole Litvak. Suspense drama about an
American in Europe who schemes to defraud an insur-
ance company. 110 min. 3/4/43.

LOVE IS A BALL Technicolor, Panavision, Glenn Ford,
Hope Lange, Charles Boyer. Producer Martin H. Poll.
Director David Swift. Romantic comedy of the interna-
tional set. I 1 1 min. 3/4/43.

April

I COULD GO ON SINGING Eastmancolor, Panavision.
Judy Garland, Dick Bogarde, Jack Klugman. Producers
Stuart Millar, Lawrence Turman. Director Ronald
Neame. Judy returns in a dramatic singing role. 99
min. 3/18/43.

May

DR. NO Technicolor. Sean Connery, Ursula Andress,
Joseph Wiseman, Jack Lord. Producers Harry Saltz-
man, Albert R. Broccoli. Director Terence Young. Action
drama based on the novel by Ian Fleming. Ill min.
3/18/43.

June

AMAZONS OF ROME Louis Jourdan. Sylvia Syms.

BUDDHA Technicolor, Technirama. Isojiro Hongo,
Charito Solis. Producer Masaichi Nagata. Director
ii Misumi. Drama.

Kenji

CALL ME BWANA Bob Hope. Anita Ekberg, Edie
Adams. Producers Albert R. Broccoli, Harry Saltzman.
Director Gordon Douglas. Comedy. 103 min. 4/10/43.

DIARY OF A MADMAN Vincent Price, Nancy Kovak.
Producer Robert E. Kent. Director Reginald Le Borg.
'94 min. 3/4/43.

July

GREAT ESCAPE, THE Deluxe Color, Panavision. Steve
McQueen, James Garner, Richard Attenborough. Pro-
ducer-director John Sturges. Based on true prisoner of
war escape. 148 min. 4/15/43.

IRMA LA DOUCE Color. Jack Lemmon. Shirley Mac-
Laine. Producer-director Billy Wilder. Comedy about
the "poules" of Paris, from the hit Broadway play.
142 min. 4/10/43.

August

CARETAKERS. THE Robert Stack, Polly Bergen, Joan
Crawford. Producer-director Hall Bartlett. Drama
dealing with group therapy in a mental institution.

TOYS IN THE ATTIC Panavision. Dean Martin, Geral-
dine Page, Yvette Mimieux, Gene Tierney. Producer
Walter Mirisch. Director George Roy Hill. Screen
version of Broadway play.

September

STOLEN HOURS Susan Hayward, Michael Craig, Diane
Baker. Producers Stewart Miller, Lawrence Thurman.
Director Daniel Petrie. Drama.

October

JOHNNY COOL Henry Silva, Elizabeth Montgomery.
Producer-director William Asher. Chrislaw Productions.

TWICE TOLD TALES Color. Vincent Price, Mari Blan-
chard. Producer Robert E. Kent. Director Sidney Salkow.
Based on famous stories of Nathaniel Hawthorne.

November

IT'S A MAD, MAD, MAD, MAD WORLD. Cinerama.
Technicolor. Spencer Tracy, Milton Berle, Sid Caesar,
Buddy Hackett, Ethel Merman, Mickey Rooney, Dick
Shawn, Phil Silvers, Terry-Thomas, Jonathan Winters.
Producer-director Stanley Kramer. Spectacular comedy.

MCLINTOCK! Color. John Wayne, Maureen O'Hara,
Yvonne De Carlo, Patrick Wayne, Chill Wills, Jack
Kruschen. Producer Michael Wayne. Director Andrew
'V. McLaglen.

December

KING OF THE SUN Color. Yul Brynner, George Cha-
kiris. Producer Lewis Rachmil. Director J. Lee Thomp-
son. A Mirisch Company Presentation.

Coming

BEAUTY AND THE BEAST Joyce Taylor, Mark Damon,
Edward Franz, Merry Anders. 77 mm.

CEREMONY. THE Laurence Harvey, Sarah Miles, Rob-
ert Walker, John Ireland. Producer-director Laurence
Harvey.

mnsnmm

February

40 POUNDS OF TROUBLE Color, Panavision. Tony Cur-
tis, Phil Silvers, Suzanne Pleshette. Producer Stan Mar-

cnlos Director Norman Jewison. Comedy. 105 mm.
12/24/62.

MYSTERY SUBMARINE Edward Judd, Laurence Payne,
James Robertson Justice. Producer Bertram Oster.
Director C. Pennington Richards. 92 min. 1/21/43.

March

TO KILL A MOCKINGBIRD Gregory Peck, Mary Bad-
ham. Producer Alan Pakula. Director Robert Mulligan.
Based on Harper Lee's novel. 129 min. 1/7/43.

May

April

BIRDS, THE Technicolor Rod Taylor, Jessica Tandy,
Suzanne Pleshette, Tippi Hedren. Producer-Director Al-
fred Hitchcock. Suspense drama. 120 min. 4/1/43.

UGLY AMERICAN, THE Color. Marlon Brando, Sandra
Church, Yee Tak Yip. Producer-Director George Eng-
lund. Drama based on best-selling novel. 120 min.
4/15/43.

May

PARANOIC Janette Scott, Oliver Reed, Sheilah Burrell.
Producer Anthony Hinds. Director Freddie Francis.
Horror. 80 min. 4/15/63.

SHOWDOWN (Formerly The Iron Collar] Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen. Western. 79 min. 4/15/63.

June

LANCELOT AND GUINEVERE Color. Panavision. Cornel
Wilde, Jean Wallace, Brian Aherne. Producers Cornel
Wilde, Bernard Luber. Director Wilde. Legendary tale
of love and betrayal. 116 min. 5/13/63.

LIST OF ADRIAN MESSENGER. THE George C. Scott,
Dana Wynter, Clive Brook, Herbert Marshall. Producer
Edward Lewis. Director John Huston. Mystery. 98
min. 6/10/63.

TAMMY AND THE DOCTOR Color. Sandra Dee, Peter
Fonda, Macdonald Carey. Producer Ross Hunter. Direc-
tor Harry Keller. Romantic comedy. 88 min. 5/13/63.

July

GATHERING OF EAGLES, A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann.

KING KONG VS. GODZILLA Eastmancolor. Michael
Keith, Harry Holcomb, James Yagi. Producer John
Beck. Director Thomas Montgomery. Thriller. 90 min.
6/10/63.

August

FOR LOVE OR MONEY (Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor. Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon.

THRILL OF IT ALL. THE Color. Doris Day, James Gar-
ner, Arlene Francis. Producers Ross Hunter, Martin
Melcher. Director Norman Jewison. Romantic comedy.
108 min. 6/10/63.

TRAITORS. THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson.

Coming

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN. M.D. Gregory Peck, Tony Curtis,
Angie Dickinson, Bobby Darin, Eddie Albert. Producer
Robert Arthur. Director David Miller.

CHALK GARDEN. THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

CHARADE Color, Panavision. Cary Grant, Audrey Hep-
burn, Walter Matthau, James Coburn. Producer-Direc-
tor Stanley Donen.

DARK PURPOSE Color. Shirley Jones, Rossano Brazzi,
George Sanders, Micheline Presle, Georgia Moll. Pro-
ducer Steve Barclay. Director George Marshall.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven, Shirley Jones. Producer Stanley Shapiro.
Director Ralph Levy.

MAN'S FAVORITE SPORT Color. Rock Hudson, Maria
Perschey, Paula Prentiss. Producer-director Howard
Hawks.

WILD AND WONDERFUL (Formerly Monsieur Cognac)
Color. Tony Curtis. Christine Kaufman, Larry Storch.
Producer Harold Hecht. Director Michael Anderson.

WARNER BROTHERS

February

DAYS OF WINE AND ROSES Jack Lemmon, Lee
Remick. Producer Martin Manulis. Director Blake
Edwards. A drama of the effects of alcoholism in a
modern marriage. 117 min. 12/10/62.

TERM OF TRIAL Laurence Olivier, Simone Signoret. Pro-
ducer James Woolf. Director Peter Glenville. Drama of
young girl's assault charge against teacher. 113 min.
1/21/63.

GIANT Re-release.

March
A pril

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min. 4/1/63.

AUNTIE MAME Re-release.

ISLAND OF LOVE (Formerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece. 101 min. 5/13/63.

SUMMER PLACE, A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Mi~dern drama of a mountain family. 119 min. 3/4/63.

September

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors, 129 min.

DEAD RINGER Bette Davis, Karl Maiden. Producer
William H. Wright. Director Paul Henreid.

DISTANT TRUMPET, A Technicolor. Panavision. Troy
Donahue, Suzanne Pleshette. Producer William H.
Wright. Director Raoul Walsh. Epic adventure of
Southwest.

FBI CODE 98 Jack Kelly, Ray Denton. Producer Stanley
Niss. Director Leslie H. Martinson. Dramatic action
story.

FOUR FOR TEXAS Technicolor. Frank Sinatra, Dean
Martin, Anita Ekberg, Ursula Andress. Producer-direc-
tor Robert Aldrich. Big-scale western with big star
cast.

GREAT RACE, THE Technicolor. Burt Lancaster, Jack
Lemmon. Producer Martin Jurow. Director Blake Ed-
wards. Story of greatest automobile around-the-world
race of all time.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook, Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

KISSES FOR MY PRESIDENT. Fred MacMurray. Pro-
ducer-director Curtis Bernhardt.

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

MISTER PULVER AND THE CAPTAIN Technicolor. Rob-
ert Walker, Burl Ives. Producer-director Joshua Logan.
Comedy sequel to "Mister Roberts".

OUT OF TOWNERS, THE Glenn Ford, Geraldine Page.
Producer Martin Manulis. Director Delbert Mann. Com-
edy-drama.

PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens, Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort.

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama.

ROBIN AND THE 7 HOODS Technicolor-Panavision.
Frank Sinatra. Dean Martin. Producer Gene Kelly.
Based on adventures of Robin Hood set against back-
ground of Chicago in the "roaring 20's.''

YOUNGBLOOD HAWKE Suzanne Pleshette, James Fran-
ciscus. Producer-director Delmer Daves. From Herman
Wouk's best-selling novel.

DEPENDABLE SERVICE!

CLARK
TRANSFER

Member Nauoncl Film Carriers
Philadelphia, Pa.: LOcust 4-3450
Washington, D. C: DUpont 7-7200

Film

BULLETIN — THIS IS YOUR PRODUCT

"BOO!"

said the Werewolf!

John S. Murphy
Executive V.P,
Loew's Theatres

V

"BOXOFFICE!

—said Loew's Executives

BEST NON-HOLIDAY
BIZ IN 3 MONTHS!

FOR PEOPLE WITH NERVES OF IRON ONLY!!!

Loew's execs were
right! Big N.Y.
Metropolitan J
Area Theatres j
did best non- |
holiday business
in 3 months! 1
Sensational
everywhere
and booking ]
like wildfire!

BULLETIN

Opinion, of tlie Industry

JULY 8, 1963

EXHIBITION REPORTS ON BUSINESS

9tot Hal( *f 1963

Product Shortage,
Newer TV Films
Cited for Slump

CxctuMe QL BULLETIN 9eatun

Stack Analyst Switches Advice
On Fax fram 7foW ta "Buy"

FINANCIAL REPORT

euiew5

8%

TOYS IN THE ATTIC
WOMEN OF THE WORLD
A TICKLISH AFFAIR
SUMMER MAGIC
TARZAN'S THREE CHALLENGES
PLAY IT COOL
HORROR HOTEL
VIOLATED PARADISE
THE HEAD

MET RO-GOLDWYN- MAYER

ELIZABETH TAYLOR • RICHARD BURTOH ■ LOUIS JOURDAN ELSA MARTH

PRE-RELEASE ENGAGEMENT AT RADIO CITY MUSIC HALL EARLY IN SEPTEM

TTERNATIONAL DATES IN SEPTEMBER!

FINANCIAL REPORT

Stock Analyst Switches Advice
On 20th-Fox from 'Hold' to 'Buy'

Laid end to end, the legends about Cleopatra would stretch
the length of the Nile. Her torrid affairs with two of ancient
Rome's brightest lights have been recorded by history and by
dramatists. But not even the proud and voluptuous Cleo in her
haughtiest presumption of divinity could have enjoyed the pre-
sentiment that the story of her libidinous life would, in a distant
age to come, be of such moment in the temples of Wall Street.

Tremors were felt through the canyons of downtown New
York for days after the "Cleopatra" fashioned by 20th Century-
Fox Film Corp. for a reported $40 million was unveiled.
Responding nervously to a few unfavorable reviews of the film,
the 20th stock went down $6 in the week following the June 12
premiere at the Rivoli Theatre, and some analysts had mis-
givings about the company's future. Subsequent, closer study
of the public's reaction, evidenced by a sharp increase in ad-
vance ticket sales, dissipated the bearish outlook, and the stock
has steadied and recovered some of the decline (last Friday,
July 5, it closed up 1% from the post-premiere low of 29).

One of the more composed and keener appraisals of 20th was
provided investors by Fred Anschel, researcher of Shearson,
Hammill & Co., the prominent NYSE brokers. Although his
own reaction to "Cleopatra" was one of "slight disappoint-
ment"' and he expressed the opinion that "it is not likely that
the picture will be a big profit producer, except over a very
long period of time", Mr. Anschel pointed to various factors
— especially the profits from "The Longest Day" — that could
make it possible for 20th to earn $6 per share before taxes in
1963. However, because he felt the reviews might "put a
damper" on TF trading, he reduced the stock in Shearson,
Hammill's rating from Buy to Hold.

In a subsequent bulletin the analyst reinstated the Buy rating
for 20th. He reported that second quarter earnings will be
between 90<f-$1.00 matching the first quarter pace. "With the
third quarter expected to reflect a large portion of the increased
grosses from 'The Longest Day' and from the delivery of
another batch of post-'48 pictures to NBC for TV network
showing", Anschel stated, "our 1963 earnings estimate of $6.00
per share, tax-free, continues to appear quite attainable."

Stanley Warner Nine Months Net Down,
But Third Quarter Shows Improvement

Rising costs offset increases gross income of Stanlev Warner
Corporation in the 39 weeks ended May 25, with the result that
the company showed a decline in net income from the same
period in 1962. President S. H. Fabian reported a consolidated
operating profit for the first nine months of the current fiscal
year of $1,798,112 (88tf per share) compared with $2,267,558
($1.11) for the same period ended May 26, 1962. Gross income
was up to $104,371,598 from $101,513,208 in the prior year,
but expenses also rose to $100,918,486 this year from
$97,520,620 in 1962 s first 39 weeks.

Stanley Warner's third quarter showed a slight improve-
ment. The consolidated operating profit for the three months
ended May 25, 1963, amounted to $739,100 (360) compared to
$707,600 (34<£) for the same period last year. The gross from
merchandise sales, theatre admissions and other income for the
third quarter was up over $3,300,000 over the 1962 period.

Paramount Sells Off; 20th, AB-PT Up

Movie shares continue to follow the skittish conduct of the
general market. One week the bears are in control, the next
the bulls take over.

With the exception of Paramount, which showed a decline of
2% points in the two week period from June 20 to July 5,
only fractional losses were recorded by the majority of film
and theatre stocks. On the upside, the exceptions were 20th
Century-Fox, which recovered l1/^, on volume of over 90,000
shares, of the loss it suffered as a result of some early investor
apprehension about "Cleopatra." In the theatre division, Ameri-
can Broadcasting-Paramount Theatres showed an impressive
2% rise, apparently on the basis of an improved outlook for
its TV operations in the season ahead.

UA Executives Convert Holdings

The SEC report of stock transactions for the period May 11
to June 10 revealed no heavy sales or purchases by film industry
executives. The major activity involved United Artists shares
held by various executives of that company under a special
agreement. In several instances, class B common shares were
disposed of and regular common acquired in its place.

Roger Hurlock continued his steady purchases of Allied
Artists common. The 400 shares bought on May 20 brought
his holdings to 37,800. Y. Frank Freeman sold 750 Paramount,
leaving him with only 500 shares.

FILM &

THEATRE

STOCKS

Close

Close

Film Companies

6/20/63

7/5/63

Change

ALLIED ARTISTS

... 33/4

3%

- %

ALLIED ARTISTS (Pfd.) .

... 9%

93/4

+ %

CINERAMA

... 141/2

141/4

- y4

COLUMBIA

... 27%

253/4

-1%

COLUMBIA (Pfd.)

. . . 82%

83

DECCA

■ 453/8

451/2

+ y8

DISNEY

. . . 38%

38i/2

- %

FILMWAYS

... 63/4

7

+ Va

MCA

. . . 57%

55

-2%

MCA (Pfd.)

• 37i/2

37%

+ %

M-G-M

... 32i/2

321/4

- y4

PARAMOUNT

44

411/4

-23/4

SCREEN GEMS

■ ■ 22%

221/2

- %

20TH-FOX

... 29%

30%

+iy4

UNITED ARTISTS

. . . 251/4

251/2

+ y4

WARNER BROS

... 15%

143/4

- 3/4

Theatre Companies

* * *

AB-PT

• ■ 283/8

31%

+ 23/4

LOEWS

19

183/4

- 1/4

NATIONAL GENERAL

... Hi/2

Hi/2

STANLEY WARNER

. 22%

22%

- 1/4

TRANS-LUX

... IP/4

± !fc ±

11

- Va

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, American

Exchange; all others on New York Stock Exchange.)

* * *

6/20/63 7/5/63

Over-the-counter

Bid

Asked

Bid

Asked

COMMONWEALTH OF P. R...

■ 6%

7%

7

7%

GENERAL DRIVE-IN

. IOI/4

111/4

10%

11%

MAGNA PICTURES

■ 2%

23/4

2

2%

MEDALLION PICTURES

9

10

9

9%

SEVEN ARTS

■ 7%

83/8

73/4

8%

UA THEATRES

• 91/4

10%

11

12

UNIVERSAL

62

66

62%

66%

WALTER READE-STERLING

2

2%

2%

2%

WOMETCO

. 233/4

25%

23%

25%

(Quotations courtesy National Assn. Securities Dealers, Inc.)

Page 4 Film BULLETIN July 8, 1963

What They're Talking About

□ □ □ In the Movie Business □ □ □

Protest on Nudity

Some thoughtful industryites are puckering
their brows over the possible effects of
publicity about nudity in some important
upcoming films. There is a strong feeling in
some quarters that this will have a deleterious
effect on the boxoffice in many areas,
especially away from the large metropolitan
cities. Numerous stories have appeared in
the press dealing with the fact that Kim Novak
will appear unclothed in two sequences in the
Seven Arts Production, "Of Human Bondage".

The director, Kenneth Hughes, explained the
"need" to have Miss Novak display her
unadorned charms in two scenes: "It's
absolutely necessary to show the audience
the voluptuousness of this little waitress" in
order to make the audience believe that "an
intelligent and perceptive medical student
could be snared by her." It seems that
Miss Novak need hardly be naked to entice
any student, medical or otherwise.

The other day we received a letter from a
library reader of Film BULLETIN containing
a tear-sheet from the current issue of
Newsweek magazine. Displayed on page 45
was a two-column photo of Carrol Baker in
the raw illustrating a scene she will play in the
Joe Levine-Paramount Production of "The
Carpetbaggers." The Newsweek blurb reports
that while the nude scene was filmed with a
great deal of privacy, stills were promptly
rushed to the press agents, "who lost no time
in getting the exposure exposed."

The letter writer, a male, had this to say:
"When I came across this page in my copy of
Newsweek today, my first inclination was to
write to that magazine to register my objection
against publication of such a photograph in a
national newsweekly. But then it occurred to
me that it would be better if I expresesd myself

to your industry. Since I read Film BULLETIN
occasionally in the public library, I thought
you might transmit my thoughts to the
proper parties.

"Mind you, I am not a prude, but I see no useful
or artistic purpose served by flaunting a naked
human body before an audience in a movie
theatre-an audience composed of young
children, teenagers and adults of all types and
tastes. My view is not that of a censor, for I
would not deny anyone the right to see or read
anything that might interest them. This is
merely a purely personal reaction. I do not
believe it is mid-Victorian to respond to a
display of nudity on the screen with the feeling
that it is vulgar. I would not say this about a
nudist film, since it would be thus classified
and anyone could make a choice to see it
or not. But I can find no excuse, except cheap
commercialism, in injecting— for pure shock
effect-a nude scene in a regular movie being
offered to the public at large.

"Are the movie makers so desperate in
competing with television that they have to
resort to this kind of crass sensationalism in
hope of luring into theatres that portion of the
public that is titillated by a quick glimpse of a
naked woman on public display?

"Nudity, in my opinion, is a very private matter
among civilized people. I can even find it
justifiable at the Folies-Bergere. It should have
no place in the movie theatre that is attended
by an audience whose taste might be offended.

"I sincerely believe the industry which your
publication represents will suffer by pandering
to the element who will find Miss Baker's
derriere cause for snickers and elbow-poking."

'SAM' NOT SO SAVAGE. Disappointing
grosses in initial engagements of Walt Disney's
"Savage Sam" has brought some changes in
the original advertising campaign. Heeding
reports from theatremen that they were
receiving calls from Disney devotees inquiring
if it is a "horror" picture, the company decided
to rush through a revised series of ads that
play down the word "Savage" and carry
the tag-line, "Son of Old Yeller".

Jfot Half cj 196$

EXHIBITION REPORTS ON BUSINESS

Cxctoto BULLETIN 9t*tm

Product Shortage, Newer Films
On Television Cited for Slump

By PHILIP R. WARD, Financial Editor

Boxoffice grosses of conventional and drive-in theatres were
down for the first half of 1963 — in some instances to a shocking
degree. In most cases the half-year figures were dragged down
by a slump in the spring months. A few, but only a sparse few,
theatremen reported bucking the downward spiral from April
through June.

This was revealed by Film BILLETIN's midyear survey of
theatre circuits in every section of the U. S. and Canada. The
comprehensive, annual check-up covers every type of operation
in the exhibition spectrum, from big metropolitan deluxers to
neighborhood sub-runs and small town houses. Represented in
the survey are responses of many of the largest and most im-
portant chains. Where they are not identified by name, it is
at the request of the respondents, who furnish us the informa-
tion confidentially.

Asked to pinpoint basic reasons for the business trend in
their individual operations, our sources, with but few excep-
tions, laid it to two major factors: the shortage of top-grade
product on a year 'round basis and the competition of movies
on television. Other attendance deterrents noted: bad weather
conditions in some sections, the racial disturbances (in southern
states), and in one situation, the winter's flu epidemic. Another
respondent chided his fellow exhibitors for allowing their
establishments to deteriorate and for failure to give the product
they play full promotion support.

The reports on first half-year business, it will be noted,
are more sanguine in the drive-in field than for conventional
exhibition. Where declines were registered, the open-air theatres
suffered less, and poor weather was usually the principal factor.
Since many are seasonal operations, the product shortage
affected them less than the hard-tops, many of which are
finding the supply problem growing more acute.

'Woeful Product Shortage'

A major western circuit, whose fiscal year overlaps the latter
part of the prior year and the period of our survey, could only
furnish a report for 35 weeks. This showed a decline in attend-
ace of 2 percent, but an increase of 6 percent in dollar ad-
missions. It managed to increase its operating profit 2 percent
by "economies, reduction in bidding situations and vastly

improved concessions-vending.'' The head of theatre operations
made this report:

"The principal factor affecting our business today is the
continuing and woeful product shortage. Our month of May
was one of the worst in the last seven years. We were saddled
with such 'bombs' as: 9 Hours to Rama, Come Fly With Me,
Yellow Canary, Cool of the Day, Love Is a Ball, Critic's Choice,
Man from the Diners' Club, Paranoiac, and some very weak
and disappointing independent releases and re-issues." Hope
for the future lies, this executive declared, in "bigger and better
pictures" to satisfy a "hungering public for first rate film fare." |

Sums Up Boxoffice Factors

Sam Bendheim, Jr., president of the Neighborhood Group
circuit of Virginia, aptly states exhibitions general problems
as reported by numerous other respondents:

"Our business from January 1st through May of 1963 is 6.1%
behind the same months of last year, and our drive-in business (
is 1.04% less. As to the latter, of course, we do not open our
drive-in theatres until late in March.

"In trying to arrive at the factors that have affected our
business, we would list the following, but not in the order of *
their importance:

"1) The very bad weather experienced at the beginning of
the year, together with a large flu epidemic, which we believe
did hurt our business.

"2) The film companies, by selling their pictures to television,
have naturally hurt us, and more so of late, since they are
selling newer movies to television than ever before, which the
stations have put on prime time. We often find ourselves
playing a picture involving a star or stars in competition with
the movie in prime time television involving the same star or
stars. Very often such a movie that we are playing is not as good
as that playing on television. We think this practice is taking
us down the road to economic suicide.

"3) The greatest reason, of course, for a decrease in business I
results from the continued shortage of good product over the
period we have mentioned. This shortage forces the first run
theatres to play pictures longer than they deserve and holds
up product that should become available to the sub-runs sooner. I

( Continued on Page 18)

Psge 6 Film BULLETIN July 8, 1963

V,

JULY 8,

lewpoints

1963 ' VOLUME 31, NO. 14

Survival of
The Smttller
The€ttres

"Our records reveal that for the first
five months of this year our business is
down approximately 10% in both driv e-
in and indoor theatres. It is possible
that with favorable weather conditions,
the drive-ins may end up the season
approximately the same as last year.
However, I do not anticipate that the
indoor houses will improve and, no
doubt, will still be off at the end of
1963 an appreciable amount.

"In my opinion, there are several con-
tributing factors to this decline in thea-
tre attendance and to name a few, (not
necessarily in their proper order); pic-
tures being sold to TV that have been
released within the past five years have
definitely had an effect on theatre at-
tendance. As far as small town and sub-
run operation is concerned, so-called
Road Show attractions being withheld
from the smaller towns and sub-runs
until when finally played they have lost
a great deal of their boxoffice potential
constitutes another factor. In spite of
efforts on the part of many for an
orderly flow of product throughout the
year, in my opinion the companies have
not cooperated 100% in an effort to
establish an orderly release pattern.
One company recently withdrew a top
attraction from release in this territory
after Easter and accepted no bookings
on that particular picture until after
June 1st. The reason given was that in
their opinion May was a poor month
for theatre attendance. In my opinion,
a sincere effort to establish an orderly
release pattern with all distributing
companies cooperating would be an aid
to our business.

"So far, the complaints I have reg-
istered have been directed at production
and distribution. Some criticism is also

The troubles that plague motion picture business fall with
harshest impact upon the thousands of subsequent run and
small town theatres. That so many have managed to survive
through the difficult past decade attests to their hardiness as
a link in the economic structure of the industry, yet these
houses are given less and less consideration by many of the
film companies, and their lot grows more precarious. One of
the responses to our midyear survey of theatre business (see
opposite page) was from R. V. Jones, president of Affiliated
Theatre Service, which operates 27 theatres of this type in
Indiana and Kentucky. His commentary on the problems of
the smaller theatre operator are so factual and pertinent that
we are publishing it in full on this page, with the hope that it
will be read and steadied thoughtfully by all film executives.

due exhibition. Many exhibitors in small
towns and sub-runs have not maintained
an up-to-date theatre which is nec-
essary in this modern day. Secondly,
they have been guilty of not promoting
product to their fullest ability. This
latter complaint is due, I am sure, in
many instances to discouragement on
the part of the exhibitors in not being
able to acquire top product while such
product is new and fresh in the minds
of the potential theatre customer. I be-
lieve that producers and distributors
can give a great deal of help to the
local exhibitor by allocating money for
exploitation on the local level on a
cooperative basis. It is true that this is
done in certain "key" situations in
every territory, but it does not carry far
enough to benefit a small town and sub-
run. On certain saturations in this ter-
ritory, an amount of $4,000.00 to

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 1239 Vine
Street, Philadelphia 7, Pa., LOcust 8-0950, 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manager; Max Garelick,
Business Manager; Robert Heath, Circulation
Manager. BUSINESS OFFICE: 550 Fifth Ave-
nue, New York 36, N. Y., Circle 5-0124;
Ernest Shapiro, N.Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
$3.00 in the U. S.; Canada, $4.00;
Europe, $5.00. TWO YEARS, $5.00 in
the U. S.; Canada, Europe, $9.00.

$5,000.00 was allocated for such satura-
tions and it penetrated to even the
smallest town in the territory and
greatly benefited not only the exhibitor
but the distributor as well. More of this
type promotion would not only enhance
the revenue to the distributor, but
would certainly be an encouragement
to the local exhibitor.

"Several excellent family-type pic-
tures have been released without such
promotion and have been disappointing
at the box office. To name a few —
Courtship of Eddie's Father, My Six
Loves, The Lion and Forty Pounds of
Trouble. All of these pictures played
generally to average or disappointing
business, but in my opinion they had a
great potential at the boxoffice if the
distributors would have spent a portion
of their national advertising budget in
the local exchange territory on co-op
ads even in the smallest situations.

"My complaints and suggestions
herein are slanted toward the small
town and sub-run operation, since our
main concern is with that type of
theatre. It does appear to us that dis-
tributors have forgotten the importance
of the small town and sub-run and are
concentrating all of their efforts on the
metropolitan runs. If our business is to
survive, it appears to me that a fresh
new approach must be given by dis-
tributors, and not with pronouncements
but with action."

R. V. JONES, President
Affiliated Theatre Service

Film BULLETIN July 8, 1963 Page 7

RANSOHOFF

Watch Ransohoff—
A Name to Reckon

Of a sudden, the name Martin Ranso-
hoff is acquiring an impressive authority
in motion picture affairs. Not only has
producer Ransohoff bagged the peri-
patetic and glittering Elizabeth Taylor
for her first film in the U.S. in approx-
imately four years, his project roster
for a six month period includes four
additional pictures of promising pro-
portions.

And Filmways, Inc., of which Mr.
Ransohoff is board chairman and guid-
ing light, has broken into the black
for the nine months ended May 31.
For that period Filmways reported net
pre-income tax income of $188,000
($.14 per share) against a loss of $345,-
000 in the 1962 nine months term.

Miss Taylor's vehicle, which will be
distributed by Columbia Pictures, is
"The Sandpiper," based on the best-
seller and will be directed by William
Wyler — a guarantee that this will be a
property of utmost significance. Beyond
this, Mr. Ransohoff will roll with "The
Americanization of Emily," starring
William Holden, with screenplay by
Paddy Chayefsky. Clearly, Mr. Ranso-
hoff goes with the best. This M-G-M
release is slated to roll in August.

A $5 million, multi-star vehicle,
"Lighter Than Air," employing Latin
American, U.S. and Gibralter locations,
also for M-G-M release, is on tap for

CAST &
CREDITS
■

Report on the Industry's
PEOPLE and EVENTS

December cameras. "Man in the Mid-
dle," is another August starter under
the direction of Jules Dassin, with
Melina Mercouri, Peter Ustinov and
Maximilliam Schell, embodying loca-
tions at Istanbul and Athens. It will go
to United Artists for distribution. In
January, Mr. Ransohoff will film Evelyn
Waugh novel, "The Loved One."

Ransohoff recently completed "The
Wheeler Dealers," starring Lee Remick
and James Garner for M-G-M. In total,
this is as powerful and promising an
effort by an independent as one would
assay on the total production front.

Industry Milestone:
NGC Into Production

The green light granted National
General Corporation by a Federal Court
to engage in the production and distri-
bution of motion pictures, is an action
of potentially historic import. Although
theatre interests have in the past made
abortive passes at film production, this
marks the first time since the Consent
Decree of 1951 that a determined and
organized effort to arrest the product
shortage is fully within the power of
the theatre interests — at least one seg-
ment of it.

Eugene V. Klein, NG president said
the company planned to move forth-
with into the production-distribution
field under the helm of Irving H. Levin,
for the present at least. Mr. Levin is
executive vice-president of NGC. The
company plans to operate along the
lines of providing financing and distri-
bution arrangements for outside pro-
ducers, although spokesmen also indi-
cated NGC may produce and distribute
itself. The firm also announced it would
lease space for its filming activities, in-
cluding that of major studios. In this
way, NGC would not be committed to a
fixed overhead nor forced to produce
films simply to justify overhead.

In handing down its decision, the
court imposed a number of safeguards
and limitations, including the require-
ment of offering pictures to other
exhibitors on a competitive basis. How-
ever, the court made light of this issue.
In face of the supply vacuum it well
might. Theatremen are sure to give a
hearty welcome to NGC Productions.

STEMBLER

'Pig-in-Poke' Bidding
Uneconomic-Stembler

Distributors were charged with tak-
ing advantage of the seller's market to
reestablish the old practice of "blind
selling ", forcing exhibitors to bid be-
fore they see films.

TOA president John H. Stembler, in
a recent speech before the Northern
California TOA, called upon the film
company heads to desist, saying, "This
pig-in-a-poke type of bidding is unfair,
unjust and uneconomic. The exhibitor,
sitting without playable product, is
willing to bid unrealistically high prices
in order to obtain pictures. So many
times he bids beyond the picture's po-
tential for his theatre."

Stembler warned that while blind
selling in past years has been rare, it
appears to be developing into the cus-
tomary practice. "It would be an in-
dustry calamity if it did."

Weitman, Minsky

With the final severance of former
president Joseph R. Vogel's association
with M-G-M, Robert M. Weitman was
elected to replace him on the board
of directors. Weitman is vice president
in charge of production.

Howard G. Minsky, who recently re-
signed as president of International
Telemeter, joined Cinerama.

Harold Roth (above) was elected vice presi-
dent of Bronston Distributions, Inc., the new
branch of Samuel Bronston Productions. He
will also continue as general sales manager.

Page 8 Film BULLETIN July 8, 1943

UNIVERSAL has another
Riotous Romantic Comedy
to add to its list of
COMEDY BOX OFFICE HITS!

bachelor

what happens when a

MatcLaker.-for3 l^lOUS sisie^,

KiRK DOUGLAS

MiTZI GAYNOR
GIG YOUNG

Universal
^JRcture

FOR LOVE OK MONET

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THELMA RiTf€R • Leslie parrish • juiIe newmar- wiluam bendix • mm sakgln

Written by LARRY MARKES and MICHAEL MORRIS • Directed»by MICHAEL GORDON - Produced by ROBERT ARTHUf

MONEY FOR MPA's P. R CROWTHER ON 'CLEOPATRA' . . . MICKEY ROONEY AND EXHIBITORS

It is interesting that our best publi-
cised institution, the Academy of Mo-
tion Picture Arts & Sciences, is prac-
tically in the red, mainly because no
funds are received from the industry.

Up until recently, the MPA and
AMPPA, donated a yearly subsidy so
that the Academy had some leeway in
developing a program. Now, since this
cash has been withdrawn, the Academy
exists on dues, rent from its theatre
facilities and some profit from its an-
nual directories. If it were not for the
profit gained from the annual "Oscar"
telecast, there would probably be no
Academy. So even if someone had sense
enough, in discussing industry public
relations, to suggest that the Academy
carry out such a program, there would
not be a penny available for such a
logical project. Many industry big-wigs
keep saying that what we need is a
good public relations program, but no
one seems to lean to the simple and
comparatively inexpensive apparatus
that is already built.

I have no idea what happened to Mr.
Eric Johnston's proposal that something
should be done about improving our
image. It probably is still under active
consideration, as they say at the MPA
when they do not admit that a project
is out the window.

Mr. Arthur Freed, a fine picture
maker and capable showman, has now
succeeded to the presidency of the
Academy. Mr. Freed could make a bit
of history by calling a conclave of ex-
hibitors, producers and distributors and
saying: "Look, boys, you keep talking
about public relations. Give us some
dough and we will give you some pub-
lic relations. First, we would like you
again to sponsor our "Oscar Show".
Secondly, we would like you to channel
your p.r. program through us. Give us
one million dollars. How could you do
any better?*'

One reason this will never be done
is due to the Academy's strange point of
view that it knows its own business so
well that no outside contingents are
needed. Those who run the Academy
have developed an illusion that they
really belong in the world of arts and
sciences and refuse to have this illu-
sion tarnished by mixing with the com-
mon folk of the industry who run
theatres and distribute pictures.

This illusion of self-importance has
at times bordered on the neurotic. For
example, when the MPA was picking
up the tab for the telecast, the Academy
considered it to be most vulgar to
mention on the program that it would
be nice if some of its viewers went out

In Ifocui

ADAM WEILER

to see a movie once in a while. The
Academy gentry considered such a com-
mercial note would contaminate the
muses that hover about its edifice.

All of this parochialism stems from
the phony publicity that surrounded
the establishment of the Academy. The
most commercial minds got together
and designed a facade that bespoke art
instead of commerce. This type of hypo-
crisy has been not only perpetuated but
proliferated to such a degree that many
persons in this business believe they
are performing a public service even
time a picture is released, instead of
really buckling down to the idea that
our ralson d'etre has never been other
than to take in the mazuma in a most
legitimate way: by providing enter-
tainment.

Let's face it. Art and science are only
incidental to the organization of an en-
tertainment. That ain't our cup of tea.
Providing pleasure and relaxation is
really our business.

It now seems that Bosley Crowther
of the New York Times not only con-
sidered that "Cleopatra" is a fine epic,
but recently wrote a piece explaining
why he gave it such a good review. At
the same time, I thought he suggested
that other critics who expressed their
dissatisfaction really did not know what
they were writing about.

I like Mr. Crowther's criticism of
critics and fondly hope that this will
develop a trend. Once we can get to
the point where critics review critics
instead of the pictures, not only will
Warner Bros, be happier, but most of
us will exult in the idea that discussion
of movies will finally get on the aesthe-
tic plane that the critics desire. As
long as pictures are made for the masses
and not the critics it is much better that
they should quarrel amongst themselves
rather than quibble about the nuances
of Elizabeth Tayor's voice.

Frankly, I was so enthralled with
Miss Taylor's architecture that I was
completely unaware of the fact that she
had lines to deliver. I figured Rex Har-

rison could handle the elocution, but it
was really Liz who made me believe
that Cleopatra had sufficient ammuni-
tion to take over Caesar.

"I expect to have a conception and
illusion created for me," wrote Mr.
Crowther, "that excite my imagination
with a dramatic and philosophical plot
and theme not too entirely incongruous
with the facts of history, that put be-
fore me characters of sense and magni-
tude and that dazzle my eyes with
grandeur and action that have signi-
ficance."

Such a lengthy exegetical sentence is
something that Mr. Crowther meant
very sincerely, because in the next
breath he said, "I am not going to be
offended when an anachronism occurs
if it fits the conceptual purpose and isn't
too utterly absurd."

When a movie represents $40,000,-
000, it's good to have a million dollar
dialetical approach to it, especially when
Mr. Crowther not only gives full ex-
pression to his philosophy but urges
his readers not to miss the show.

It seems only yesterday that Mickey
Rooney as Andy Hardy was keeping us
on the straight and narrow path and
giving his filial love to Lewis Stone.
Much water and money has gone down
the drain since then and we were sad-
dened to read that Mickey, now age
forty, declared in bankruptcy court that
all his assets have been attached for
taxes or other debts.

In thirty years it is estimated that
Mickey earned over $12,000,000. Even
if he got all the work that he merits
(he is a protean talent) he would have
a tough time socking any money away
because Mickey, like many others, are
really working for the government.
Also, when he made all that dough
stars did not have their own companies,
could not demand ten'vV of the gross.

It seems that in Hollywood's grow-
ing up process, business acumen has
proportionately increased with high in-
come. Studios no longer have much to
say about the economies of the business.
The stars have their own experts in
this science, and you may be sure as
time goes on these lads and lassies —
and their agents — will try further to
tighten their hold on the business.

Just how theatremen will then cope
with their increasing headaches is some-
thing that your correspondent lea\ e> to
the next generation. Meanwhile, I might
suggest that exhibitors should wake up
and do what National General seems
ready to accomplish: make its own
pictures with the government's blessing
for its own theatres and others.

Film BULLETIN July 8, 1943 Page 11

The Vku tfwn OutAije

■■■IH^H by ROLAND PENDARIS

Theatre vs. Home Feevee

I was interested to note the recent announcement that Tele-
meter was adding theatre television installations to its opera-
tion in Canada. The inescapable conclusion, of course, is that
the feevee fellows have had to find another way of making a
buck because the cash box in the parlor isn't pulling in enough
cash. In Hartford, another place where a feevee experiment
began with hoopla and subsided into hush, I venture to predict
that theatre television before too long will re-appear on the
scene. And don't let anybody kid you. Theatre television is no-
body's kid brother. It was around before home feevee, and it
will be around long after.

This is not offered as crystal gazing or occult prophecy. It
is inescapable economic fact. With home feevee, you have to
wire everj' subscriber's home. With theatre television, one con-
nection can pipe a program for the edification of several thou-
sand viewers. Your first element of cost is all in theatre
television's favor.

There are other favorable elements as well. The revenue with
theatre television is on a per-viewer basis. Home feevee collects
so much per home, with no limit on the number of viewers.
Given a desirable attraction, 100 theatre viewers pay in 100
admissions, while 100 home viewers may mean fifty or less
homes doing the paying.

Theatre television operates on the idea that people will pay
for television only when there is a worthwhile attraction, just
as with movies. Feevee discovered this elementary fact the hard
way. In home feevee the promoters committed themselves, and
the very nature of home television viewing demands it, to the
policy of a show every night. There aren't that many shows that
people will pay to watch. There aren't enough occasional view-
ings to put feevee in the home on a viable basis.

There are certain events and programs which the public will
pay to watch. Heavyweight championship boxing bouts, for
example, are most marketable, and so is professional football
with the better teams. These can be money makers for home
feevee, but the tollsters must keep that line to the home busy
with non-money makers 29 days out of every 30 in order to have
the subscriber still around on that 30th day for the popular
event. Home feevee is committed to continuous rather than
occasional program availability.

Theatre television has no such commitment. It can offer a
limited number of programs, as often or as seldom as seems
appropriate. It can charge a healthy price for each attraction
because each attraction is something special.

I am not suggesting that theatre television is automatically
profitable. It is full of the usual show business risks. But it is
in the pattern of the usual show business. What is that usual
pattern? Part of the pattern is that there is more of an impulse
to buy outside the home than when the family is at home. Tele-
vision's whole thrust as a commercial medium in its current
form is to provide a reminder inside the house of the purchases
you should make outside. Feevee in the home runs counter to
this pattern. It is the automated age's foot-in-the-door salesman,
and it will prove — as indeed it is already doing — no more pop-
ular than the average doorbell-ringing peddler. So the feevee
people are well advised to turn to a medium where they can

charge more money, offer less shows and have considerably
less plant investment and upkeep.

Of course, I find it interesting that after all these years the
only feevee that seems to draw consistently well is the sports
stuff that was originally offered on theatre screens before Tele-
meter, Phonevision or any of the other cash systems came into
being. The program fare seems to be somewhat limited, how-
ever potentially lucrative.

There is one aspect of the theatre-televised sporting events
which bothers me. The price spiral is positively frightening.
The main reason that the ante has been raised so high for the
television rights to key football games and prizefights is that
competitive bidding has gotten out of hand. I wonder whether
there will not be an ultimate public reaction if the constantly
rising price tags for television rights restrict the available
sports coverage of top bouts and games on free TV.

We have not yet reached this point. So far, the big-time era
of theatre television continues to lie in the future. The tech-
niques and equipment have made great progress in recent
years, but there is plenty of room for further improvement,
larger screens being only one example. Theatre television's pro-
gramming concepts could use some sharpening if the medium
is to escape from the sports-only category.

Some years ago there were a number of companies involved
in a battle of press releases about theatre television. Two of
these companies were run by people without experience in
exhibition. Was it accidental that these companies bit the dust,
or that a principal figure in one of them later ran into all
kinds of problems trying to promote fights of the kind that
theatre television needed?

No, Virginia, there was nothing accidental about it. To put
on shows, whether for home television, theatre television or
the Broadway stage, requires showmen — people who know how
to find the right ingredients, how to put them together, how
to market and merchandise them. There has been even more of
a product shortage for theatre TV screens than for theatre film
bookings; and a product shortage most certainly implies a
shortage of working showmen.

The appetite of all branches of show business has increased
— partly because all these branches are competing with each
other and partly because the appetite of the great American
audience has increased. The theatrical motion picture audience
is greater than ever before, but instead of being concentrated
in the theatres it is now, thanks to free television, largely a
home audience.

I have long contended that the way for the exhibitor to
overcome the competition of prime time movies on television
is to diversify his own amusement merchandise at the theatre.
Theatre television represents this kind of diversification.

Let us not forget the lesson of the art theatre, which proved
that programs for a special audience could be lucrative and
rewarding. Programs which will attract one full house of the-
atre TV viewers on a closed circuit basis are worthwhile as
long as the ticket price is wisely fixed and what a houseful of
customers are willing to pay. Where home feevee has to have
a mass market, theatre TV is under no such pressure.

It does have a pressure of its own — namely to find program
material. But this is essentially a healthy pressure and one to
which creative showmen are bound to respond.

Page 12 Film BU LLETI N July 8, 1 963

"Summer Magic"

g«4iH€44 KcrfCK? Q O O
Sweet, syrupy "Mother Carey's Chickens" get the Disney
treatment. Should delight the unsophisticated family
trade, especially outside metropolitan areas.

The magical Walt Disney touch is too seldom in evidence
to make this one of the master s better films, but its attractive
cast headed by Hayley Mills and Burl Ives, some appealing mo-
ments, the Technicolored prettiness of it all, seven lilting tunes
(including a truly lovely title song), and a wonderful title will
insure it a place-of-favor with family audiences. Also, Disney's
promotional campaign should build much advance anticipation
among the school-free youngsters and many parents. So exhibi-
tors can look forward to some hefty matinee business this sum-
mer. Business will be best outside of the sophisticated metro-
politan markets. The Kate Douglas Wiggins' story, "Mother
Carey's Chickens ", has all the makings of a sweet, warm-
hearted, rustic idyll but, alas, this version is all sweetness and
little heart. It seems to have been made by city slickers who
never knew the real magic of a summer in the country — tum-
bling in new mown hay, cat-fishing in the creek, horseback
riding, or just hiking in the open spaces. Moppets everywhere,
brought up on tv's "Leave It to Beaver" and "Dennis the
Menace," will be baffled by mother Dorothy McGuire and her
persistent use of "dear" as an adjective preceeding each of her
offsprings' names. They are dears, and being that, they just
aren't very entertaining. A little healthy mischief sure would
have helped. As always in Disney films, there are compensations.
A wonderful, huge mongrel dog provides a little fun, and his
master, Jimmy Mathers, youngest of Mother Carey's brood,
steals the few scenes he figures in. Hayley Mills is a delight,
particularly when she's warbling the Robert and Richard Sher-
man tunes. Burl Ives as "lovable old Mr. Popham" is just that
and his song "Ugly Bug Ball," enlivened by some of Disney's
clever nature clips, is the highlight of the film. Rounding things
out nicely are Deborah Walley, as a snobbish cousin, and Eddie
Hodges, the older son, to help with the songs and dances.
Direction by James Neilson moves the plot a bit too leisurely,
but he has nicely integrated the songs into the story. Sally
Benson's screenplay, set in the years before World War I, fits
cozily in its Technicolor framework. Mother Carey is a much
put-upon widow with three children to support and no cash.
Her determination to keep her family together leads them to an
abandoned farmhouse that is practically given to them by genial
Mr. Popham, who doesn't own it. Happiness in their new home
is interrupted when a vain, citified cousin comes to visit and
makes everyone miserable. The "poor dear" responds to Mother
Carey's love though and before long she is as syrupy and sweet
as the rest. The real owner of the house, Peter Brown, finally
turns up, but disaster is averted because he is young and hand-
some and enamored of Miss Mills. Everything winds up happily
with the entire cast drinking lemonade on the front porch and
singing, appropriately, "On the Front Porch."

Buena Vista. 109 minutes. Hayley Mills, Burl Ives, Dorothy McGuire, Deborah Walley.
Produced by Walt Disney. Directed by James Neilson.

"Women of the World"

Intriguing documentary reveals oddities of womanhood.
By creators of "Mondo Cane." Should gross very well
in all metropolitan markets. Narrated cleverly by
Peter Ustinov.

Woman, the eternal mystery in all her sometimes naked
loveliness and all her absurdity, is the subject for the probing
cameras of Gualtiero Jacopetti, creator of "Mondo Cane." With

showman Joseph E. Levine handling its American presentation,
its success on these shores is assured, first in art theatres where
Peter Ustinov's double-entendre narration will titillate sophisti-
cates, and later in the metropolitan markets where the techni-
colored female chassis alone will be enough to insure good
grosses. It's not for bluenoses, of course, and will be least suc-
cessful in the hinterlands. Parts may offend the squeamish,
especially when wealthy European women are shown receiving
a beauty treatment — complete removal of the epidermus to
rejuvenate the skin. Filmed in documentary style, the Cineriz
production encircles the globe in its study of women, alternat-
ing the touching and the bizarre with the comic. Camera work
by Antonio Climati and Benito Frattari is brilliant, capturing
for the discriminating eye subtleties and meanings which could
not be conveyed in words. This is especially true in several
sequences: the Stiux Island where men without women capture
a "dugongo" (the fabled sea monster believed to be half woman
and half fish) and lustfully watch its death agonies on the
shore; an Italian museum where women wait in line to kiss
the marble lips of a folk hero; in Las Vegas where American
women wait their divorces at dude ranches and in bars. Usti-
nov's narration is splendid in the lighter episodes: a Los
Angeles "falsie" factory, Paris on Bastille Day, the sun-lovers
Island of Levant. Here his presence and nimble wit is most
effective. Director Jacopetti and his assistants, Paolo Cavara
and Franco Prosperi, often achieve effect by contrasts. Nuns
administering much-needed medication to tribes in Kenya are
followed by Parisian models conducting a high-fashion show
among the same peoples, and rare scenes of Hamburg's street
of "women in the windows" is contrasted with shots of life
in one of Sweden's bi-sexual college dormitories. Occasionally,
poor taste intrudes, such as showing Suzanne Vandeput, the
Belgian mother who killed her thalidomide-deformed baby, at
a soccer game and have the narrator muse upon her thoughts.
To offset this, families of some of the 7,700 children deformed
by the drug are shown as they raise their children with love
and hope for a reasonably normal life. Abruptly, the cameras
switch to Lourdes, France, where women bring their children
to the famous grotto, seeking miraculous cures for their afflic-
tions. The film concludes on this somber note.

Embassy Pictures. I07 minutes. Narrated bv Peter Ustinov. Produced by Cineriz.
Directed by Gualtiero Jacopetti and by Paolo Cavara, Franco Prosperi.

"Play It Cool"

Poor rock 'n' roll import from England.

Even the most avid rock 'n' rollers among American teen-
agers are likely to resent this shoddy British attempt to imitate
Elvis Presley. The star is one Billy Fury, who apes Presley with
some wildly gyrating twisting, seldom in rhythm with the
music, and with none of Elvis' subtlety of motion. He is on
screen singing and rolling almost incessantly. Wearied viewers
will probably be delighted when Helen Shapiro and Bobby Vee
make their brief but welcome, appearances to vary the mono-
tony. Produced by David Deutsch and directed by Michael
Winner, "Play It Cool" is being distributed by Allied Artists.
It will get a limited play-off in the U.S. as a lower half dualler.
The screenplay by Jack Henry is the flimsiest kind of excuse on
which to string the numbers performed by our hero Fury,
known in this epic as Billy Universe. There is just enough
dialogue to make it clear that he is escorting a debutante (Anna
Palk) on a tour of West End nightclubs in search of her
fiance. Discovering that her love is really a fortune hunter,
she thanks Billy Universe for his trouble and he bursts into
song, as they say in jazz circles, one more time.

Allied Artists. 74 minutes. Billy F-ury, Helen Shapiro. Bobby Vee. Produced by
David Deutsch Directed by Michael Winner.

Film BULLETIN July 8,1943 Page 13

"81/2"

Sutitete ^atittf Q Q Q Plus

Fellini's fascinating, but somewhat obscure, study of a
movie maker's mind is a "must" for the art and class
trade. And there's enough sex to entice the adults in the
mass market. Surpasses " La Dolce Vita".

A personal statement, an affirmation of life, from Italian
director Federico Fellini awaits the filmgoer, who, in "8l/2"
will take a journey through the mind of a man in search of him-
self. It is a dynamic, thought provoking, somewhat obscure, but
always fascinating experience, brilliantly performed. Boxoffice-
wise, "8I/2" is as hard to figure as some of Fellini's film
sequences. In art theatres it should enjoy an acceptance sur-
passing even Fellini's earlier sensation, "La Dolce Vita." In the
class market, an understanding and analysis of "8l/2" is likely to
become part of the local status symbol, and seeing it will be
required. The mass audience will find enough sex symbols to
whet its appetite, and it might fare well there, also. Joseph E.
Levine, who is presenting the picture in the United States, has
asserted that it will be shown "everywhere", but it seems
unlikely that it can penetrate very deeply into the hinterlands.
Exploitation values, particularly in sexual scenes, are abundant
and Levine can be counted upon to take advantage of them.
The ingratiating background score of Nino Rota, famed for his
"La Dolce Vita" theme has the elements of a commercial click,
and since the RCA Victor soundtrack album is already appear-
ing on home record players this could hypo want-to-see in all
markets. "8l/2 — so titled because Fellini has directed 7 feature
films and segments of 3 others — was written by Fellini in colla-
boration with Tullio Pinelli, Ennio Flaiano, and Brunello
Rondi, and is undoubtedly autobiographical. The hero, Guido
Anselmi, superbly played by the talented Marcello Mastroianni,
is, like Fellini, a 43-year-old movie director. As the film opens,
the director is caught in a traffic jam in a tunnel and the
vehicles are frozen as in a daguerrotype. Guido tries to escape
from his car, but is a prisoner. Suddenly, he rises and floats
above the congestion; he is a kite and someone is pulling on a
cord tied to his leg. He plummets to earth. Fellini depicts this
opening scene with brilliance and its silence is especially
terrifying since it is so alien to today's world. But it is, after
all, only a dream — the vision of a man intellectually drained,
worried, and on the verge of a breakdown. His doctor prescribes
rest at a thermal resort. The spa is like a limbo, the patients
souls in gray shrouds confined to an eternal oblivion. There is
a palsied hand, a coquettish nun, and the camera speeds up
amidst swirling parosals until the scene is like a Mack Sennett
comedy. Illusion and reality are so intertwined that it is im-
possible to tell one from the other. Guido is in black, startling
against the marble-like sets and the shrouded figures. Then, in
even starker contrast, a figure in white, a nurse (Claudia
Cardinale) appears and she is a vision, Guido's divine all-saintly
woman. The pattern appears and begins to take form and mean-
ing. White represents saint, purity, virtue; black — whore, vice,
corruption, sin; gray — searching, uncertainty, emptiness. Thus
La Saraghina (Edra Gale), an obscene mountain of flesh who
pulls up her skirts for pennies from little boys is all in black.
The mistress (Sandra Milo) appears also in black, but with a
large fluffy white hat and cuffs, while Guido's wife (Anouk
Aimee) is all in white except for black-rimmed spectacles. The
mistress is not totally evil and about the wife there is a bit of
the bitch. Guido himself appears often in black, but in moments
of searching he is in gray, usually a shroud-like towel. In heroic
fantasies it is white and in a superbly funny w ishfulfillment
scene, imagining himself to be the heroic lord of a harem, he is
garbed only in black hat and a white sheet. Eventually this use
of color as a key to the film's meanings enables the viewer to

follow the stream-of-consciousness without effort and much of
the obscurity of the early reels fades. Guido wants to start work on
a new movie. Obsessed by doubts of his own abilities, he fears
that he is a fraud and, searching for his identity, he escapes into
dreams of an idyllic future. All of this Fellini has captured with
remarkable wit, for he seems to feel that no human experience
is without value, and that while life is hard there is joyousness
even in suffering. When Guido's vision of the divine woman
reappears it is in the person of the young actress who is to star
in the film. She is vacuous (in gray), incapable of understand-
ing, and Guido scorns her. He goes to the set where the pro-
ducer has called a press conference to force Guido to commit
himself to the making of the film. He toys with the idea of
abandoning the picture and killing himself, but then sees the
faces of those involved in shaping his present, his future, and
finally those who in the past made him what he is now. He
calls to them all and a vast human chain, gowned all in white,
dances about the set. Rejuvenated, Guido joins them in their
exuberant paean to life.

Embassy Pictures. 135 minutes. Marcello Mastroianni, Claudia Cardinale. Anouk
Aimee, Sandra Milo. Produced by Angelo Rizzoli. Directed by Federico Fellini.

"Tarzan's Three Challenges"

Plus

Ever-popular kiddies hero carries on with courage and
strength. Will satisfy all action fans. In color.

One of Tarzan's three challenges is a test of wisdom, and
although the jungle man passes with flying colors, he's apt to
impress his fans much more when he engages in a suspenseful
tug-of-war with two giant oxen. The popularity of this Sy
Weintraub, Metrocolor and Dyalscope production with action
fans and school-free youngsters can be counted on, for, despite
an excessive dependence on scenic values, there are still enough
exploitables in Tarzan's feats to insure above-average grosses
in the general market. The tug-of-w ar comes early in the picture
and the pace doesn't really pick up again until near the end
when our hero puts aside his book larnin' and swings into
typical ape man action. Jock Mahoney performs Tarzan's gym-
nastic feats as if he was born at Vic Tanny's, but he is less at
home when required to recite, in semi-Oxford English, the ail-
too literate dialogue. The Berne Giler and Robert Day screen-
play is a bit too thin to justify 92-minutes running time and
Day, who also directed, padded things out with some interesting
scenes of Thailand where the picture was filmed in its entirety.
The locale is supposed to be an ancient, mythical land in the
Orient. The country's spiritual leader (Woody Strode) is dying
and his brother Khan (also Strode) plots to seize the throne
from its true heir, young Kashi (Ricky Der), and place his own
weak-willed son in nominal control. Tarzan is summoned from
Africa to escort Kashi from a monastery to the capital city. At
the monastery, the monks put him through three tests — strength,
skill, and wisdom — to prove that he is really Tarzan. Satisfied,
they allow the long journey to begin. Khan's men attack and
capture the boy and his nurse (Tsuruko Kobayashi), but Tarzan
quickly rescues his charges. The travelers pick up a new com-
panion, Hungry, a baby elephant that becomes attached to
Kashi. They reach the capital city safely and the ceremonial
pageantry begins. As Kashi is about to be crowned. Khan in-
vokes the challenge of might that requires the boy to prove
his courage in a duel to the death with the challenger. Kashi,
remembering a never-before-used law, selects Tarzan to fight
in his place. The battle takes place over raging rapids, in the
mountains, and is climaxed on the net of death over burning
coals. Tarzan triumphs and Kashi's coronation begins.

M-G-M. 92 minutes. Jock Mahoney, Woody Strode. Produced by Sy Weintraub.
Directed by Robert Day.

Page 14 Film BULLETIN July 6, 1963

"Toys In the Attic"

Gutine** ^dtit? O O Plus

Heavy drama gets lift from several strong performances.
Has powerful dramatic sequences, but needs strong
selling campaign. Should draw fern trade.

Powerful performances by Geraldine Page, Wendy Hiller
and, more briefly, Gene Tierney will help this uneven adapta-
tion of Lillian Hellman's incestuous drama register above
average grosses in class and art houses. It will require a shrewd
promotion campaign by United Artists' showmen, with the
emphasis on these fern roles and the bold subject matter, to
overcome the sombre tone and slow pace of this Mirisch pro-
duction. The prospect here is that it might appeal to the over-
40 female trade that are not regular moviegoers. Miscasting of
Dean Martin and Yvette Mimieux in major roles is an obvious
weakness of the film. Martin tries hard, but stark drama simply
is not his forte, and here he is playing to disadvantage against
the fine talents of legit-attuned performers, while Miss Mimieux
looks properly innocent and pretty in her early appearances,
but is likewise far over-matched in her later emotional scenes.
George Roy Hill's direction is solemn, failing to take advantage
of the occasional wit in the script. Despite these flaws the
Walter Mirisch production rises to moments of eloquence and
power, particularly in the middle portions which are dominated
by the Misses Page and Hiller. Another plus-value is Joseph F.
Biroc's striking black-and-white panavision photography which
captures the flavor of seldom-seen quarters of New Orleans.
The James Poe screenplay casts Miss Page and Miss Hiller as
spinster sisters, dependent upon one another, living a frugal
existence in the old family home. Their lives are without color
except for occasional visits from neer-do-well younger brother
Dean Martin. When Martin returns, suddenly wealthy, with his
young bride, Yvette Mimieux, all four lives are disrupted. The
sisters worry about the source of the money, Miss Mimieux
fears she is losing her husband, and Martin is plagued by Miss
Page's obsessive attitude toward him. Miss Hiller accuses Miss
Page of wanting to sleep with her brother and the sisters'
tolerance of each other turns to seething hatred. When Miss
Page learns that Martin and his bride plan to leave for New
York, she fears she will lose him forever and plots to destroy
the marriage. She implies that Miss Mimieux's wealthy mother.
Gene Tierney, has been paying Martin to remain with his bride
and then she reveals the identity of an "other woman." Miss
Mimieux notifies the woman's husband, not knowing that
Martin received his wealth by offering to help the woman escape
from her sadistic husband. Martin is beaten insensible and the
woman's face is slashed. When he learns the truth, Martin
forgives his bride and they, with Miss Hiller, free themselves,
although perhaps only temporarily, from Miss Page's clutches.

United Artists. 90 minutes. Dean Martin, Geraldine Page, Yvette Mimieux, Wendy
Hiller, Gene Tierney. Produced by Walter Mirisch. Directed by George Roy Hill.

"A Ticklish Affair"

Pleasant family comedy should appeal to youngsters
and their parents. Selling problem to overcome sex-
implied title. Best for domestic trade.

Youngsters will love this warm-hearted, pleasant comedy,
and if its family elements are properly exploited it could be
a surprising grosser in the domestic market, especially the
hinterlands. However, it has some tough hurdles to overcome,
as the cast and title will lead many to expect a spicy, sex-filled
story — which it is not. In metropolitan situations, where the
homey humor may be to bland, it will best fit into second-
feature category. Shirley Jones, Gig Young, Red Buttons, and

Carolyn Jones receive top billing, but the picture really belongs
to scene-stealing moppet Peter Robbins whose exploits occupy
most of the footage. Joe Pasternak has given this M-G-M release
an eye-filling Panavision and Metro color production and direc-
tor George Sidney maintains a relaxed but interest-holding
pace. The screenplay by Ruth Brooks Flippen, from Barbara
Luther's Ladies' Home Journal story, "Moon Walk", makes up
in charm and heart what it lacks in wit. Shirley Jones is a Navy
widow and mother of three small boys, aged nine, eight, and
six. When the youngest, Robbins, uses a blinker light to prac-
tice sending S.O.S. signals, he alerts Commander Gig Young
who arrives with the shore patrol. Shirley's brother, Red But-
tons, and best friend, Carolyn Jones, try to convince her that
the Commander would be a prize matrimonial catch, but she
feels it is more important for her boys to have "roots" in one
place than to have a Navy father. Young learns he is- to be
re-assigned to Paris and proposes to the widow but she turns
him down. The boys, who idolize Young, are broken hearted,
so young Robbins, practicing "moon walking" with helium-
filled balloons, decides to do something to bring the two to-
gether. He cuts the anchoring rope and sails off into space.
Young gets another S.O.S. and the fun-filled chase for the air-
bourne youngster ends, hundreds of feet over the ocean, when
Young in a Navy blimp rescues him. The widow decides she
needs a man about the house after all and this time accepts
Young's proposal.

M-G-M. 87 minutes. Shirley Jones, Gig Young, Red Buttons, Carolyn Jones.
Produced by Joe Pasternak. Directed by George Sidney.

"The Head"

Sudutedt ZzattHf © Plus

Heavy-handed, German-made horror entry for duals.

A lot of heads are going to be lulled into slumberland
wherever this overlong, cumbersome German-made exploita-
tion entry, paired with "Horror Hotel ", is shown. Its clumsy
camera work and special effects negate any shock values in-
herent in the story; gore is frequently implied, but never pic-
tured. Writing and direction, equally feeble, are by Victor
Trivas. On the plus side, performances are competent and the
dubbing is above average. In the story that mad doctor is at
it again, transplanting heads from one body to another, and
after awhile it is hard to tell just which head is on whose
shoulders. The only cast member to escape this confusion is
Michel Simon; his anterior regions are kept alive atop a fish
bowl. Even the doctor, Horst Frank, has been assembled (by a
mad colleague) from Karloff-Carradine rejects and there is a
lot of talk about the effect of a full moon upon him. The
doctor's piece-de-resistance is the pretty head of a hunchbacked
nurse (Karin Kernke) grafted to the body of a strip teaser
(Christine Maybach). The resulting creation is so gorgeous
that the doctor falls in love with it, but that old devil moon
keeps interfering. The police eventually arrive — there have
been complaints about the man's surgery, it seems — but their
visit is wasted: the doctor is on the edge of a balcony listening
to moon music. He steps forward — end of doctor, end of
picture.

Trans-Lux. 95 minutes. Horst Frank, Michel Simon. A Prisma Wolfgang Hartwig
Rapid-Film Production. Directed by Victor Trivas.

• POOR • • FAIR

• • • GOOD • • • • TOPS

Film BULLETIN July 8. 1963

Page 15

"Horror Hotel"

Salute** "Rati*? Q O

Fair, but uneven, shock programmer. Exploitable.

This Trans-Lux release has some exploitation angles, but it's
a curiously uneven film. John Moxey's static direction dimin-
ishes shock values and performances by all exact Christopher
Lee and Betta St. John are decidedly sub-standard. These
factors combine to make the first half disastrous, then the
seemingly overly predictable plot switches tracks and keeps
audiences guessing through the second half with a series of
off-beat, suspenseful and ultimately terrifying sequences. Pho-
tography and special effects in this British-made Donald Taylor
production help to overcome other weaknesses. The tricky
George Baxt screenplay presents Venetia Stevenson as a college
student who, on the suggestion of professor Christopher Lee,
visits Whitehead, a New England village that was once the
site of witch burnings. As Whitehead's only hotel proprietress
Patricia Jessel mocks the girl's efforts to find material for a
term paper on witchcraft. On Candlemas Eve, the Witches
Sabbath, Miss Stevenson investigates a trap door in her room
and is abducted by witches and carried to an altar. A knife is
raised and the scene switches abruptly to a birthday cake being
cut. The story picks up momentum at this, the halfway, point
and the girl's brother Denis Lotis and her fiance Tom Naylor
look into her disappearance. With the aid of Betta St. John,
a newcomer to the village, it becomes apparent that Miss
Stevenson was murdered and that Miss St. John will be the
next victim. The fiery finale brings destruction to the witches,
led by Lee and Miss Jessel, and finds Lotis and Miss St. John
the only survivors.

Trans-Lux. 76 minutes. Denis Lotis, Christopher Lee, Betta St. John, Patricia
Jessol, Venetia Stevenson. Produced by Donald Taylor. Directed by John Moxey.

"Violated Paradise"

Japanese import will find little market in U.S.

The only shock in this Japanese color film occurs when the
credits reveal that it was based upon Fosco Mariani's widely
praised Book of the Month Club selection, "Meeting With
Japan." It stands little chance even in the sex-ploitation markets
at which the American edition is aimed. Marion Gering pro-
duced and directed this innocuously pictured travelogue con-
trasting life in Tokyo with that in rural Japan where, according
to the narration, nakedness is next to godliness. Cleanliness is
evidently highly thought of too, for the camera frequently con-
centrates on nude bathers. Many of these scenes and all those
in Ginza-district strip joints are inferior in color quality and
suggest that interpolations were spliced into the American edi-
tion for exploitation values. The balance of the picture contains
enough scenic material for a passable short subject. What
offends is a salacious and illiterate narration for which no
writing credits are given. A brash American voice states that
"Tokyo is the city of 36 ways of making love." On screen,
blazing movie marquees are seen. "Is it true what they say
about the Geisha?" the narrator asks. "Sometimes, yes. Some-
times, no." The audience is then treated to a succession of
restaurant and bar signs. Thomas L. Row supplies the voice for
these segments, alternating with Pauline Girard, who relates a
moronic love story about a country girl who finds life in Tokyo
a severe test to her virginity. This bears no relation to what
appears on screen except for an occasional close-up of cherubic
Kazuko Mine who is intended to represent the girl.

Victoria. 67 minutes. Narration by Thomas L. Row and Pauline Girard. Produced
and directed by Marion Gering.

Page 16 Film BULLETIN July 8, 1963

OPENING JULY 17 IN 50 THEATRES
THROUGHOUT SOUTHERN CALIF.

Directed by LEW LANDERS • Written and Produced by RICHARD BERNSTEIN
A BERN-FIELD Production • A CROWN-INTERNATIONAL RELEASE^

BOOK IT NOW THROUGH YOUR
CROWN INTERNATIONAL EXCHANGE

Home Office
1918 South Vermont Avenue
Los Angeles 7, California
REpublic 18633

MERCHANDISING \ t

N. Y. Circuits Sparking Summer
Product with All-Out Campaigns

20tb-Fox vice president Jonas Rosenfield, Jr.
and Sorman Weiser, v. p. of the company's
Records division, display soundtrack albums of
"Marilyn" . "Cleopatra" and "The Longest Day",
which are being used to aid promotion of the
three Fox films.

Above: Herman Silver. TO A director of public
relations; Emery Austin, MGM exploitation di-
rector, and TOA's administrative head Joseph
G. Alterman look over entries in promotion
contest on "The Courtship of Eddie's Father".

Below: Raymond Willie, I., vice president of
Interstate Theatres, presents the circuit's Golden
Star Award to Delbert Mann, director of "A
Gathering of Eagles".

Two of the nation's major eastern thea-
tre chains are making the welkin ring with
their showmanship campaigns this summer.
Loew's and RKO have four-alarm exploi-
tation drives going to excite interest in the
imposing array of warm weather releases
to be offered in their theatres.

Loew's is launching its summertime
ballyhoo in Times Square on July 17 with
a caravan of advertising sound floats on
the top attractions which will tour all of
the circuit's houses in the metropolitan
area. Later, as the pictures go into the var-
ious theatres, the individual floats will
tour the neighborhoods of the houses
playing them.

Other devices used to plug Loew's
Theatres attractions will be a new type
of omnibus screen trailer, lobby records
and special marquee displays. The over-all
campaigns will include augmented use of
newspapers, radio and television.

At the recent Summer Showmanship
Conference, Ernest Emerling, Loewe's vice
president in charge of promotion, told the
chain's New York area managers: "Good
pictures, intelligently and enthusiastically
exploited, can, in these days, achieve
grosses greater than ever before.'' With
ten weeks of top grade films available, he
voiced the belief that proper promotion
would result in a "most profitable sum-
mer for both Loew's and our distributors."

RKO is conducting its summer boxoffice
drive under the title, "RKO Theatres
Salute To Hollywood ", a broad-scale cam-
paign designed to lure hordes into the
circuit's theatres via contests and many
other colorful special activities.

One of the RKO stunts is a "Scrambled
Stars Contest", for which entry blanks are
currently being distributed upon request
at all houses. The form contains an alpha-
betical list of the stars who will appear
in current and coming attractions, to-
gether with a list of the films to play the
circuit. The star names have to be matched
with the pictures in which they appear.
Cash prizes totaling $1000, plus 100 addi-
tional prizes, will be awarded the winners.

McWilliams on 'Balcony'

Harry K. Williams will coordinate spe-
cial promotion activities for "The Balcony",
it was announced by Irving Wormser,
president of Continental Distributing. The
prominent publicist, who has been in-
volved in the promotion of some of the
biggest films, including "Ben Hur" and
"South Pacific ", will channel "The Bal-
cony" campaign to theatres.

Above: Joseph E. Levine, Federico Fellini and
Marcello Mastroianni look on as Giuliet/a
Masina and JV. Y. Festival Queen Gloria Myles
cut ribbon opening "Levine's new Festival
Theatre, where Fellini s "8Y2" premiered. Be-
low.' Louis J. Finske, president of Florida State
Theatres greets first patron of the circuit's new
Coral Ridge Theatre in Ft. Lauderdale. Also
present: manager Fred Lee, FST division man-
ager Harry Botwick, Bill Russell.

Big Radio Play for 'Marilyn'

Radio will get a major share of the ad-
vertising budget allocated by 20th Century -
Fox to sell "Marilyn" when it goes into
saturation release in New York later this
month. Jonas Rosenfield, Jr., Fox vice
president and promotion chief, disclosed
that eight stations will carry commercials
tailored for leading disc jockey person-
alities, as well as transcribed spots fea-
turing the voices of Marilyn Monroe and
narrator Rock Hudson.

Film BULLETIN July 8. 1943 Page 17

EXHIBITION REPORTS ON BUSINESS

iiivv Pubtir Eiiivriuiitmvnl. iVo/ Lvssuns

( Continued from Page 6)

Mr. Bendheim has some positive views on what is needed to
stabilize theatre business: "It has been proven that good pictures
do business at any period of the year. However, when the public
is not given an even flow of good pictures throughout the
twelve months of the year, it is very easy for them, if they have
the habit of going to theatres, to get out of it and to turn the
dial on a television set to find their motion picture fare, or to
do something else to occupy their time.

"It seems to us, very clearly, that the salvation of this busi-
ness is proper scheduling of releases by all film companies
throughout the twelve months of the year. Thus the feast and
famine method of doing business will be eliminated, and the
public will have assurance that no matter what month of the
year it is they can see good pictures at the theatres."

'Bottom Dropped Out May 1'

Alliance Amusement Co., which operates in Indiana, Illinois,
Wisconsin and Washington, was sailing along for the first
four months of this year, showing, by dint of "hard selling of
our product", a 5% increase over '62 in its conventional houses.
About May 1, reports general manager James J. Gregory, "the
bottom dropped out." The month of May and the first half
of June have been "the worst we have experienced in all of
our years in the business."

Grosses of the circuit's drive-ins were running equal to last
year on weekends during the Spring, but far below from
Monday through Thursday. Mr. Gregory says his company is
considering operating only on weekends until Memorial Day
each year.

What has affected theatre business? Hear Mr. Gregory:
"Top on the list as competitive factors must be considered
the competition of movies on television. In many instances, the
quality of the films on television are far superior to what
we are presenting on our screen. Why pay when you can see
it free?"

And what lies ahead?

"The line-up of product for the summer months is outstand-
ing and all indoor theatres should do well, but there will be a
famine from Labor Day to Christmas. This is not a healthy
situation when we are trying to remain as a year-round busi-
ness. If there isn't an orderly system of release of quality prod-
uct, by necessity, in the near future theatres may be forced
to open and close as good product is available, similar to
legitimate theatres. It is not good business to make a few
dollars at peak periods and lose that, plus, in periods when
things are slow."

Public Wants Diversion, Not Problems

The president of one of the large midwest chains had some
pertinent observations to offer about the type of stories being
made into films. "Today's motion picture audience will not buy
a lesson ! Our audiences do not want to be told about the
deficiencies of the State Department, or the situation in Viet-
nam. They see enough of this on TV and hear it on the radio."

This circuit's business was well ahead of the prior year up
to April, but grosses were "extremely soft" from that point
and at midyear the indoor theatres lagged 8.8% behind 1962 s
first half in attendance and 3.7% behind in gross, while the

drive-ins were 3.7% off in attendance and 4.2% behind in gross.
Reduction of operating expenses and improvement of concession
profits bettered the gross operating income, but the chief I
executive stated: "I must confess this is not a healthy condition.
We have reached the bottom so far as cutting expenses is con-
cerned. Our attendance continues to decline."

Further on the subject of current product, he had this to J
say: "Pictures like 'The Ugly American' (which, incidentally, ,
was badly titled), 'A Girl Named Tamiko', and many others |
that are made by independent producers simply to satisfy the
whim of a star or writer are not apealing product. People
want to be entertained; they want to check their problems when
they walk into a theatre. Many of the pictures, like 'Three
Coins in the Fountain', offered on TV are better than we have
on our screens. They are better because they are entertaining —
they are not trying to teach a lesson or raise the morals of the
audience."

Flu Epidemic Hit Rowley Theatres

Rowley United Theatres of Texas reported for the period
from Dec. 23, 1962, to April 27, this year. Conventional theatres
down 7/10 of 1% from the preceding year, while drive-ins
were off 8/10 of 1%. Frank M. Dowd, vice president and
treasurer, stated that "most of the factors which prevailed dur-
ing this same period last year in the way of product shortage,
or competition from television, existed this year." He attributed
the slight decrease to the flu epidemic during the winter months.
"The newspapers and other news media constantly warned
people during that period to stay away from crowds, and it
was noticeable in our operations."

Blumenfeld Cites Product, Weather

One of the hardest hit circuits in the first half of '63 is
Blumenfeld Enterprises, operating in northern California. Its )
hard-tops were down 10 percent — bad enough — but the drive-ins
showed a whopping 25 percent decline, which general manager
Joseph Blumenfeld laid to inclement weather in the area
through much of the Spring season.

Mr. Blumenfeld had some strong comments about other
factors that are affecting his business:

"Competition of movies on TV on the week-ends has greatly
affected our grosses. Quality of product is the next most im-
portant factor. We have had fewer good pictures to show during
the past nine months than in previous years. Another great
factor in our operation is the lack of product during certain
periods of the year. People will not buy program pictures any
longer. They can see all of the mediocre entertainment on TV
at no charge, and during the proper hours of the day or night.
There is no need to go to the theatres to see mediocre enter-
tainment.

"Another important factor in the decline of our grosses is
the method of distribution of motion pictures. We failed to
receive one good picture between Easter Sunday and June 26th;
we then find ourselves beseiged by every company for the period
June 26th to September 3rd; we are now advised that no
company will date us between the period September 3rd and
September 21st. The answer is obvious: We will find it neces- ; x
sary to close our theatres after Easter; reopen them on July 4th; j ^
forced to close on September 3rd; and reopen for Christmas. , ■

Page 18 Film BULLETIN July 8, 1943

EXHIBITION REPORTS ON BUSINESS

4 i nail Exvvutiw ilttti'fjvs Luvk of Legitlership

The choice isn't ours; but the distributors and/or producers are
forcing us to give consideration to this program because of the
unbelievably stupid restrictions on the play dates of their
product."

Fine Sees Product Better

Running counter to the widespread complaints about the
quality of recent product and the shortage thereof, was the
prominent independent leader, Marshall H. Fine. His Associated
Theatres comprises 38 houses (14 are drive-ins) in fifteen cities,
including first runs, sub-runs, hard-tickets and art houses. Busi-
ness in the first half, he advised, varied widely throughout his
circuit, but on the overall in the first five months of this year
the conventional theatres were about even, gross-wise, with the
prior year, while drive-ins were approximately 5% behind
the first half of 1962. He attributed the drive-in decline mainly
to the bad winter and spring weather.

Mr. Fine expressed the view that "product this year has
been considerably better than last (comparing January through
May), and I have experienced no shortage of product whatsoever.
The very bad winter and spring weather obviously cut into
business to some extent, as did the newspaper strike in some
spots (Cleveland) but I feel the very biggest factor adversely
affecting us has been the tremendous competition from good
movies, and even mediocre movies, in prime time free television.
In fact, it's my very strong personal belief that elimination of
this one form of competition alone would increase overall
grosses a minimum of 10-15%.

Sprott Expects 'Best Summer'

Evans Sprott, general manager of the Bijou Amusement Cir-
cuit, an all-conventional chain throughout the south and south-
west, reported grosses down 15% below the first half of '62.
His recital of factors: "During the first quarter we experienced
the worst weather ever. Next comes racial disturbances, which
at the moment are cutting our grosses in some instances as
much as 80%. Television competition and the product shortage
are other factors." Mr. Sprott, however is optimistic "about the
business as a whole" and expects his circuit to have its "best
summer."

Dickinson Midwest Circuit "Up"

One of the most upbeat accounts of first-half business came
from Glen W. Dickinson, Jr., vice president of the Dickinson
midwest circuit. The drive-ins were up 7.7% over last year,
while the hard-tops showed a 2% increase. Acknowledging the
increased competition from movies on TV and the shortage of
product, Mr. Dickinson ascribes his chain's resistance to the
downward trend to sound operations. "We have tried to
upgrade our theatres and to give them more attention."

TV Films Again Cited

A prominent Canadian circuit, reporting a "fractional" busi-
ness drop-off in the first half of this year, put the onus on the
two familiar factors: lack of sufficient top-qaulity films and the
increased showing of newer pictures on TV during prime movie-
going hours. The responding executive voiced the hope that

"the heads of the film companies will come to realize they are
seriously damaging our business, as well as their own, by the
sale of relatively new, top-draw films to our most damaging
competitor."

Quality of Product, and Rain

From one of the smaller east coast circuits this report; "our
in-door theatres are down about 10 percent and our drive-in
theatres about the same as last year. The most important factor
affecting our business, particularly the in-doors, was the product
shortage. By this, we mean the quality of product that was
available to us during the first six months. The second harmful
factor, which is also very important, is the movies on television."

And from one of the larger southern chains: "Comparison of
the first 24 weeks of 1963 with '62 shows our conventional
houses down 4.2% and our drive-ins down 15.3%. In the
latter operations we attribute a sharp drop-off to the worst
winter in many years. And summer rains so far have kept us
from gaining back the loss in the drive-ins.

"Reasons for the decline? Newer movies on TV and having
to run pictures too long because of the shortage are the biggest
factors."

Milton H. London, executive director of Allied States Asso-
ciation, advised that in the Detroit exchange territory, "the
weather, competition of movies on television and the product
shortage seriously depressed business during the winter and
spring ", although no overall pattern of increase or decrease
could be applied to the area. Summer prospects look good, Mr.
London stated, and there is a surplus of strong product now.
However, he predicts that the same competitive factor and the
product shortage "will again plague the theatre owner after
Labor Day."

Blames Film Executives

One prominent circuit executive, who desired to remain
anonymous for obvious reasons, unleashed a strong attack on
the industry's leaders in his response. "Our industry's biggest
problem is a lack of product", he wrote. This is due, in the
main, to unqualified personnel heading some of the film com-
panies. They simply do not know how to produce motion pic-
tures that the public is interested in. Several of the film com-
panies have lost the manpower capable of handling production,
and they have been replaced by men of insufficient experience.
On top of this some of the film heads have become obsessed
with the idea of Pay-TV to replace theatre exhibition, and they
have stopped paying attention to the needs of the established
theatre market.

"There is nothing wrong with our business that good man-
agement can't take care of. No business in the world could
possibly survive with the terrible leadership displayed during
the past ten years by the heads of our major studios. New
creative leadership must be found or all exhibitors and all film
companies will find themselves in financial distress.

"We cite the continuing success of United Artists under the
leadership of Krim and Benjamin, and the steady performance
of Universal Pictures to prove that intelligent management
still pays off in this business."

Grosses in his circuit's conventional houses and drive-ins were
"down sharply" this spring, he stated.

Film BULLETIN July 8, 1963 Page 19

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

April

DAY OF THE TRIFFIDS, THE CinemaScope. Color.
Howard Keel, Nicole Maurey, Janette Scott, Keiron
Moore. Producer Philip Yordan. Director Steve Sekely.
Science-fiction thriller. 93 min. 5/13/63.

May

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Lauren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.
88 min. 5/13/63.

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
A Julian Wintle, Leslie Parkyn Production. Director
Michael Winner. Musical.

June

55 DAYS AT PEKING Technirama, Technicolor.
Charlton Heston, David Niven, Ava Gardner, Flora
Robson, Harry Andrews, John Ireland. Producer Samuel
Bronston. Director Nicholas Ray. Story of the Boxer
uprising. 150 min. 4/29/63.

SHOCK CORRIDOR (Formerly The Long Corridor)
Peter Breck, Constance Towers. Producer-director
Samuel Fuller. A Leon Fromkess Production. A suspense
drama.

July

GUN HAWK. THE Rory Calhoun, Rod Cameron, Ruta
Lee, Rod Lauren. Producer Richard Bernstein. Direc-
tor Edward Ludwig. Outlaws govern peaceful town of
Sanctuary.

Coming

GUNFIGHT AT COMANCHE CREEK Color. Cinema-
scope. Audie Murphy, Colleen Miller, Susan Seaforth.
Producer Ben Schwalb. Director Frank McDonald. Pri-
vate detective breaks up outlaw gang.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen, Tuesday Weld. Producer Martin Jurow. Director
Ralph Nelson. Army comedy.

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

December

SAMSON AND THE 7 MIRACLES OF THE WORLD

I Formerly Goliath and the Warriors of Genghis Kahn)
Color. CinemaScope. Gordon Scott, Yoko Tani. Samson
helps fight off the Mongol invaders. 80 min. 2/18/63.

January

RAVEN, THE Color. Panavision. Vincent Price, Peter
Lorre, Boris Karloff. Producer-director Roger Corman
Edgar Allan Poe tale. 86 min. 2/4/63.

February

BATTLE BEYOND THE SUN IFilmgroup] Color & Vista-
scope. Ed Perry, Aria Powell. 75 min.

NIGHT TIDE IFilmgroup) Dennis Hopper, Linda Law-
son. 84 min.

March

CALIFORNIA Jock Mahoney, Faith Domergue. Western.

86 min.

A pril

FREE, WHITE AND 21 (Formerly Oues+ion of Consent)

Frederick O'Neal, Annalena Lund. Drama. 102 min.

OPERATION BIKINI (Formerly Seafighters) Tab Hunter,

Frankie Avalon, Eva Six. Producer-director Anthony
Carras. War action drama. 84 min. 4/29/63.

May

MIND BENDERS, THE Dirk Bogarde, Mary Ure, John
Clement. Producer Michael Relph. Director Basil Dear-
den. Science fiction. 99 min. 4/15/63.

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama. 84 min.

June

DEMENTIA #13 IFilmgroup) William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK, THE CONQUEROR (Formerly Miracle of the
Viking). Color, CinemaScope. Cameron Mitchell,
Kessler Twins. Action drama. 90 min.

July

TERROR, THE IFilmgroup) Color, Vistascope. Boris Kar-
loff. Sandra Knight. Horror.

August

BEACH PARTY Color, Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funicello.
Producer James H. Nicholson. Director William Asher.
Teenage comedy.

September

HAUNTED PALACE, THE Color, Panavision. Vincent
Price, Debra Paget, Lon Chaney. Edgar Allan Poe

classic.

SUMMER HOLIDAY Technicolor, Technirama. Cliff
Richard, Lauri Peters. Teenage musical comedy.

October

NIGHTMARE (Formerly Schiio) Leticia Roman, John
Saxon. Producer-director Mario Bava. Suspense horror.

"X"— THE MAN WITH THE X-RAY EYES Ray Milland,
Diana Van Der Vlis, John Hoyt, Don Rickles. Science
fiction.

November

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester. Horror.
UNDER 21 Frankie Avalon.

December

BLACK CHRISTMAS Color. Boris Karloff, Mark Damon,
Michele Mercier. Horror.

DUEL, THE Color, Scope. Fernando Lamas. Action.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

COMEDY OF TERROR, A Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff. Horror. Comedy.

DUNWICH HORROR Color. Panavision. Science Fiction.

GENGHIS KHAN 70mm roadshow.

MAGNIFICENT LEONARDO. THE Color, Cinemascope.
Ray Milland.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Vincent Price.
Producers Julian Wintle, Leslie Parkyn. H. G. Wells
classic.

December

OUT OF THE TIGER'S MOUTH Loretta Hwong, David
Fang. Producer Wesley Ruggles, Jr. Director Tim
Whelan, Jr. 81 min.

OUARE FELLOW, THE Patrick McGoohan, Sylvia Sims.
Walter Macken. Producer Anthony Havelock-Allan.

Director Arthur Dreifuss. 85 min. 11/26/62.

January

SWINDLE, THE Broderick Crawford, Giulietta Masina,
Richard Basehart. Director Federico Fe Mini. Melodrama.
92 min. I 1/12/62.

M ay

TRIAL, THE (Astor Productions, Inc.) Anthony Perkins,
Jeanne Moreau. Director Orson Welles. Welles' version
of Kafka novel. 118 min. 3/4/63.

Coming

TOTO, PEPPINO and LA DOLCE VITA Tofo, Peppino.

WORLD BEGINS AT 6 P.M. Jimmy Durante, Ernest Borg-
nine. Director Vittorio DeSica.

October

ALMOST ANGELS Color. Peter Week, Sean Scully,
Vincent Winter, Director Steven Previn. 93 min. 9/3/62.

November

LEGEND OF LOBO. THE Producer Walt Disney. Live-
action adventure. 67 min. 11/12/62.

December

IN SEARCH OF THE CASTAWAYS Technicolor. Mauric*
Chevalier, Hayley Mills, George Sanders. Producer
Walt Disney. Director Robert Stevenson. Based on the
Jules Verne story, "Captain Grant's Children." 110
min. 1/7/63.

February

SON OF FLUBBER Fred MacMurray, Nancy Olson.
Keenan Wynn. Walt Disney Production. Director Robert
Stevenson. Comedy. 100 min. 1/21/63.

April

MIRACLE OF THE WHITE STALLIONS Color. Robert
Taylor, Lili Palmer, Curt Jergens. A Walt Disney pro-
duction. Director Arthur Hiller. Story of the rescue of
the famous white stallions of Vienna. 118 min. 4/1/63.

June

SAVAGE SAM Brian Keith, Tommy Kirk, Kevin Cor-
coran Marta Kristen. Dewev Martin Jeff York. Pro-
ducer Walt Disney. Director Norman Tokar. Tale of the
pursuit of renegade Indians who kidnap two boys and
a girl. 110 min. 6/10 /63.

July

SUMMER MAGIC Hayley Mills, Burl Ives, Dorothy Mc-
Guire, Deborah Walley, Peter Brown, Eddie Hodges.
Director James Neilson. Comedy musical. 108 min.

October

20.0000 LEAGUES UNDER THE SEA Re-release.
FANTASIA Re-release.

February

DIAMOND HEAD Panavision, Eastman Color. Charlton
Heston, Yvette Mimieux, George Chakiris, France
Nuyen, James Darren. Producer Jerry Bresler. Director
Guy Green. Based on Peter Gilman's novel. 107
min. 1/7/63.

April

MAN FROM THE DINER'S CLUB, THE Danny Kaye, Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin. Comedy. 96 min. 4/15/63.

May

FURY OF THE PAGANS Edmund Purdom, Rosanna
Podesta.

June

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical. 112 min. 4/15/63.

JASON AND THE ARGONAUTS (Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Kovak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic. 104 min. 6/10/63.

JUST FOR FUN Bobby Vee. The Crickets, Freddie
Cannon, Johnny Tillotson, Kerry Lester, The Tornadoes.

72 min.

July

13 FRIGHTENED GIRLS Murray Hamilton, Joyce Tay-
lor, Hugh Marlowe. Producer-director William Castle.
Mystery. 89 min.

August

GIDGET GOES TO ROME James Darren, Cindy Carol,
Jobv Baker. Producer Jerrv Bresler. Director Paul
Wendkos.

September

DR STRANGE LOVE: OR HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers,
Sterling Hayden, George C. Scott, Keenan Wynn. Pro-
ducer-director Stanley Kubrick. Comedy.

Film BULLETIN — THIS IS YOUR PRODUCT

JULY SUMMARY

The release schedule for the month
of July has held steady with a listing of
20 features. M-G-M's four films have
helped it to hold the lead. United
Artists, Universal, Embassy, Warner
Brothers and Paramount each have two
properties. The remaining six major
companies — 20th-Fox, Columbia, Allied
Artists, Buena Vista, Continental and
American International — all offer one
release for the month.

Coming

CONGO VIVO Jean Seberg, Gabriele Ferzetti.

IN THE FRENCH STYLE Jean Seberg. Producer Irwin
Shaw. Director Robert Parrish.

IRON MAIDEN, THE Michael Craig, Anne Helm, Jeff
Donnell.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Pater O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

MANIAC, THE Kerwin Mathews, Nadia Gray.

VICTORS, THE Vincent Edwards, Melina Mercouri,
Jeanne Moreau, Romy Schneider. Producer-director
Carl Forman.

January

GREAT CHASE, THE Douglas Fairbanks, Sr., Buster
Keaton, Lillian Gish. Producer Harvey Cort. Silent
chase sequences. 77 min. 1/7/63.

LONELINESS OF THE LONG DISTANCE RUNNER, THE

Michael Redgrave, Tom Courtenay, Avis Bunnage. Pro-
ducer-director Tony Richardson. Explores the attitudes
of a defiant young man sent to a reformatory for
robbery. 103 min. 10/1/62.

LOVERS OF TERUEL, THE I French, subtitled) Color.
Ludmila Teherina. A famous legend is transformed into
a dance-ballet drama. 93 min.

March

BALCONY. THE Shelley Winters, Peter Falk. Producers
Joseph Stride, Ben Maddow. Director Strick. Unusual
version of Genet's fantasy play. 85 min. 4/1/63.

April

WRONG ARM OF THE LAW, THE Peter Sellers,
Lionel Jeffries. Sellers uses Scotland Yard in pulling off
the laugh crime of the century. 91 min.

June

DAVID AND LISA Keir Dullea, Janet Margolin, How-
ard Da Silva. Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed young-
sters. 94 min. 1/7/63.

YOUR SHADOW IS MINE Jill Haworth, Michael Ruhl.
A European girl, raised by an Indo-Chinese family, has
to choose between her native sweetheart and the
society of her own people. 90 min.

July

THIS SPORTING LIFE Richard Harris, Rachel Roberts.
129 min.

August

MEDITERRANEAN HOLIDAY 70 mm color. Travelogue
narrated by Burl Ives.

September

HANDS OF ORLAC. THE Mel Ferrer, Christopher Lee,
Dany Carrel, Lucille Saint Simon. Producers Steven
Pallos, Donald Taylor. Director Edmond Greville.
Mystery. 86 min.

Coming

NEVER LET GO Richard Todd, Peter Sellers, Elizabeth
Sellers. Producer Peter de Sarigny. Director John
Guillevmin. Crime melodrama. 90 min. 6/24/63.

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,
Christian Doermer. Directors Francois Truffaut, Andrez
Wajda, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world. 113
min. 2/18/63.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French
Revolution. 100 min. 3/4/63.

March

FACE IN THE RAIN. A Rory Calhoun, Marina Berti,
Niall McGinnis. Producer John Calley. Director Irvin
Kershner. Suspenseful spy-chase drama. 90 min. 4/1/63.

April

LANDRU Charles Denner, Michele Morgan, Danielle
Darrieux. Producers Carlo Ponti, Georges de Beaure-
gard. Director Claude Chabrol. Tongue-in-cheek drama
of the infamous ladykiller. 114 min. 4/16/63.

LAW, THE Marcello Mastroianni, Melina Mercouri, Yves
Montand, Gina Lollobrigida. Producer, Jacques Bar.
Director, Jules Dassin. Romantic drama. 114 min.

May

BEAR, THE I English-dubbed I Renato Rascel Francis
Blanche, Gocha.

July

CRIME DOES NOT PAY Edwige Feuillere, Michele
Morgan, Pierre Brasseur, Richard Todd, Danielle Dar-
rieux. Director Gerard Oury. Drama. 159 min.
LIGHT FANTASTIC Dolores McDougal, Barry Bartle.
Producer Robert Gaffney. Director Robert McCarty.
Drama.

PASSIONATE THIEF THE Anna Magnani, Ben Gazzara,
Toto. Producer Silvio Clementelli. Director Mario
Monicelli. Comedy. 95 min.

WOMEN OF THE WORLD Technicolor. Director Gual-
tiero Jacopetti. Women as they are in every part of
the world. I 10 min.

August

FREDERICO FELLINI'S "W Marcello Mastroianni,
Claudia Cardinale, Anouk Aimee, Sandra Milo. Pro-
ducer Angelo Rizzoli. Director Federico Fellini. Drama.
135 min.

September

THREEPENNY OPERA Sammy Davis, Jr., Curt Jurgens,
Hildegarde Neff. Director Wolfgang Staudte. Screen
version of Bertolt Brecht and Kurt Weill classic.
QUEEN BEE Marina Vlady, Ugo Tognazzi. Director
Marco Ferreri. Comedy drama.

Current Releases

ARMS AND THE MAN ICasino Films) Lilo Pulver,
O. W. Fischer. Ellen Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
96 min.

BERNADETTE OF LOURDES (Janus Films) Daniele Ajoret
Nadine Alari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY. THE ILopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLACK FOX, THE ICapri Films) Produced, directed
and written by Louis Clyde Stoumen. 89 min. 4/29/63.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 68 min.

BLOODY BROOD. THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR. A (Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

CLEOPATRA'S DAUGHTER (Medallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

DANGEROUS CHARTER Technicolor. Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

DAY THE SKY EXPLODED, THE (Excelsior) Paul Hub-
schmid. Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR. THE (Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL MADE A WOMAN. THE (Medallion) Color, To-
talscope. Sarita Montiel. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE (Ultra Pictures) Anthony Quinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

fTrST SPACESHIP ON VENUS (Crown International)
Technicolor, Totalvision. Yoko Tani, Oldrick Lukes. 81
min.

FIVE DAY LOVER, THE IKinqsley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FORCE OF IMPULSE (Sutton Pictures) Tony Anthony,
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

GIRL HUNTERS, THE IColorama). Mickey Spillane,
Shirley Eaton, Lloyd Nolan. Producer Robert Fellows.
Director Roy Rowland. Mickey Spillane mystery. 103
min. 6/10/63.

IMPORTANT MAN, THE (Lopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

LAFAYETTE IMaco Film Corp.) Jack Hawkins. Orson
Welles, Vittorio De Sica. Producer Maurice Jacquin.
Director Jean Oreville. 110 min. 4/1/63.

LA NOTTE BRAVA (Miller Producing Co.) Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LAST OF THE VIKINGS (Medallion) Color. Totalscope.
Cameron Mitchell, Edmond Purdom. 102 min.

LAZARILLO (Union Films) Marco Paoletti, Juan Jose
Menendez. An Hesperia Films Production. Director
Cesar Ardavin. Tale of a 12-year-old rogue-hero's
efforts to survive in 16th century Spain. 100 min.
5/13/63.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

LOVE AND LARCENY (Major Film Distribution) Vit-
torio Gassman, Anna Maria Ferrero, Peppino DiFilippo.
Producer Mario Gori. Director Dino Risi. Satire on
crime. 94 min. 2/18/63.

MAGNIFICIENT SINNER [film-Mart, Inc.) Romy
Schneider, Curt Jergens. Director Robert Siodmak. 91
min. 4/29/63.

MARRIAGE OF FIGARO, THE [Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin. Director Jean Meyer. French import.
105 min. 2/18/63.

MONDO CANE (Times Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/63.

MOUSE ON THE MOON, THE Eastmancolor (Lopert
Pictures) Margaret Rutherford, Bernard Cribbins. Terry
Thomas. Satirical comedy. 84 min. 6/24/63.

NIGHT OF EVIL (Sutton) Lisa Gaye, Bill Campbell.
88 min.

NO EXIT (Zenith-International) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.

PARADISE ALLEY (Sutton) Hugo Haas, Corinne Griffith.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
115 min.

RICE GIRL (Ultra Pictures) Elsa Martinelli, Folco Lulli,
Michel Auclair. Producer Carlo Ponti. Director Raffa-
eilo Matarazzo. Dubbed Italian melodrama. 90 min.
2/4/63.

ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

SLIMfc PEOPLE. THE (Hutton-Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT. THE Robert Clarke, Francine
York. 85 min.

SON OF SAMSON (Medallion) Color, Totalscope. Mark
Forest, Chelo Alonso. 8? min.

STAKEOUT Ping Russell, Bill Hale, Eve Brent. 81 min.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Times Films Eng. I Color. Pro-
ducer-director Marion Gering.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. #irector Claude Chabrol. 97 min.

WILD FOR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

YOJIMBO (Seneca-International) Toshiro M. Fune, Kyu
Sazanka, Nakadai. Director Akiro Kurosana. 101 min.
9/17/62.

METRO-GOLD WYN -MAYER

February

HOOK. THE Kirk Douglas, Nick Adams. Producer Wil-
liam Perlberg. Director George Seaton. Drama set
against background of the Korean War. 98 min.
1/21/63.

Film

BULLETIN — THIS IS YOUR PRODUCT

March

COURTSHIP OF EDDIE'S FATHER. THE Glenn Ford.
Shirley Jones. Producer Joe Pasternak. Director Vin-

cente Minnelli. Romantic comedy revolving about a
young widower and his small son. 117 min. 3/18/63.
POLL°,W THE BOYS Paula Prentiss, Connie Francis, Ron
Randell, Russ Tamblyn, Janis Paige. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy. 95 min. 3/4/43.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate Based on the life of Sir Francis Drake. 95 min.
3/18/63.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatole de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.
109 min. 5/13/63.

IT HAPPENED AT THE WORLD'S FAIR Panavision.
Color. Elvis Presley. Producer Ted Richmond. Director
Norman Taurog. Romantic comedy. 105 min. 5/13/63.

RIFIFI IN TOKYO Karl Boehm, Barbara Lass, Charles
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo. 89 min. 4/1/63.

November

Coming

May

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris

Sagal. Race track comedy. 94 min. 4/1/63.

DRUMS OF AFRICA Frankie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

92 mm. 4/29/63.

IN THE COOL OF THE DAY CinemaScope, Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz. 90 min. 5/13/63.

SLAVE. THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites the slaves to
revolt against the Romans.

June

CATTLE KING Eastman Color. Robert Taylor Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West.

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.

MAIN ATTRACTION. THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min. 6/24/63.

MUTINY ON THE BOUNTY Color. Ultra Panavision
Marlon Brando, Trevor Howard. Hugh GriffTfh. Pro-
ducer Aaron Rosenberg. Director Lewis Milestone
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/63.

TARZAN'S THREE CHALLENGES Jock Mahoney Woody
Strode.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendarii
Heidi Bruehl. Producers King Brothers. Director Byron
Haskm. Adventure Fantasy. 85 min. 6/24/63.

DAY AND THE HOUR, THE I Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

TICKLISH AFFAIR. A (Formerly Moon Walk) Shirley
Jones. Producer Joe Pasternak. Director George Sid-
ney. Romantic comedy based on a story in the Ladies
Home Journal.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Bnaly. Producer Alain Poire. Director A. Cayette.
A murder tale.

August

TAMAHINE Nancy Kwan, Dennis Price. Producer John
Bryan. Director Philip Leacock. Romantic comedy of a
Tahitian girl and her impact on an English public
school.

YOUNG AND THE BRAVE. THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D
5/°3r/63>rdma °f Korean G-'-'s and orphan boy. 84 min.

September

HAUNTING. THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

V.I.P.'s, THE Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama.

October

GOLDEN ARROW, THE Technicolor. Tab Hunter Roi-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Marqheriti. Adventure fantasy.

TIKO AND THE SHARK Producer Goffredo Lombardo.
Director F. Quilici. Filmed entirely in French Poly-
nesia with a Tahitian cast.

WHEELER DEALERS. THE James Garner, Lee Remick.
Producer Martin Ransohoff. Director Arthur Hiller.
Story of a Texan who takes Wall Street bv storm.

GLADIATORS SEVEN Richard Harrison, Loredana Nus-
ciak. Producers Cleo Fontini, Italo Zingarelli. Director
Pedro Lazaga. Seven gladiators aid in overthrowing
a tyrant of ancient Sparta.

Coming

CORRIDORS OF BLOOD Boris Karloff, Betla St. John,
Finlay Currie. Producer John Croydon. Director Robert
Day. Drama. 84 min. 6/10/63.

COUNTERFEITERS OF PARIS Jean Gabin, Martine
Carol. Producer Jacques Bar. Director Gilles Grangier.
99 min.

FOUR DAYS OF NAPLES. THE Jean Sorel, Lea Messari,
Producer Goffredo Lombardo. Director Nanni Loy.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HOW THE WEST WAS WON Cinerama, Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/63.

MURDER AT THE GALLOP Margaret Rutherford, Paul
Robson. Producer George Brown. Director George Pol-
lock. Aqatha Christie mystery.

OF HUMAN BONDAGE (MGM-Seven Arts) Laurence
Harvey, Kim Novak. Producer James Woolf. Director
Henry Hathaway. Film version of classic novel.

SUNDAY IN NEW YORK IMGM-Seven Arts) Cliff
Robertson, Jane Fonda, Rod Taylor. Producer Everett
Freeman. Director Peter Tewksbury. The eternal ques-
tion: should a qirl or shouldn't she, prior to the
nuptials?

THE PRIZE Paul Newman, Edward G. Robinson, Elke
Sommer. Producer Pandro Berman. Director Mark
Robson. Based on the Irving Wallace bestseller.

TWILIGHT OF HONOR Richard Chamberlain, Nick
Adams, Joan Blackman, Joey Heatherton. A Pearlberg-
Seaton Production. Director Boris Sagal. A young
lawyer falls victim to the biqoted wrath of a small
town when he defends a man accused of murdering
the town's leading citizen.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

WEREWOLF IN A GIRL'S DORMITORY Barbara Lass,
Carl Schell. Producer Jack Forrest. Director Richard
Benson. Horror show. 84 min. 6/10/63.

February

GIRL NAMED TAMIKO, A Technicolor. Laurence Har-
vey, France Nuyen. Producer Hal Wallis. Director John
Sturges. A Eurasian "man without a country" courts an
American girl in a bid to become a U.S. citizen.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleason.
Glynis Johns. Producer Jack Rose. Director George
Marshall. Comedy-drama based on childhood of silent
screen star Corinne Griffith. 98 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cliff

Robertson, David Jannsen. Producer Garet Gaither.

Director Gower Champion. Broadway star adopts six
abandoned children. 105 min. 3/18/63.

May

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Rift. Director Ritt.
Drama set in modern Texas. 122 min. 3/4/63.

June

DUEL OF THE TITANS CinemaScope, Eastman color.
Steve Reeves, Gordon Scott. Producer Alessandro
Jacovoni. Director Sergio Corbucci. The story of
Romulus and Remus, the twin brothers who founded
the city of Rome.

NUTTY PROFESSOR. THE Technicolor. Jerry Lewis,
Stella Stevens. Producer Ernest D. Glucksman. Direc-
tor Jerry Lewis. A professor discovers a youth-
restoring secret formula. 105 min. 6/10/63.

July

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific.

August

COME BLOW YOUR HORN Technicolor. Frank Sinatra.
Barbara Ruth, Lee J- Cobb. Producer Howard Koch. Di-
rector Bud Yorkin. A confirmed bachelor introduces his

young brother to the playboy's world. 112 min.
6/24/63.

ALL THE WAY HOME Robert Preston, Jean Simmons,
Pat Hingle. Producer David Susskind. Director Alex
Segol. Film version of play and novel.

BECKET Technicolor. Richard Burton, Peter O'Toole.
Producer Hal B. Wallis. Director Peter Glenville. Film
version of Jean Anouilh's play.

CARPETBAGGERS, THE Technicolor. Panavision 70.
George Peppard. Producer Joseph E. Levine. Director
Edward Dmytryk. Drama based on the best-seller by
Harold Robbins.

FUN IN ACAPULCO Technicolor. Elvis Presley, Ur-
sula Andress. Producer Hal B. Wallis. Director Rich-
ard Thorpe. Musical-comedy.

LADY IN A CAGE Olivia de Havilland, Ann Southern.
Producer Luther Davis. Director Walter Grauman.
Drama.

LOVE WITH THE PROPER STRANGER Natalie Wood,
Steve McQueen. Producer Alan J. Pakula. Director
Robert Mulligan. A young musician falls in love with
a Macy's sales clerk.

NEW KIND OF LOVE, A Technicolor. Paul Newman,
Joanne Woodward, Thelma Ritter, Maurice Chevalier.
Producer-director Melville Shavelson. Romantic drama.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Ouine. Romantic-comedy filmed
on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Douglas,
Fredric March. Producer Edward Lewis. Director John
Frankenheimer. A Marine colonel uncovers a military
plot to seize control of the U.S. government.

WHO'S BEEN SLEEPING IN MY BED? Panavision.
Technicolor. Dean Martin, Elizabeth Montgomery, Carol
Burnett. Producer Jack Rose. Director Daniel Mann.
Comedy.

WHO'S MINDING THE STORE? Technicolor. Jerry
Lewis, Jill St. John, Agnes Moorehead. Producer Paul
Jones. Director Frank Tashlin. Comedy.

WIVES AND LOVERS Janet Leigh, Van Johnson, Shelley
Winters, Martha Hyer. Producer Hal B. Wallis. Direc-
tor John Rich. Romantic comedy.

20TH CENTURY-FOX

March

NINE HOURS TO RAMA CinemaScope, DeLuxe Colar.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

May

YELLOW CANARY. THE Pat Boone, Barbara Eden.
Producer Maury Dexter. Director Buzz Kulik. Suspense
drama. 93 min. 4/15/63.

June

LONGEST DAY, THE John Wayne, Richard Todd, Peter
Lawford, Robert Wagner, Tommy Sands, Fabian, Paul
Anka, Curt Jurgens, Red Buttons, Irina Demich, Robert
Mitchum, Jeffrey Hunter, Eddie Albert, Ray Danton,
Henry Fonda, Edmond O'Brien, Robert Ryan. Producer
Darryl Zanuck. Directors Gerd Oswald, Andrew Mar-
ton, Elmo Williams, Bernard Wicki, Ken Annakin.
180 min.

MARILYN Story of life of Marilyn Monroe narrated by
Rock Hudson.

STRIPPER, THE (Formerly A Woman in July) Joanne
Woodward, Richard Beymer, Gypsy Rose Lee, Claire
Trevor. Producer Jerry Wald. Director Franklin Schaf-
fner. Drama. 95 min. 4/29/63.

July

LEOPARD, THE Technicolor, Technirama. Burt Lan-
caster, Claudia Cardinale, Alain Delon. Producer Gof-
fredo Lombardo. Director Luchino Visconti. Story of
disintegration of traditional way of life in Italy.

August

OF LOVE AND DESIRE Merle Oberon, Steve Cochran,
Curt Jurgens. Producer Victor Stoloff. Director Richard
Bush. Romantic suspense drama.

September

CONDEMNEO OF ALTONA. THE Sophia Loren, Maxi-
milian Schell, Fredric March, Robert Wagner. Pro-
ducer Carlo Ponti. Director Vittorio De Sica. Adapted
from Jean Paul Sartre's stage success.

Coming

CLEOPATRA Todd-AO Color. Elizabeth Taylor, Richard

Burton, Rex Harrison. Producer Walter Wanger.
Director Joseph Mankiewicz. Story of famous queen.
221 min. 6/24/63.

LEOPARD. THE Burt Lancaster, Claudia Cardinale.

QUEEN'S GUARDS, THE CinemaScope, DeLuxe Color.
Daniel Massey, Raymond Massey. Robert Stephens.
Producer-Director Michael Powell. A tala of flia
tradition and importance of being a Guard.

Film BULLETIN — THIS IS YOUR PRODUCT

UNITED ARTISTS

March

FIVE MILES TO MIDNIGHT Sophia Loren, Anthony
Perkins, Gig Young, Jean-Pierre Aumont. Producer-
director Anatole Litvak. Suspense drama about an
American in Europe who schemes to defraud an insur-
ance company. 110 min. 3/4/43.

LOVE IS A BALL Technicolor, Panavision. Glenn Ford,
Hope Lange, Charles Boyer. Producer Martin H. Poll!
Director David Swift. Romantic comedy of the interna-
tional set. 1 1 1 min. 3/4/63.

April

I COULD GO ON SINGING Eastmancolor, Panavision.
Judy Garland, Dick Bogarde, Jack Klugman. Producers
Stuart Millar, Lawrence Turman. Director Ronald
Neame. Judy returns in a dramatic singing ro e 99
mfn. 3/18/63.

May

DR. NO Technicolor. Sean Connery, Ursula Andress
Joseph Wiseman, Jack Lord. Producers Harry Saltz-
man. Albert R. Broccoli. Director Terence Young. Action
dr.?m<* based on the novel by Ian Fleming. Ill min.
3/ 1 8/ 63 .

June

AMAZONS OF ROME Louis Jourdan. Sylvia Syms.

BUDDHA Technicolor, Technirama. Isojiro Hongo,
Charito Solis. Producer Masaichi Nagata. Director
Kenji Misumi. Drama dealing with the life of one of
the world's most influential religious leaders. 134 min.

CALL ME BWANA Bob Hope, Anita Ekberg Edie
Adams. Producers Albert R. Broccoli, Harrv Salrzman
Director Gordon Douglas. Comedy. 103 min. 6/10/63.

DIARY OF A MADMAN Vincent Price, Nancy Kovak
Producer Robert E. Kent. Director Reginald Le Borg.
Horror mystery of a man possessed by a horla 96 min
3/4/63.

July

GREAT ESCAPE, THE Deluxe Color, Panavision. Steve
McQueen, James Garner, Richard Attenborough Pro-
ducer-director John Sturges. Based on true prisoner of
war escape. 168 min. 4/15/63.

IRMA LA DOUCE Color. Jack Lemmon. Shirley Mac-
Lame. Producer-director Billy Wilder. Comedy about
the poules" of Paris, from the hit Broadway plav.
142 mm. 6/10/63.

August

CARETAKERS. THE Robert Stack, Polly Bergen Joan
Crawford. Producer-director Hall Bartlett. Drama
dealing with group therapy in a mental institution 97
mm.

TOYS IN THE ATTIC Panavision. Dean Martin, Geral-
dine Page, Yvette Mimieux, Gene Tierney. Producer
Walter Minsch. Director George Roy Hill. Screen
version of Broadway play. 90 min.

September

STOLEN HOURS Susan Hayward, Michael Craig Diane
Baker Producers Stewart Miller. Lawrence Thurman.
Director Daniel Petne. Drama. 100 min.

October

n°J1NNYJ?OOL ^e?.ry Silva' Elizabeth Montgomery.
Producer-d, rector William Asher. Chrislaw Productions.

TWICE TOLD TALES Color. Vincent Price, Mari Blan-
chard. Producer Robert E. Kent. Director Sidney Salkow
Based on famous stories of Nathaniel Hawthorne.

November

IT'S A MAD MAD, MAD, MAD WORLD. Cinerama,
lechmcolor Spencer Tracy, Milton Berle, Sid Caesar
Buddy Hackett Ethel Merman, Mickey Rooney, Dick
Shawn, Phil Silvers Terry-Thomas, Jonathan Winters.
Producer-director Stanley Kramer. Spectacular comedy.
MCLINTOCKI I Color. John Wayne, Maureen O'Hara
^?,"nke % Car'0' 1?trLck WaV"e. Chill Wills, Jack
Kruschen. Producer Michael Wayne. Director Andrew
Y, McLaglen.

December

KING OF THE SUN Color. Yul Brynner, George Cha-
««JJ- a tewis Rachmil- Director J. Lee Thomp-

son. A Minsch Company Presentation.

Coming

SEAUTY AND THE BEAST Joyce Taylor, Mark Damon
:dward Franz, Merry Anders. 77 min.

*»Rf«M?NY' THE Lauren<:e Harvey, Sarah Miles Rob-
ert Walker, John Ireland. Producer director Laurence
larvey.

February

0 ^yNDS OF TROUBLE Color, Panavision. Tony Cur-

». Phil Silvers, Suzanne Pleshette. Producer Stan Mar-

•»n/iei/i Norman Jewison. Comedy. 105 min.
*/24/ 62.

March

TO KILL A MOCKINGBIRD Gregory Peck, Mary Bad-
ham. Producer Alan Pakula. Director Robert Mulligan.
Based on Harper Lee's novel. 129 min. 1/7/63.

A pril

BIRDS, THE Technicolor Rod Taylor, Jessica Tandy,
Suzanne Pleshette, Tippi Hedren. Producer-Director Al-
fred Hitchcock. Suspense drama. 120 min. 4/1/63.

UGLY AMERICAN, THE Color. Marlon Brando, Sandra
Church, Yee Tak Yip. Producer-Director George Eng-
lund. Drama based on best-selling novel. 120 min.
4/15/63.

May

PARANOIC Janette Scott, Oliver Reed, Sheilah Burrell.
Producer Anthony Hinds. Director Freddie Francis.
Horror. 80 min. 4/15/63.

SHOWDOWN IFormerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen. Western. 79 min. 4/15/63.

June

LANCELOT AND GUINEVERE Color. Panavision. Cornel
Wilde, Jean Wallace, Brian Aherne. Producers Cornel
Wilde, Bernard Luber. Director Wilde. Legendary tale
of love and betrayal. 116 min. 5/13/63.

LIST OF ADRIAN MESSENGER, THE George C. Scott,
Dana Wynter, Clive Brook, Herbert Marshall. Producer
Edward Lewis. Director John Huston. Mystery. 98
min. 6/10/63.

TAMMY AND THE DOCTOR Color. Sandra Dee, Peter
Fonda, Macdonald Carey. Producer Ross Hunter. Direc-
tor Harry Keller. Romantic comedy. 88 min. 5/13/63.

July

July

GATHERING OF EAGLES. A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann.

KING KONG VS. GODZILLA Eastmancolor. Michael
Keith, Harry Holcomb, James Yagi. Producer John
Beck. Director Thomas Montgomery. Thriller. 90 min.
6/10/63.

August

FOR LOVE OR MONEY IFormerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon'.

THRILL OF IT ALL, THE Color. Doris Day, James Gar-
ner Arlene Francis. Producers Ross Hunter, Martin
Melcher. Director Norman Jewison. Romantic comedy.
108 min. 6/10/63.

TRAITORS, THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson.

Coming

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN, M.D. Gregory Peck, Tony Curtis,
Angie Dickinson. Bobby Darin, Eddie Albert. Producer
Robert Arthur. Director David Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

CHARADE Color, Panavision. Cary Grant, Audrey Hep-
burn, Walter Matthau, James Coburn. Producer-Direc-
tor Stanley Donen.

DARK PURPOSE Color. Shirley Jones, Rossano Brazzi,
George Sanders, Micheline Presle, Georgia Moll. Pro-
ducer Steve Barclay. Director George Marshall.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven, Shirley Jones. Producer Stanley Shapiro.
Director Ralph Levy.

MAN'S FAVORITE SPORT Color. Rock Hudson, Maria
Perschey, Paula Prentiss. Proaucer-director Howard
Hawks.

WILD AND WONDERFUL IFormerly Monsieur Cognac)
Color. Tony Curtis. Christine Kaufman, Larry Storch.
Producer Harold Hecht. Director Michael Anderson.

WARNER BROTHERS

GIANT Re-release.

March
A pril

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Mr-dern drama of a mountain family. 119 min. 3/4/63.

September

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama.

October

RAMPAGE. Technicolor. Robert Mitchum. Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

DEAD RINGER Bette Davis, Karl Maiden. Producer
William H. Wright. Director Paul Henreid.

DISTANT TRUMPET. A Technicolor. Panavision. Troy
Donahue, Suzanne Pleshette. Producer William H.
Wright. Director Raoul Walsh. Epic adventure of
Southwest.

FBI CODE 98 Jack Kelly, Ray Denton. Producer Stanley
Niss. Director Leslie H. Martinson. Dramatic action
story.

FOUR FOR TEXAS Technicolor. Frank Sinatra, Dean
Martin, Anita Ekberg, Ursula Andress. Producer-direc-
tor Robert Aldrich. Big-scale western with big star
cast.

GREAT RACE, THE Technicolor. Burt Lancaster, Jack
Lemmon. Producer Martin Jurow. Director Blake Ed-
wards. Story of greatest around-the-world automobile
race of all time.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

KISSES FOR MY PRESIDENT. Fred MacMurray. Pro-
ducer-director Curtis Bernhardt.

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

MISTER PULVER AND THE CAPTAIN Technicolor. Rob-
ert Walker. Burl Ives. Producer-director Joshua Logan.
Comedy sequel to "Mister Roberts".

OUT OF TOWNERS. THE Glenn Ford, Geraldine Page.
Producer Martin Manulis. Director Delbert Mann. Com-
edy-drama .

PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens, Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort.

ROBIN AND THE 7 HOODS Technicolor-Panavision.
Frank Sinatra, Dean Martin, Sammy Davis Jr., Joey
Bishop. Producer Gene Kelly. Director Gordon Douglas.
Based on adventures of Robin Hood set against back-
ground of Chicago in the "roaring 20's.''

YOUNGBLOOD HAWKE Suzanne Pleshette, James Fran-
ciscus. Producer-director Delmer Daves. From Herman
Wouk's best-selling novel.

To Better Serve You . . .

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CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min. 4/1/63.

May

AUNTIE MAME Re-release.

ISLAND OF LOVE IFormerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece. 101 min. 5/13/63.

SUMMER PLACE. A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

BULLETIN — THIS IS YOUR PRODUCT

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J

RAVE REVIEWS! RECORD GROSSE

Joseph E. Levine presents

FEDERICO FELLINI'S

Screenplay by FEOERICO FELLINI • TULLiO PINELL1 • ENNIO FLAIANO
6RUNEU0 RONDI Slory by ENNIO FLAIANO ■ FEOERICO FELLINI
Produced by ANGELO RIZZOLI An Embassy Pictures Release

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BULLETIN

Opinion of* tne Industry

JULY 22, 1963

APPRAISAL OF FILMDOM'S FINANCIAL POSTURE

ANSWERS MUST
BE FOUND

By PHILIP R. WARD

The I ni versa i -A Iti iPeai
— Is It Feasible ?

Wht They're hiking About

O □ a In the Movie Business □ □ Q

euiewi

THIS SPORTING LIFE

SHOCK CORRIDOR
MURDER AT GALLOP
THE L-SHAPED ROOM
BEACH PARTY
BUDDHA
RAIDERS OF LEYTE GULF
HAND IN THE TRAP
ORDERED TO LOVE

Bull's-Eye Circulation!

GUARANTEE

Film Bulletin Reaches the Policy-Makers,
The Buyers, The Bookers of over 12,000 of
The Most Important Theatres in U.S. &> Canada!

Wkt They're Talking About

□ □ □ In the Movie Business □ □ □

The Universal -NBC Deal
— Is It Feasible?

There is much discussion in movie circles
about the potentials in the projected deal
whereby Universal might produce a series of
full-length features for the NBC network. Is
it feasible? Film BULLETIN asked an ex-
perienced television executive for his analysis
of the idea. Here it is:

The plans of MCA-Universal to make feature
length movies for television showing on NBC
and subsequent theatre use are currently in
too early a stage to be judged realistically.
Nevertheless, a few general observations
should be in order about the envisionable
limitations and consequences of such
an undertaking.

The idea of making feature length movies for
television is hardly new in itself, NBC's series,
"The Virginian," meets the description
perfectly, for example. The fact that the
purported budget of the MCA product is much
higher seems merely to indicate that ordinary
television showing will not cover the nut.
If that is the case, either overseas sales or
theatrical bookings will be fundamental to the
financial success of the venture. Let us then
consider a little of the past history of the often
uneasy partnership of films and television.
We can point to some television dramas which
became theatre film successes as well, like
"Marty", "Days of Wine and Roses", and
"The Miracle Worker" (though the latter was a
case where the film came from the Broadway
play rather than the original television
treatment.) But it is well to remember that in
these instances the whole show was restaged
for the movie cameras. It was not a kinescope
of the television drama.

The production values of television and theatre
films are different. Television can
accommodate the big scenes of movies a lot
more easily than the huge theatre screen can
accommodate the inescapable intimacy of the

constant close-ups and two-shots which
dominate video drama. Even in a Western,
television uses tighter camera angles than a
theatre motion picture. This is a technical point,
but it is an important one. It may be one reason
why even in an era when television uses film
for so many of its shows so little of this film
winds up on a theatre screen.
Another point which will ultimately have to be
resolved is the question of compensation for
actors. Where will subsequent run theatrical
showing of a television drama fall into the scale
of residual payments?
Leaving aside the question of theatrical
bookings, let us consider the production of
feature length films as purely a television
undertaking. The budget figures quoted for the
productions along rumor lane have varied from
a low of $500,000 to a high of almost double
that amount. Even a $500,000 spread over
two full hours of prime time is way over the
current top program price-except for a
championship pro football game or something
of that unique character. Thus there would
have to be expectation that the program would
be reshown several times on the network and
then in syndication, in order to make the
budgeting economically feasible.
Would this subsequent-run technique of
television booking represent a new kind of
competition with the neighborhood movie
theatre? You can answer the question for
yourself. Is Saturday night at the movies, or
any of the other prime time television movie
programs, competing with Saturday night at
the movie theatre?

Of course it competes. When you show
theatrical movies on television, you are
competing with theatrical movies at the
theatre. Perhaps this competition is minor
when the TV movie is the late show, but when
the home movie and the theatre movie both
start at 8:30 or 9 or so they are in direct
opposition to each other. The customer has to
pick between them.

Now if the MCA features for NBC turn out
to be television features rather than theatrical
movies, they will be less competition, of course.
They will also be less unusual. If this is all they
turn out to be, the chances are that they will
also turn out to be a lot less expensive.
In such event, we may all be asking ourselves
what the shouting was all about. So let's pose
the question right now. Until we have
something to see, what's all the
shouting about?

The Vim frw OutAitfe

by ROLAND PENDARIS

Needed: Elder Statesmen

In industry, as in government, there are usually elder states-
men to whom younger executives can turn for disinterested
counsel. An elder statesman is best qualified for this portfolio
if his aloofness from current partisanship is based upon his own
wishes. Thus, Herbert Hoover qualified not simply because he
was an ex-President but rather because, a generation after he left
the Presidency, he was giving actively of his time and knowl-
edge, in a non-partisan way, to the commission for the reorgani-
zation of the federal government. In the same way, Bernard
Baruch became an elder statesman after he left government
under his own steam.

The purpose of this lengthy preamble is to define our ter-
minology when we approach the subject of the elder statesmen
in the motion picture industry. Ours is an industry which has
been in existence for more than half a century, about the same
as the automobile business and certainly less than the federal
government. But the automobile business has its elder statesmen
and has always had them; the federal government has had them;
a younger industry such as broadcasting has them. Where are
ours? Stop to think of all the heads of major motion picture
companies that you can remember, going back as many years as
you wish. How many of them ever retired on their own initia-
tive? How many who retired continued to be asked for counsel?

Oddly, most of the retired pioneers came from the production
side of the film world. Maybe California is conducive to that
sort of thing. In the East, the rule seems to have been established
that voluntary retirement is sissy stuff. Consider every change in
the presidency of a major production-distribution company in
recent years, for example, and you will find that it has been
either the grim reaper or an ouster move by stockholders or the
board of directors that took an old president out and a new
president in.

Possibly some small portion of this strange industry record
is due to the fact that while other companies and most govern-
ments have compulsory retirement ages there is no such general
practise at the top executive level among the movie corpora-
tions. Retirement is not an automatic birthday present in the
film business.

The effect of this lack of voluntary retirement upon the folk-
ways and mores of corporate film families is a subject worthy of
at least a separate column. I should like to devote the rest of
this present essay to considering the consequences of our lack
of elder film statesmen upon the general state of the business.

It seems to me that every business and every important en-
deavor of man, including the movie industry, has a strong and
continuing need for disinterested and experienced veterans who
can view with alarm when alarm is in order, give us the recipe
for the required mixture of daring and caution in the face of
crisis, rally industry-wide efforts and serve as the conscience of
their calling. We certainly need such men, now. I believe we
need elder statesmen now because the motion picture industry
is going through a major period of change. The elder statesman
has gone through other major changes. He knows how it feels.

So, if I may, I should like to address a series of questions to
the unhappily mythical elder statesmen of the New York film
business. Pull up a park bench and join me.

Mr. Elder Statesman of pictures, let me call you Esop for

short. Now then, Esop, what about our supply of pictures? In
your day did you ever encounter a shortage of product, and if
so what did you do about it? What did you do to develop new
stars when the old ones asked too much money? While we are
at it, Esop, let's have some of your reminiscences about the days
when people were staying home from the movies to listen to 1
the radio. What did you do about that? And from your advan-
tageous point of view, what do you think basically we are doing
wrong? How can we do better?

I realize that some of these questions are pretty general, Esop,
and maybe you'd rather talk about the time you showed that
Wall Street banker how little he knew about the movie business;
but I'm asking the questions that occur to me, and I hope that
you will make all the comments that occur to you. One of the
best things about having elder statesmen, you see, is that they
can criticize constructively from a uniquely experienced point
of view. Right now, the movie business can use such advice.

I recognize that a lot of our problems just didn't happen in
your day, Esop. For example, I don't think you had to worry
about high bracket income taxes and collapsible corporations
and residuals and subscription television. But there are many
other challenges which go on from one generation to the next,
and plenty of parallels between the past and the present.

Think back, Esop, to the days of First National. Can you tell
me now how come an exhibitor group at that time was able to
form a production company and get off the ground with it,
while this same step has proven virtually impossible today?

I see that you are thinking of your own busy days in the
film industry. What are you remembering? The way you bally-
hooed pictures? The way you set up tent theatres when you
couldn't make a deal in a one-theatre town? The way you saved
money by bicycling two prints among four locations? Think
about those days, Esop, and then think about now, and tell me
what you think. I may not agree with you, but I want to know.

A lot of new people in every business or sport make no bones
about their feeling toward the old-timers. "Things have
changed," they say. "The old-timers would be lost today."

Maybe so, but there never was a generation yet that didn't
have a lot to learn from the past. Machines change, tastes
change, designs and languages change; but basic values remain.
One of the things that differentiates man from the other ani-
mals is that man learns not only from his own experience but
also from the experience of others.

Maybe way back some old gaffer recalls an interesting method
for listing the pictures of the actors along with the cast credits.
Maybe another Esop sits back and compares today's block-
buster with the way he sold "Birth of a Nation" and sees where
an old approach might be revived. Maybe some younger film
executive could learn by soliciting the advice of Esop.

But there's the rub. As I said at the outset, we simply do not
have an Esop, an elder statesman of pictures. We have dis-
tinguished pioneers like Sam Goldwyn, who certainly qualifies
at the production end, and we have an Adolph Zukor, still hold-
ing office with a major company.

A man in other fields does not have to be in his eighties to
be an elder statesman. He has to be — first of all — retired, and
this is where the motion picture industry runs out. Nobody
knows how to quit. They have to be pushed.

I'd like to see an occasional volunteer.

Page 4 Film BULLETIN July 22, 1943

JULY 22, 1963

tewpotnts

1963 I VOLUME 31, NO. 15

HV» ]%fee>d Movies ihui Ent€>rt€tin

To the Editor,
Dear Sir:

Isn't it about time this business of
ours learned that people do not go to
the movies to pursue their post-grad-
uate studies. Nor, if I am any judge of
my own public, do they attend to be
lectured at, pontificated to, or instructed
in the darker phases of life on this earth.

I am certain that this protest serves
as no minority report. It is clear from
your article in the July 8 Film BUL-
LETIN, based on a research study of
leading exhibitors, that there is a swell-
ing reaction against the so-called "adult"
pictures. I heartily agree with that presi-
dent of a midwest chian who declared
in your article that many of the pictures
seen on television, such as "Three Coins
In the Fountain," are better than we
have on our screens. And I heartily con-
cur with his conclusion, to wit, they are
better because they are entertaining
(italics, please) — they are not trying to
teach a lesson or raise the morals of
the audience.

Please don't read these comments as a
slam at intelligence or artistic integrity
in pictures. I'm all for movies that
satisfy the public's hunger for stories
dealing with historical subjects or urgent
present day issues. But, first of all they
have to be entertaining. What I'm trying
to say is exactly what the exhibitor wrote
in your survey — "People want to check
their problems when they walk into a
theatre". They want to be entertained.

I know those who come to my theatres
do, and that must be true of most movie-
goers. Of course, entertainment means
different things to different people. The
art theatre patrons find their pleasure in
those "slice of life" pictures from
abroad, and I have no complaint with
their taste. I play the better ones in my
theatres. But an awful lot of the im-
ported pictures are plain tripe, slow,
dull and shoddy, and I have a strong
feeling that the public is surfeited with
that kind of fare. I also think the people

have had their fill of the Tennessee Wil-
liams' brand of pictures Hollywood
turned to in recent years. Too much is
too much, and it's time to blow the
whistle.

A movie ticket has always held the
implied promise of a good time. A good
time ! Those three little words are some-
thing our movie makers ought to think
about. When a movie patron buys his
ticket he is taking refuge in a darkened
shelter from the burdens of his day, or
perhaps of his life. We should remember
that he wants to check his troubles at
the door. Isn't escape what we really
should offer him? And isn't that what
we should advertise?

This is not a new psychological idea.
The early film makers accepted it as a
simple, uncomplicated truth. Too many
of today's producers have lost the flair
for making pure escapist movies. They
think in terms of big, high-cost spec-
tacles, or, as an alternative, little, gloomy
pictures. What happened to that won-
derful old idea of making fun pictures?
I don't mean just comedies; I'm referring
to every type of movie that makes you
cry, shiver, or gasp, as well as laugh.

Look at the crowds turning out to
have fun with "Dr. No" (I've had re-
ports from my managers that many
people are asking when another "Dr.
No" picture will be coming out). We're
getting terrific reports on the business
M-G-M's "Captain Sindbad" is doing.
This is the kind of colorful, fantastic

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 1239 Vine
Street, Philadelphia 7, Pa., LOcust 8-0950, 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manager; Max Garelick,
Business Manager; Robert Heath, Circulation
Manager. BUSINESS OFFICE: 550 Fifth Ave-
nue, New York 36. N. Y., Circle 5-0124;
Ernest Shapiro, N Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
$3.00 in the U. $.; Canada, $4.00;
Europe, $5.00. TWO YEARS, $5.00 in
the U. S.; Canada, Europe, $9.00.

hokum that people always buy — when
it's presented as pure fun. Metro is
giving it the kind of a slick campaign
that will sell millions of tickets. The
whole conception smacks of Show Busi-
ness, as we once knew it. I would love
to see more of the same.

Look at the long, long success Jerry
Lewis has had. Maybe his stuff is wearing
a bit thin, but we still do well enough
with his picture to hope that he contin-
ues making them forever. And look at
the steady good fortune American Inter-
national has had with those outlandish
Edgar Allen Poe shockers. They are
clothed with comic book qualities, but
the audience knows exactly what it's
buying — spook house entertainment — ■
and it buys.

And, best of all, look at the long run
of success Universal has had with those
clever, frothy comedies. Does that com-
pany have a monopoly on comedy?
Seems so, because it's rare to see any
other studio undertake to make some-
thing light and gay. If anyone in our
business has any doubts that comedy is
still popular, let them check into the
audiences those old fun pictures of
twenty and more years ago draw on
the Late Shows.

The newspapers and television very
nicely fulfill the function of illuminating
life's varied day-to-day issues and prob-
lems. They are welcome to their uncon-
tested monoply in this field. My thesis
is this: the entertainment television of-
fers is generally cheap and flimsy, but
much of it is fun stuff. The theatre mo-
tion picture producer can do a much
better job in turning out that kind of
entertainment, and we ought to concen-
trate on it. Let's go after the television
audience, instead of reaching tor thai
smaller part of the public that isn't tied
down in the living room.

If you find anything in this letter use-
ful, print it, by .ill inc. ins.

Sincerely,

JOE 1 XH1B1TOR.

Film BULLETIN July 22. I9A3 Page 5

KLEIN

NG Moves To Firm
The Exhibition Body

Diversification has proven the salva-
tion of some of the country's larger
theatre circuits. They have gone into tele-
vision, concessions, hotels, girdles and
bras, real estate. And in some cases the
tail is wagging the dog.

National General Corporation has
spread its operations into other distant
fields, too, but at the same time the big
West Coast circuit is moving into activi-
ties that might firm up the entire exhibi-
tion body.

Under the driving force of its dynamic
president, Eugene V. Klein, NG is push-
ing two key projects: theatre television-
and film production. Sometime within
the next month, Talaria, the large screen
color TV system developed by General
Electric for National General, is sched-
uled to be demonstrated in New York.
Klein and Irvin H. Levin, NG vice presi-
dent, recently made a deal with NBC
to rent the network's Colonial Theatre
in N. Y. for a live telecast. Levin also is
president of Theatre-Vision Color Corp.,
the NG subsidiary that hopes to have a
theatre television network in operation
within one year. This is NG's answer to
the threat of home pay-TV.

Aiming to relieve the product short-
age that is retarding theatre operations,
National General is planning to move
into film production. The recent decision

CAST &
CREDITS
■

Report on the Industry's
PEOPLE and EVENTS

of Federal Court Judge Edmund Pal-
mieri in New York cleared the way for
NG to undertake a production program
for a three-year trial period, and the
company is busily engaged in considering
numerous propositions from indepen-
dent producers, including one of the
toppers in the field.

Having taken the initiative in exhibi-
tion-sponsored production, there is a
strong likelihood, it was learned at the
weekend, that NG might be joined in its
program by another important circuit.

More Movie Product
Pouring into Homes

The flood gates are further ajar, and
more post- 1948 feature films are pouring
into the nation's homes.

In two separate deals involving some
$34 million, Seven Arts Associated
picked up a total of 443 features for its
TV library from Universal and 20th
Century-Fox. The 215 from Universal
(reported price, $21,500,000 plus a per-
centage) are new ones for the television
screen; the 228 from Fox (reported price,
$13,000,000) include some films which
have already had partial exposure on TV.

Also announced: Warner Brothers'
own television division is turning loose
another 25 post- '48 features, including
items like "Rio Bravo", "The FBI Story"
and "The Miracle."

Warners Promise
Christmas in July

Warner Brothers is making like Santa
Claus for product-hungry exhibitors.

President Jack L. Warner last week
announced the most ambitious program
of theatrical production in the company's
history. He said that 80 million is being
poured into a schedule of 22 feature
films — completed, shooting and in prep-
aration. The list includes 9 productions

currently rolling or scheduled to start
before the end of the summer, and 5
more in various stages of preparation
for shooting by next spring.

Topping the list, of course, is the $12
million screen version of "My Fair Lady"
from the long-run Broadway stage show.
Other outstanding productions on the
Warner slate are "Youngblood Hawke";
"Act One", and "Camelot".

JAFFE AND ROBBINS

Columbia-NSS Deal
Less Sweat for Exhib

Columbia Pictures and National
Screen Service reconciled their differ-
ences, and now theatremen will no
longer suffer the inconvenience of being
required to obtain their trailers and
accessories through the film company,
rather than through NSS.

The deal that brought Columbia back
into the National Screen fold was an-
nounced jointly by Leo Jaffe, Columbia
executive vice president, and Burton E.
Robbins, president of NSS.

Universal City Plaza

Driving a "Golden Rivet" into a steel
girder to signal the start of construction on
the new multi-million dollar University City
Plaza, Jules C. Stein, chairman of the board
of MCA, Inc., declared that "a great new
period of expansion lies ahead for entertain-
ment as an enterprise" in Southern California.
Participating in the ceremonies, left to right:
Jack Benny; Milton R. Rack mil, MCA vice-
chairman of the hoard and president of Decca
Records and Universal Pictures; Alfred Hitch-
cock; Los Angeles County Supervisor Warren
M. Dorn: Stein, and Marlon Brando (in uni-
form for his role in "King of the Mountain" ).

Page 6 Film BULLETIN July 22, 1963

THE HOT ONE FOR AUGUST!

"The bed
was

awful big

and lonesome

without

you!"

"Let go!
Let go!
I won't go
near him
again!"

"This'll
teach you . . .
stay away
from

other men's
women!"

CO-STARRING

Y HILLER

Produced by

1 "

bt

Directed by

EI

ne s your
own brother.,
but you
didn't want
another womi
to have
him!"

Screenplay by

Based Upon the Stage Play by

WALTER MIRISCH GEORGE ROY HILL JAMES POE LILLIAN HELLMAN

A MIRISCH- CLAUDE PRODUCTION

The celebr ec
play that
shocked Broava
comes boldly
alive on
the screen!

PAN A VISION'

I

APPRAISAL OF FILMDOM'S FINANCIAL POSTURE

Answers Must Be Found

By PHILIP R. WARD

The investment profile of the motion
picture industry of late has sagged to a
lower state of disesteem than it has suf-
fered in a number of years.

Admittedly, movie shares have never
trod the high road of the public utili-
ties in Wall Street counsels. But neither
have they been so totally excluded from
even cautious speculative consideration
as they, with several notable exceptions,
now are in the view of published re-
ports from respected appraisal sources.
Contributing to the discomfort is that
many who now write off the movies as
among the lower grade investment op-
portunities are those who until recently
made apology for its problems in the
electronic age, believing they saw evi-
dence of a gathering readjustment to
the necessities of the times. This senti-
ment is now replaced by an apparent
resignation to the status quo, or by
sheer ennui.

It brings us no pleasure to make this
downbeat report; it is merely a state-
ment of fact.

A summation of these convictions is
to be found in the current movie indus-
try analysis of the Value Line Invest-
ment Survey. Value Line declares: "The
motion picture industry occupies an
unenviable position in American indus-
try. The composite profits in 1962 were
only fractionally higher than in 1948
(whereas the profits of American in-
dustry as a whole have approximately
doubled in the same period) and its
members are engaged in a near-desper-
ate struggle to find a new modus Vi-
vendi. Changes in American and world
entertainment tastes have played some
role but this is an ephemeral sort of
thing and conclusions so based highly
tentative."

Certain specific set-backs are at the
seat of filmdom's fall from grace. As
it has done often in the past, Value
Line recites those most crucial: ". . . the
loss of the advantages of block booking
coupled with the inroads made by tele-
vision has forced most of the industry
to make 'bigger' pictures with conse-
quential increases in risk" — an arrange-
ment under which "poor pictures are,
literally, disasters.' It continues by say-
ing that producers do not, of course,
intentionally set out to make poor pic-
tures, as is readily ascertainable by
present-day budgets. What producers

try to do is fashion entertainment on
so grand a scale that television, which
has totally pre-empted the place of the
run-of-the-mill picture, cannot possibly
compete. In so doing, the mathematics
of production costs now require a $10
million picture to gross $20 million-plus
in order to achieve a break-even. In this
climate risks continue to pyramid. As
Value Line suggests, it is far shakier
to make 10 films at $10 million each
than spread 50 films over the same
$100 million.

Value Line's critique is historically
valid. It is also generously face-saving,
for its explanations might convey to an
outsider a certain inevitability borne of
circumstances beyond the power of the
industry to arrest. It might be accepted
even by movie insiders, should they not
pause to reflect that many of the justi-
fications, which might appear to be of
recent origin, existed in 1953, 1956,
I960, and have remained serviceable ex-
cuses for a good ten years. This is mid-
1963 and some leaders of the motion
picture industry continue to treat these
causes as majestic acts of Gods, far out-
side the ability of mere mortals to cope
with and to correct. To an insider, one
seems to detect in Value Line and other
investment analyses a final wearing of
patience with the failure of this industry
to disengage itself from its tired and
hoary problems and find new answers.
In short, the crutch is about worn out.
The old answers are insupportable. Yet
without new ones, filmdom is in danger
of atrophy. Not only are the motion
picture industry's earnings highly vola-
tile, they are in Value Line's words:
"In an apparent secular downtrend,
when compared with the remainder of
American industry."

This is a fact, a hard one, at which
there can be no blinking. It is a damn-
ing thing that from outside sources we
should at last suspect the real nature
of our own inner illness. We have sim-
ply not discovered what \'alue Line calls
the new modus vivendi, the way to live
with our problems and ourselves.

To the contrary, we blindly continue
to repeat the old errors, each time on a
gaudier scale. Recent years have seen
some of our most stalwart companies
teeter on the brink of disaster. At fault
are concepts and philosophies that men
and companies accept as dogma, because
somewhere in the inner heart of this

business we have permitted exceptions
to serve as the rule.

One particular exception — the costly,
awe-inspiring Spectacular — serves as an
end-all to management thinking in
many quarters. It has seized the fancy
and the aspirations of production
people like a disease. It is, however, at
the core a get-rich-quick notion, no
matter how elaborately it is disguised
in executive prattle, the dreamed after
long-shot, the go-for-broke that will set
everything right again. It is always
reckoned in terms of return against
investment, but the investment is never
accurately computed. The investment
must include — as it never does — the
cost of nine sacrifices, nine production
kiss-offs to redeem a tenth — and that
one of uncertain magnitude. Nor does
it include in its high stakes calculations
the welfare of the exhibition market,
by which production companies must
live. It fails to consider that theatres
must have a steady supply of product
to keep their doors open — or they will
be closed.

This industry must re-appraise the
Big Picture philosophy, if only in term
of the mathematical verities, if only in
terms of spreading the risks along more
calculating lines, in terms of a greater
number of films still opulent, still large,
but less outlandishly wasteful. We must
unearth those techniques which are
basic to manufacturing industries in the
reduction of costs and the implementa-
tion of efficiencies. Profligate money
squandering belongs to another era,
not this one. We must learn to harness
idleness in production, evaluate the
benefits of systemized rehearsals in
which kinks are rooted out in time for
the shooting camera. These are answers
a constantly progressing industry must
find. And we must go after them with a
vengeance. When one assays the parts
of this business rather than its sum,
bright spots emerge, and it all looks so
simple. Some companies have found an
answer — a smart, practical, economic
answer. They manage to produce suc-
cessful films on relatively modest (we
don't mean "quickie") budgets, and thej
link their modern-day production know
how with aggressive modern-day mer-
chandising techniques that pa\ off hand-
somely.

There arc answers for this business.
Thej have to be searched out.

Film BULLETIN July 22. 1943 Page 9

FINANCIAL REPORT

Movies Slide With Rest of Market

O'Brien Predicts M-G-M Upswing
After Disappointing 3rd Quarter

In the face of a loss for both the 12 weeks ended June 6, 1963,
and the 40 weeks ended the same date, Metro-Goldwyn-Mayer
president Robert H. O'Brien predicted a "return to profitable
operations" for the firm in the first quarter of the 1963-64
fiscal year. The reasons for the setback and the optimistic out-
look were pegged to the same post: motion picture product.

The loss for the third quarter of the current fiscal term
totaled $3,622,000, against a net profit of $755,000 (300 per
share) in the similar span a year earlier. For the 40-week period,
the loss amounted to $12,338,000, compared to a profit of
$3,308,000 ($1.30) a year ago.

Said O'Brien in a letter to stockholders, the low level of film
rentals was the main factor in the loss, since the "new releases
during the period, including several key pictures, have done
poorly at the box office." At the same time, the "strongest
lineup of pictures this company has had for many years" augurs
well for a "substantial turn-around" in the fall-winter period.

The Metro topper pointed to such upcoming releases as
"The V.I.P.s," "The Wheeler Dealers," "Twilight of Honor",
"Sunday in New York" and "The Prize" as comprising a really
powerful film card for the coming months. Also mentioned
prominently by O'Brien was Irving Berlin's "Say It With
Music," scheduled for production in 1964, and "How the West
Was Won," which he said continues to prove a boxoffice hit
in the U. S. and overseas.

According to the stockholders' letter, Metro, along with 20th
Century-Fox and Columbia, continues to investigate the possi-
bility of building a completely new motion picture and tele-
vision production center near Hollywood. "This project, if set
up," said O'Brien, "would not in any way affect or alter the
individual identity or autonomy of the individual companies."

Better UA 2nd Half — Shearson, Hammill

While Shearson, Hammill & Co. anticipates that results for
the second quarter of United Artists were "considerably below
the 620 earned in last year's June quarter," the Wall Street
investment firm predicts that the second half of the year should
show "considerable improvement over the first six months."

In a report on UA, researcher Fred Anschel attributes the
upbeat second-half outlook to several films which have just gone
into release, chief of which are "Irma La Douce" and "The
Great Escape," which, he says, are "doing very well at the
boxoffice." Earnings for all of '63 are "very tentatively" esti-
mated at $1.80 to $2.00 per share. And, adds Anschel, "pros-
pects for 1964 are unusually favorable based on a promising
lineup of releases, particularly "It a Mad, Mad, Mad, Mad
World."

Additionally, UA's expanded TV program production "should
make an important contribution to next year's revenues and
profits." Shearson, Hammill does not picture the $1.60 annual
dividend as "entirely secure in the light of the company's dis-
appointing first half results and its relatively tight cash posi-
tion. However, we still would guess," concludes the profile,
"that United Artists will continue to pay its current dividend
in view of the improved outlook for next year."

With movie conditions offering little in the way of buffer
strength, cinema shares were hard-hit by the general market
decline, the first major drop since February.

With two exceptions — Filmways was up y8, and Decca
remained the same — film companies slid as a group in the
two-week period from July 5 to July 18. Undoubtedly affected
by its recent financial report of a three-quarters loss, M-G-M
was hit hardest of all, off 3%. Stanley Warner (%) and Trans-
Lux (1/4) were the only theatre stocks ahead for the period.

While off slightly in the past fortnight, Disney, of all the
film companies, has held firmest against the recent bearish
onslaught, still remaining reasonably close to its 1963 high.

Wometco Earnings Set Records

Wometco Enterprises, Inc., Florida-based theatre, TV and
concessions chain, continues to show improvement in its earn-
ings and income.

Net after taxes for the first 24 weeks of 1963 hit a record
$1,043,459 (720 per share), compared to $916,197 (640) for
the similar 1962 span. Gross income for the 24 weeks also set
a new mark— $9,950,741, vs. $8,915,101 the year before. Net
for the 12 weeks ended June 15, 1963 totaled $518,812 (360),
against $467,109 (320) a year earlier.

FILM & THEATRE

STOCKS

Close

Close

Film Companies

7/5/63

7/18/63

Change

ALLIED ARTISTS

3%

31/8

- Vz

ALLIED ARTISTS (Pfd.)

9%

91/4

- Vz

CINERAMA

m

14

- lA

COLUMBIA

2534

245/8

-m

COLUMBIA (Pfd.)

83

823/g

- %

DECCA

45y2

451/2

DISNEY

38%

381/g

- %

FILMWAYS

7

7y8

+ %

MCA

55

55

MCA (Pfd.)

371/g

36i/2

-1%

M-G-M

321/4

28i/2

-33/4

PARAMOUNT

411/4

39y2

-1%

SCREEN GEMS

221/2

211/4

-1%

20TH-FOX

303/8

28i/2

-1%

UNITED ARTISTS

251/2

243^

-1%

WARNER BROS

143/4

13%

- % 1

*

Theatre Companies

* *

AB-PT

3iy8

293/g

-13/4

LOEW'S

183/4

181/s

- %

NATIONAL GENERAL

ny2

HV8

- y8

STANLEY WARNER .

22i/8

211/2

+ %

TRANS-LUX

*

11

11%

+ %

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, American

Exchange; all others on New York Stock Exchange.)

7/5/63

7/78/63

Over-the-counter

Bid

Asked

Bid

Asked

COMMONWEALTH OF P. R..

1

7%

6I/2

73/8

GENERAL DRIVE-IN

■ 10%

H5/8

103/8

U%

MAGNA PICTURES

2

23/8

21/4

2%

MEDALLION PICTURES

9

9%

83/4

93/4

SEVEN ARTS

.. 73/4

8%

7%

83/8

UA THEATRES

11

12

12

131/8

UNIVERSAL

.. 621/2

661/2

No Quotation

WALTER READE-STERLING

.. 2i/g

21/2

23/4

31/4

WOMETCO

. . 23i/2

253/8

241/2

261/4

( Quotations courtesy National Assn. Securities Deale

rs, Inc.)

Page 10 Film BULLETIN July 22, 1963

AN IDEA FOR THE WILL ROGER HOSPITAL ... LONG MOVIES ... MANN TO SOVIET FILM MAKERS

Mr. Ned Depinet sounded a major
chord when he told the annual meeting
of the Will Rogers Hospital that it was
a fine public relations vehicle for the
industry.

It is too bad that the million dollar
quota needed to accommodate the Hos-
pital's program for the next year must
depend mostly on public fund raising.
The collections in theatres, plus the
money realized by the Christmas certifi-
cates, is certainly a means of carrying
the Hospital's story to public and indus-
try alike.

However, this is no more than an
emergency method of raising the needed
money. What is required is a systematic
fund raising mechanism that would
operate on a year 'round basis and not
be confined to acquiring funds to sus-
tain the institution.

I suggest to Mr. Depinet and his con-
freres (who deserve much credit for their
sincere efforts) that an attempt be made
to do a spectacular telecast through
which commercial sponsors would pay
at least one half-million dollars for the
privilege of backing a good show and
assisting a most worthy cause.

Wouldn't it be possible to get star
entertainers to participate in this one
annual telecast so that the package
would be sold to sponsors? The Hospi-
tal is for show folks in all its branches
and a performer who gave his services
for such a telecast would be helping
those who benefit from the hospitals'
services and research. Everyone involved
— performers, sponsors, the network and
all of showbusiness — also would enjoy
a fine public image through this par-
ticipation.

When is a motion picture too long?
I ask this question because a number of
very good pictures are assailed on the
basis of their running time, and even
producers and directors, after first show-
ings, conclude that the human tochus
can only endure an arbitrary interval. It
is odd that the paying public is seldom
questioned about how long it thinks
any given picture should keep them in
a theatre.

When I pays my dough to attend the
cinema, I am not concerned how long
I will sit, only with how long I will
be entertained. It seems that we have
reached a point in our civilization (said
he smilingly) when we become subser-
vient to the clock and when we consider
that acceleration is the panacea. In this
supersonic age, we see how fast we can
get to a given point and give very little
thought why we are going or what we
will do when we get there.

We sometimes shy away from a good

mi Jroeo

ADAM WEILER

book because it contains over 300 pages,
not caring whether its 600 pages might
be extremely enchanting. That is why
some wag said that David O. Selznick
not only deserved great credit for pro-
ducing "Gone With the Wind", but
also should have received laudation for
having finished the book.

The gentry who operate baseball ex-
hibitions have been concerned with
ways and means to speed up the game,
overlooking the fact that the average
fan is ab initio so bored that he doesn't
give a damn whether he sits in the park
way past supper time.

It's the same when the folks go to the
movies, especially in these days when
they only occasionally attend. We know
from experience that the double feature
is favored by most paying customers
and, speaking as an allegedly show-
minded citizen, I don't mind sitting
four hours to view two features if the}'
have entertainment values.

If I were an exhibitor, I would make
a point of selling the idea that my show
was a long one and challenge the poten-
tial patron to find a better way of
spending four or five hours. Of course,
before doing this I would make sure
that the patron would have a comfort-
able seat and not one that, as I have
found out, can rupture the base of any
good sturdy spine.

But the main point of this essay is
to point up that the time element is
perceived only in inverse ratio to the
quality of amusement that is inherently
in the subject matter. No creative author
sits down and declares that he must
write a novel that will take only two
hours to read. And certainly a creative
picture maker should not have to calcu-
late that exhibitors prefer pictures that
run no more than two hours.

Actually there are no rules or guide
lines to govern this matter; anymore
than there are formulae governing the
selection of subject matter.

The best, and generally the most
profitable pictures, are those that are
made, not according to the taste of

others, but those that reflect the per-
sonality of the persons who make them.
Recall the charm of the Lubitsch genre
and, contemporarily, consider the elan
and extraordinary work of Billy Wilder.

It should be kept in mind that a
seven course dinner can be either dull
or delightful, depending not only on
the quality of the cuisine but on those
who are sitting around the table.

Some of our enjoyment of the foreign
pictures is due to the empathy we have
for the craftsmen who create them. We
think that Fellini is clever mainly be-
cause we see in him a spirit that lies
dormant in most of us and is there to
be awakened.

It would be difficult to tell a good
picture maker that he must do a job by
watching the clock. I am reminded that
one of the longest operas, "Parsifal",
seems to go on and on without abridge-
ment. And we still read Dickens, Tol-
stoi, Anatole France and Dumas, none
of whom could be accused of brevity.

Abby Mann, a sensitive and capable
screen writer, displayed exemplary cour-
age when he told the Soviet film artists,
according to the Associated Press, that
"an artist, if he is to create out of his
heart's blood, must be free to assail any
institution, any status quo, any sacred
cow, and let the chips fly where they
may."

Mann, who was speaking at the Mos-
cow International Film Festival, re-
ceived most enthusiastic applause and
endorsement. Could it be that those
who make Russian films have reached
the point where the ideological straight-
jacket is pinching tighter than before
and their reaction indicated a desire to
make pictures about which they per-
sonally feel strongly — and to hell with
the Marxian doctrine?

Our course, Mann did not exonerate
our own system and made it clear that
the artist has problems under the capi-
talist system by declaring, "We have
followed the dictates of our countries —
their sentiments and their cliches."

I presume that Mr. Mann, despite
certain strictures confronting the pro-
duction of motion pictures in the
U.S.A., was really feeling comparatively
free to do what he pleases in his own
milieu. He told the Russians to join
their Western colleagues in trying "to
drive the slaves out of ourselvev This
metaphor could aptly be applied to the
Soviet industrv, but what it means in
the Hollywood context is not so clear.
Did Mr. Mann mean that he has be-
come a "slave" to emoluments in con-
trast to the RusM.ms becoming slaves
to dialectics?

Film BULLETIN July 22. 1943 Page II

"The L-Shaped Room"

Su4iKC44 1£at£*t$ O O ©

Rating is for art houses. British import deals frankly with
love affair of pregnant girl. Can be sold in general metro-
politan markets. Leslie Caron gives marquee lift.

This frank drama of London slum life already has achieved
resounding and deserved success in art theatres so its accept-
ance with selective, sophisticated audiences is assured. A meticu-
lously detailed, deliberately slow pace will lessen its potential
in the general market, but its boxoffice performance in metro-
politan areas might still be above average if it is given intensi-
fied promotional support. Leslie Caron gives it modest marquee
value. The frank subject matter and the use of language usually
considered taboo on screen will not set well with the family
trade. James Woolf and Richard Attenborough produced for
Romulus Productions, and Davis-Royal is handling the U. S.
presentation via Columbia's distribution facilities. Lynne Reid
Banks' novel has been adapted by writer-director Bryan Forbes
("The Angry Silence," "Whistle Down the Wind "). Mr. Forbes
obviously finds much to like in the most unsavory-seeming char-
acters, and it is this compassion, and understanding of the
human spirit, that marks the difference between just another
sordid soap opera and, as in "The L-Shaped Room", a moving
emotional experience. Miss Caron emerges as a dramatic per-
former of stature, well deserving of the British Film Academy's
best actress award she received earlier this year. Flawless as she
is, she is matched in brillance by Tom Bell, Cicely Courtneidge,
and, in smaller roles, Avis Bunnage, Kay Walsh, and Emily
Williams. Only Brock Peters, with an unconvincing West-
Indian accent, fails to be completely believable. The setting is a
roach-infested tenement in a teeming London slum. A 27-year
old French girl (Miss Caron) rids herself of her "cumbersome
virginity" through an impetuous, loveless affair and becomes
pregnant. She takes an L-shaped room in a slum and meets and
falls in love with Tom Bell, an aspiring, but impoverished,
writer. When he learns that she is pregnant, they continue their
affair, but he is unable to overcome his feelings about another
man's child. After an abortion attempt fails, Miss Caron,
warmed by the concern of her neighbors, becomes more aware
of life's beauty and is determined to have the child. Bell visits
her in the hospital and brings her a story — their story — "The
"L-Shaped Room," and she tells him that she is returning to
her parents' home in France to raise her child. After she is dis-
charged, she goes back to the rooming house to pick-up her
belongings. She leaves the story in his room with this note:
"It's a lovely story, but it hasn't got an ending. It would be
marvelous with an ending."

Columbia. 125 minutes. Leslie Caron, Tom Bell. Produced by James Woolf and
Richard Attenborough. Directed by Bryan Forbes.

"Shock Corridor"

Sentinel ^ctfutf Q Q

Played strictly for sensationalism, this low budgeter can
be exploited for action houses, drive-ins.

Sheer unadulterated sensationalism gives this low-budget
melodrama exploitation values which distributor Allied Artists
and exhibitors can capitalize. If promoted cleverly, "Shock
Corridor" could get fairly good returns in the metropolitan
action market and drive-ins. It is not for the hinterlands or
class houses. The Leon Fromkess-Sam Firks production cannot
be taken seriously in its depiction of mental illness. Writer-
producer-director Samuel Fuller is guilty of excesses in all de-
partments and, despite a fast pace and some interesting mo-
ments, the production eventually sinks into a cesspool of
vulgarity. Effective black and white camera work with a few

Technicolor dream inserts helps to offset the generally poor
performances. The far-fetched plot revolves around the efforts
of a reporter (Peter Breck) to solve the murder of a mental-
hospital patient. He has his fiancee (Constance Towers) a strip-
per, pose as his sister to commit him to the institution on
charges that he forced her into incest. Three inmates (Gene
Evans, James Best, Harri Rhodes) witnessed the crime and
from each the reporter learns, in moments of lucidity, clues to
the killer's identity. For a few moments in its middle portion
the film exerts a raw, ironic power. One witness, a Negro, first
of his race to be admitted to a Southern university, has cracked
under the strain and now imagines himself to be a white bigot.
The scene ultimately loses effectiveness as he dons a pillowcase,
believes himself to be the founder of the Ku Klux Klan, and
instigates a riot that leads to the vicious beating of a Negro
orderly. Tastelessness runs rampant in episodes that depict
impotency in male patients, an inmate who believes himself to
be pregnant, and the reporter's predicament when he opens the
wrong door and finds himself mobbed by a room full of nym-
phomaniacs. These scenes are played solely for shock value
and do nothing to further the plot. By the time the reporter
solves the murder he has spent so much time in the presence
of insanity that he too has lost his mind. It ends up tvith a
downbeat, trick, ending.

Allied Artists. 101 minutes. Peter Breck, Constance Towers, Gene Evans, James
Best. Produced and directed by Samuel Fuller.

"Murder at the Gallop"

ScidiK&te ^cttinq. © O Plus

Rating is for art houses. New Rutherford British murder-
comedy will also serve as OK dualler generally.

That indefatigable sleuth with the sagging jowls, Margaret
Rutherford, is up to her chins in murder again and, this time,
her chief suspects are Robert Morley and Flora Robson. The
resulting antics will please fans in art houses, and the lively pace
and short running time also makes this British import, released
through M-G-M, welcome as a supporting dualler in the general
market. Miss Rutherford, repeating the Miss Marple role she
introduced in "Murder She Said", is a joy to behold when,
D'Artagnan like, she twirls a cape about her massive frame and
sets out to lower the British crime rate. Executive producer Law-
rence P. Bachmann, producer George Brown, and director
George Pollack are all able alumni from "Murder She Said,"
and an Agatha Christie detective novel, "After the Funeral," has
been revamped to Miss Marple's sleuthing style by script
writers David Pursall, Jack Seddon, and James P. Cavanagh. In
this outing, our heroine stumbles onto the murder of a wealthy
old recluse. The police insist that the death was accidental, but,
Miss Rutherford, knowing better, gathers evidence at a riding
academy where the victim's beneficiaries are fighting over the
will. She thrusts and paries with the proprietor, Robert Morley,
and, becoming fond of him, sorely hopes that he is not the
killer. A librarian friend, Stringer Davis, pops in occasionally
to help the old girl out, and Flora Robson, a timid secretary,
offers, alternately, consolation and veiled threats. Murders pile
up with alarming rapidity and, after nearly all the suspects have
been eliminated, Miss Rutherford acts as a decoy and traps the
killer.

M-G-M. 81 minutes. Margaret Rutherford, Robert Morley, Flora Robson. Produced
by George Brown. Directed by George Pollack.

(Zeiiew Rating

• POOR • • FAIR

• • • GOOD • • • • TOPS

Page 12 Film BULLETIN July 22, 1943

This Sporting Life"
GcuiHCM Rati*? O O O

Rating is for art houses. Powerful characterization by
Richard Harris makes this memorable. Heavy dialect will
hinder acceptance in mass market.

A brutish lummox who, through sheer animalism, pummels
his way to success on the professional football field, provides
the catharsis that lifts "This Sporting Life" above the ordinary
film. Brilliantly played by Richard Harris, who won the Cannes
Film Festival award for his performance, the character becomes
memorable. Told in the rather familiar British "slice-of-life"
tradition, this Julian Wintle-Leslie Parkyn production tran-
scends the factory-town background and heavy dialect that lim-
ited American success of some pictures of this genre, and
achieves a more universal appeal. It will be one of the year's
bigger grossers in art houses, better class theatres, and wherever
adult, bold, thought-provoking drama can find its way. Harris
is in the swaggering, gum-chewing Brando tradition, yet with
an individuality of his own, while Rachel Roberts, through
subtle shadings, conceals a torrent of neuroses and suppressed
emotions to remain a touching enigma to the very end. Most of
the supporting characterizations are sketchily presented as the
two principals dominate the story. David Storey's screenplay,
from his novel, is rambling, picking up and dropping characters
with, apparently, indiscriminate abandon, with the result that
climactic scenes, such as Miss Robert's death, appear arbitrary
and overly pat. For all these faults, though, there is a harsh
poetic quality in much of the writing. Both producer Karel
Reisz and director Lindsay Anderson formerly were identified
with documentaries, and, in this, their first venture into feature-
length story telling, they utilize their experience to achieve a
striking newsreel authenticity. As the film opens, the cameras
depict, mercilessly, the body-and-bone-crushing brutality of a
football (rugby) game in which blood-smeared Harris has his
teeth smashed. Sitting in a dentist's chair, under anesthesia, he
relives the recent past. Scene after scene passes in stream-of-
consciousness as the soundtrack lingers behind or, in some in-
stances, advances to predict the coming scene. It is an interesting
device that provides jagged continuity to what otherwise would
be a disoriented jumble. In these ramblings, we meet the one
human force on Harris' life— his landlady, Rachel Roberts. She
is neurotic and introverted, obsessed with doubts about her
husband's death, a possible suicide. She cannot see the sensitivity
beneath Harris' boorish exterior, perhaps because, unknowingly,
she is incapable of seeing beyond her own needs. When she
offers him her body, it is because "it is Christmas and nobody
should be alone on Christmas," — but it is her own loneliness,
not his, that is in her thoughts. He, yearning to be loved and
respected as a man, not as a football hero, is unable to convey
his feelings, and, when she is close to eliciting human emotions
from him, he regresses to the animal state and slugs and beats
her. She drives him out. He returns, but she is in a hospital,
dying from a brain hemorrhage. At her bedside, he, at last, finds
words of tenderness and love, but it is too late. He returns to
the sporting field where, masochistically, he can succumb to
violence and fast money — and a life bereft of human emotions.

Continental Distributing, Inc. 129 minutes. Richard Harris, Rachel Roberts. Produced
by Karel Reisz. Directed by Lindsay Anderson.

"Hand In the Trap"

Plus

Macabre horror film, slowly but fascinatingly developed.
Will delight art patrons.

A "thinking man's" horror film, combining the macabre with
a sensual sweetness, this latest film from Argentine director
Leopoldo Torre Nilsson ("End of Innocence ") should find

eager response in art theatres. Hints of the bizarre story, and
favorable word-of-mouth reaction will arouse public interest.
Torre Nilsson chooses a slow pace, agonizingly so at first, to
generate the proper Gothic mood. After the first half hour, the
suspense mounts steadily until the film reaches an abrupt unfor-
gettable climax. Everything is understated — there are no shock
gimmicks a la Hitchcock — and the horror we realize after the
story is over is only implied. Elsa Daniel, the virginal school-
girl, gives a strange, low key, deliberately one-dimensional per-
formance. It is so lethargic as to be zombie-like, yet she is
always fascinating. Complementing her is Francisco Rabal, the
aging playboy, who exudes a sexuality that will leave the women
drooling. These two play together like match and flame and the
seduction scene so simply presented — all that is shown is a
watch fob swinging rhythmically from a dresser — achieves an
almost unbearable eroticism. The subtitles do justice to the
sparse dialogue provided by Torre Nilsson, Beatriz Guido, and
Ricardo Luna. The setting is a gloomy castle-like mansion where
it is said a monster, incestuously bred, is kept locked in a tower.
Miss Daniel, home from a convent school, speculates endlessly
about the prisoner upstairs, but her mother tells her she is too
young to see such a deformed creature. The girl walks through
sunlight and shadows as in a daze. It is the summer when girl-
hood fades and she is reluctant to leave the sweetness of inno-
cence. To discourage hot-rod teenager Leonardo Flavio's ad-
vances, she diverts him with stories about the monster and
finally enlishts him in a plan to penetrate the tower. What she
finds there is not the twisted creature she had expected, but
seemingly sane aunt Ines who has been living in self-imposed
seclusion for 20 years. Shocked, the girl learns only that roue
Rabal had something to do with her aunt's confinement. She
seeks him out and then, unwittingly, places her own hand in
the trap. While she tries to get him to free the aunt from her
casket-like room, he is interested only in demonstrating his
virility. He succeeds and then lets Miss Daniel lead him to the
aunt. What happens after is grotesque as the trap, inevitably
and forever, clamps shut on its victim.

Angel Films. 90 minutes. Elsa Daniel, Francisco Rabal. Directed by Leopoldo Torre
Nilsson.

"Ordered to Love"

German import has mild exploitation value.

Entertainment values are nil in this German-made, dubbed
melodrama. Despite obvious exploitation possibilities, the Wolf
Brauner production stands little chance, even in the most indis-
criminate markets. The screenplay, by Paul Markwitz and Max
Vorweg, supposedly deals with Hitler's "Lebensborn" breeding
camps where hand-picked young girls were ordered to spawn
a "master race." In this ludicrous yarn, however, virgins remain
pure, preferring death to dishonor, and the experiment never
really gets underway because, we are led to believe, the Germans
really despised Hitler and the whole National Socialist theory.
The cream of the Luftwaffe and SS appear to be working over-
time to win the war for the Allies. Under Werner Klinger's
direction, the "sex" highlight of the film is a fertility rite that
could easily pass for a Campfire Girls rally. The participants
dance, ring-around-the-rosy style, about a big bonfire, and sing
"Deutschland ueber Alles ", or some such thing. Maria Perschy
appears as a loyal party member who falls in love with a traitor.
He tells her the truth about the German military machine, and
she falsifies records and plans escapes. Her lover is shot and
she is sentenced to be hanged. A conveniently-timed Allied
bombing raid saves her just as she is about to be taken to the
gallows. In the rubble, she finds a baby she vows to raise to be
a "good" German.

M C. Distributor Release. 82 minutes. Maria Perschy. Produced by Wolf Brauner.
Directed by Werner Klinger.

Film BULLETIN July 22, 1963 Page 13

"Beach Party"

SuUhc^ 'Rati*? O © Plus

Lively musical comedy strictly for the teenage and sub-
teen set. Good item for drive-in market.

This is an item strictly for the teenage and sub-teen audience.
Adults will find its nonsense and raucous musical numbers too
much for them. American International wisely is rushing "Beach
Party" into summer release, since it figures to get best returns in
drive-ins and other teen-oriented spots. Jukebox favorites
Annette Funicello and Frankie Avalon warble six surf tunes
(Hawaiian music in a "Twist" setting), and producers James H.
Nicholson and Lou Russof have inserted plenty of surf-riding
scenes. Bob Cummings and Dorothy Malone provide minor mar-
quee value, not sufficient to exert much pull on the older audi-
ence. Executive producer Samuel Z. Arkoff has provided an
attractive, if not lavish, Pathe Color and Panavision setting.
William Asher's direction is fluid, especially in some lively
dance numbers and in a free-for-all Mack Sennett styled finale,
and he has elicited appealing performances from the youth-
dominated cast. Lou Russof's screenplay is lively enough, but
much of the humor fails to come off and this, at times, causes
the pace to drag. There are, however, a few funny jabs at motor-
cycle gangs, teen rumbles, beatniks, and "exploitation" movies.
Les Baxter's music will garner plenty of radio and jukebox play,
especially the rocking title tune and a gently swinging ballad,
"Promise Him Anything." The story takes place at California's
Balboa Beach where middle-aged anthropology professor Cum-
mings and his secretary, Dorothy Malone, spy on vacationing
youngsters in order to obtain material for a book that will com-
pare them with aboriginal South Sea tribes. The professor be-
comes entangled with young Annette Funicello, who uses him
to make boyfriend Frankie Avalon jealous. Frankie, in turn,
takes up with sexy waitress Eva Six. The kids learn about the
professor's book and confront him at Big Daddy's, a beatnik
hangout run by Morey Amsterdam. When a motorcycle gang
arrives on the scene and initiates a slapstick custard pie-throwing
"rumble", no one (not even producer Nicholson in a bit role)
escapes clean-faced. The brawl ends with a clarification of all
misunderstandings. The professor abandons his project and
decides to marry Miss Malone, and Annette and Frankie are
reunited.

AIP. 100 minutes. Bob Cummings, Dorothy Malone, Frankie Avalon, Annette Funi-
cello, Morey Amsterdam, Eva Six. Produced by James H. Nicholson and Lou
Russof. Directed by William Asher.

"Buddha"

Overlong, superficial depiction of Hindu spiritual leader's
life. Some striking spectacle, other exploitables. Hard
to sell.

This Japanese spectacle on the life of the Gautama Buddha,
the Hindu spiritual leader, poses serious selling problems. It is
overlong, the English subtitles have a comic-strip quality and
the story is too superficial and cliched to interest art house
patrons. Extreme brutality, sadism, rape, incest, and semi-nudity
negate its educational value and make it a dubious selection for
youngsters, but give this Lopert release mild exploitation value
for saturation bookings on the metropolitan circuits. But the
lengthy footage will be a stumbling block, but audience word-
of-mouth will help — for there are miracles aplenty, human
sacrifices, elephants stomping on the faithful, and, for a finale,
an earthquake the likes of which Hollywood has never equalled.
The Daiei production in Technicolor and Technirama was pro-
duced by Masaichi Nagata, creator of "Gate of Hell" and
"Rashoman", and was filmed in Japan rather than India, the

actual setting. Kenji Misumi's direction emphasizes spectacle, 1
and the photography and special-effects staffs have served him
well. The screenplay by Fuji Yaho succeeds in compressing a
great deal of material into the 134 minutes running time. Kojiro
Hongo gives a restrained and compelling portrayal of the young
prince who subsequently becomes India's spiritual leader. After
his spiritual rebirth, his face is never seen. Shintaro Katsu is the
evil rival who rapes the prince's wife, played by Charito Sol i s,
and later schemes to destroy the Buddha. The film opens with
the birth of the Prince Siddhartha, an event heralded by mir-
acles. Twenty years later, the prince, disturbed by the brutality
and suffering that exists in the world, abandons his wife and
goes in search of peace. After years of meditation in a forest, he
is beset by sensual maidens, sorceresses, and demons. Resisting
them all, he attains spiritual enlightenment and is reborn as
the Buddha. The balance of the film is concerned with short
dramas that depict the influence of Buddha's teachings.

Lopert. 134 minutes. Koiiro Hongo, Charito Solis, Shintaro Katsu, Machiko Kyo.
Produced by Masaichi Nagata. Directed by Kenji Misumi.

"Raiders of Leyte Gulf"

Low-grade Philippine war meller. For minor action spots.

A routine World War II guerilla melodrama, this Philippine-
made entry will get by only as supporting fare in minor
action houses. Stereotyped situations and inept performances
will force audience attention to wander except in the occasional
battle segments. The Lynro production fails to utilize its on-
location setting to advantage, placing too much emphasis on
close-ups of the performers and too little on the colorful ter-
rain. The production resembles a teleplay, and with inexpe-
rienced, locally recruited actors on the big movie screen the
effect is fatal. The screenplay by Eddie Romero (who also pro-
duced and directed) and Carl Kuntze begins with newsreel
shots of MacArthur's "I shall return" departure from the Phil-
ippines and then concentrates on the efforts of guerilla troops,
led by Leopold Salcedo, to recapture the town of Sundan from
the Japanese. An American Army officer (Michael Parsons),
assigned to rescue a U. S. Intelligence officer (Jennings Stur-
geon) from the Japanese garrison, gives the commandos tech-
nical advice and has a brief romance with a guerilla nurse (Liza
Moreno). The first attack on the town is abortive, but this gives
the Japanese commander (Efren Reyes) an excuse to threaten
to excute hostages each day until the guerillas agree to surrend.
He frees Sturgeons in a plan to force him to reveal Allied inva-
sion plans. Before this can happen the guerrilas raid again, this
time virtually destroying the garrison, and Sturgeon, himself
fatally wounded, bayonets the Japanese commander.

Hemisphere Pictures. 80 minutes. Michael Parsons, Leopold Salcedo, Jennings
Sturgeon. Produced and directed by Eddie Romero.

BULLETIN

reviews have one aim:
to give honest judgment
of entertainment merit
— and boxoffice value

Page 14 Film BULLETIN July 22, 1943

/lie 'Doing, f

MERCHANDISING & t

Exhibitor Variations on Terror'
Theme Ring Out Pleasant B.O. Tune

TERRIFYING campaign in San Diego for
Crown International' s "Terrified" included tour
of city by hearse and "undertaker" .

TRACY OLSEN, right, distributes "terror test"
registration cards at San Diego supermarket.

Kahn tipped at Columbia

Richard Kahn recently was named na-
tional coordinator of advertising, pub-
licity and exploitation of Columbia Pic-
tures, it was announced by Robert S. Fer-
guson, vice president. Kahn had been
handling "Lawrence of Arabia," and pre-
viously was Columbia exploitation mgr.

SALUTE. Mr. and Mrs. Robert Stack (he's

starring in UA's "The Caretakers") salute

Jerome Baker, manager of Washington, D. C.'s
RKO Keith, for campaign.

Give an enterprising exhibitor a solid
exploitation theme, and nine times out of
ten, he'll back it to the showmanship hilt,
applying his own variations to produce a
smash boxofhce tune.

That theory is being tested quite suc-
cessfully by Crown International Pictures
for "Terrified," the firm's latest exploita-
tion-oriented release. Campaigns that kept
theatre cashiers busy in Salt Lake City and
San Deigo are the most recent testimonials
to the b.o. sock of this smoothly oiled
producer-exhibitor team-up.

With key company personnel extending
full co-operation to local theatremen,
Crown started with the basic gimmick, a
"Terror Test." Keyed to an amusing — and
at the same time, attention-getting — "TQ,"
for "terror quotient," special printed cards
were disseminated widely and employed in
radio, television and newspaper advertising
for the picture. The "TQ" test allowed
the public to check themselves individually
on their ability to withstand shock and
terror, according to a rating system that
ranged from "steel nerves" to "terrified."
Free burial arrangements for those whose
"terrified" state resulted in death was yet
another audience-attracting angle keyed to
the basic theme of terror.

Equipped with these showmanship aids,
Warren Bunting, general manager of Sero
Amusement Company, Salt Lake City,
played the "terror test" gimmick for all it
was worth at local level. He gave the ABC
station an exclusive on a special midnight
showing, specially priced at $1.00. A disc
jockey popularity contest offered the win-
ner "burial alive." The resourceful exhib-
itor placed a coffin on an open hearse
parked in front of the theatres where
"Terrified" was to play, and had the
hearse driven around town for street
ballyhoo effect. Remote station hookups
were set from theatre, and the winning
disc jockey was "entombed" and took the
terror test with his listeners at the mid-
night opening. A parchment certificate
(available through the pressbook) also
was distributed at the film's bow.

The San Diego push, for a four-theatre
multiple engagement, introduced still more
variations on the basic Crown theme, with
the results recorded in long lines.

A personal appearance by Tracy Olsen,
fern star of "Terrified," included a key to
San Diego from the Mayor, the whole
range of radio and TV interviews and at-
tendance at all four movie houses. Other
key aspects of the drive, engineered by
Donna Powers, included a tie-up with
27 Mayfair Markets for distribution of
"terror test" cards at checkout counters.

20th Hires Agency To Map
Long Push for 'Move Over'

The need to promote a picture suffi-
ciently so that it does not run the risk of
slipping unobtrusively into the theatre is
pretty much taken for granted today. But
the truly long-range campaign, beginning
at the picture's inception (even before ac-
tual shooting starts) and following
straight through to exhibiton, still is an
all-too-rare showmanship commodity.

20th Century-Fox apparently has rec-
ognized the need to promote in advance.
The firm recently appointed Carson/
Roberts/Inc, Los Angeles ad agency, to
develop an overall program to run con-
currently with the production of "Move
Over, Darling."

According to Ralph Carson, C/R presi-
dent, the agency will begin at once with
a day-by-day ad campaign aimed at all
media, but with special emphasis on the
trade press. Later, as release nears, stress
will move to consumer media. All promo-
tional outlets, including trade and con-
sumer press, national magazines, TV and
radio, will be employed.

DORIS DAY learns from, left to right. Jack
Roberts, Carson/ Roberts /Inc. executive vice
president, Ralph (arson, president, and Ken
Sullet, creative director, that their slogan. "Hat e
a Happy Day!" now applies to her starring role
in "Move Over, Darling." which agency is pro-
moting for 20th-l:ox.

Film BULLETIN July 22, 1963 Page 15

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Re view Appears At End of Synopsis)

ALLIED ARTISTS

April

DAY OF THE TRIFFIDS. THE CinemaScope. Color.
Howard Keel, Nicole Maurey, Janette Scott, Keiron
Moore. Producer Philip Yordan. Director Steve Sekely.
Science-fiction thriller. 93 min. 5/13/43.

May

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Lauren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.
88 min. 5/13/43.

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
Producer David Deutsch. Director Michael Winner
Musical, 74 min. 7/8/43.

June

55 DAYS AT PEKING Technirama, Technicolor.
Charlton Heston, David Niven, Ava Gardner, Flora
Robson, Harry Andrews, John Ireland. Producer Samuel
Bronston. Director Nicholas Ray. Story of the Boxer
uprising. 150 min. 4/29/43.

SHOCK CORRIDOR (Formerly The Long Corridor)
Peter Breck, Constance Towers, Gene Evans, James
Best, Hari Rhodes. Producer-director Samuel Fuller. A
Leon Fromkess Production. A suspense drama.

July

GUN HAWK. THE Rory Calhoun, Rod Cameron, Ruta
Lee, Rod Lauren. Producer Richard Bernstein. Direc-
tor Edward Ludwig. Outlaws govern peaceful town of
Sanctuary.

Coming

GUNFIGHT AT COMANCHE CREEK Color. Cinema-
scope. Audie Murphy, Colleen Miller, Susan Seaforth
Producer Ben Schwalb. Director Frank McDonald. Pri-
vate detective breaks up outlaw gang.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen, Tuesday Weld. Producer Martin Jurow. Director
Ralph Nelson. Army comedy.

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

December

SAMSON AND THE 7 MIRACLES OF THE WORLD

(Formerly Goliath and the Warriors of Genghis Kahn)
Color. CinemaScope. Gordon Scott, Yoko Tani. Samson
helps fight off the Mongol invaders. 80 min. 2/18/43.

January

RAVEN, THE Color. Panavision. Vincent Price, Peter
Lorre, Boris Karloff. Producer-director Roger Corman.
Edgar Allan Poe tale. 84 min. 2/4/43.

February

BATTLE BEYOND THE SUN (Filmgroup) Color S Vista-
scope. Ed Perry, Aria Powell. 75 min.

NIGHT TIDE (Filmgroup) Dennis Hopper, Linda Law-
son. 84 min.

March

CALIFORNIA Jock Mahoney, Faith Domergue. Western.

84 min.

A pril

FREE, WHITE AND 21 (Formerly Question of Consent)

Frederick O'Neal, Annalena Lund. Drama. 102 min.

OPERATION BIKINI (Formerly Seafighters) Tab Hunter,

Frankie Avalon, Eva Six. Producer-director Anthony
Carras. War action drama. 84 min. 4/29/43.

May

MIND BENDERS, THE Dirk Bogarde, Mary Ure, John
Clement. Producer Michael Relph. Director Basil Dear-
den. Science fiction. 99 min. 4/15/43.

YOUNG RACERS. THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama. 84 min.

Film

June

DEMENTIA #13 (Filmgroup) William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK, THE CONQUEROR I Formerly Miracle of the
Viking). Color, CinemaScope. Cameron Mitchell,
Kessler Twins. Action drama. 90 min.

July

TERROR, THE (Filmgroup) Color, Vistascope. Boris Kar-
loff. Sandra Knight. Horror. 81 min.

August

BEACH PARTY Color, Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funicello.
Producer James H. Nicholson. Director William Asher.
Teenage comedy.

September

HAUNTED PALACE. THE Color, Panavision. Vincent
Price, Debra Paget, Lon Chaney. Edgar Allan Poe

classic.

SUMMER AFFAIR. A (Formerly Summer Holiday) Tech-
nicolor, Technirama. Cliff Richard, Lauri Peters. Teen-
age musical comedy. 100 min.

October

FLIGHT INTO FRIGHT (Formerly Schiio) Leticia
Roman, John Saxon. Producer-director Mario Dava. Sus-
pense horror.

"X" — THE MAN WITH THE X-RAY EYES Ray Milland,
Diana Van Der Vlis, John Hoyt, Don Rickles. Science
fiction. 80 min.

November

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester, Harvey
Lembeck. Horror.

UNDER AGE Frankie Avalon. Teenage drama.

December

GOLIATH & THE GLADIATORS Color. Scope. Mark
Forrest, Jose Greco, Erno Crisa.

SAMSON AND THE SINS OF BABYLON Color, Scope.
Mark Forrest, John Chevron.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

COMEDY OF TERRORS. A Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff, Basil Rathbone, Joyce
Jameson. Horror, comedy.

DUNWICH HORROR Color. Panavision. Science Fiction.
GENGHIS KHAN 70mm roadshow.

MAGNIFICENT LEONARDO, THE Color, Cinemascope.
Ray Milland.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Vincent Price.
Producers Julian Wintle, Leslie Parkyn. H. G. Wells

classic.

October

ALMOST ANGELS Color. Peter Week, Sean Scully,
Vincent Winter, Director Steven Previn. 93 min. 9/3/42.

November

LEGEND OF LOBO, THE Producer Walt Disney. Live-
action adventure. 47 min. 11/12/42.

December

IN SEARCH OF THE CASTAWAYS Technicolor. Maurice
Chevalier, Hayley Mills, George Sanders. Producer
Walt Disney. Director Robert Stevenson. Based on the
Jules Verne story, "Captain Grant's Children." 110
min. 1/7/43.

February

April

MIRACLE OF THE WHITE STALLIONS Color. Robert
Taylor, Lili Palmer, Curt Jergens. A Walt Disney pro-
duction. Director Arthur Hiller. Story of the rescue of
the famous white stallions of Vienna. 118 min. 4/1/43.

June

SAVAGE SAM Brian Keith, Tommy Kirk, Kevin Cor-
coran Marta Kristen, Dewev Martin Jeff York. Pro-
ducer Walt Disney. Director Norman Tokar. Tale of the
pursuit of renegade Indians who kidnap two boys and
a girl. I 10 min. 4/10/43.

July

SUMMER MAGIC Hayley Mills, Burl Ives, Dorothy Mc-
Guire, Deborah Walley, Peter Brown, Eddie Hodges.
Director James Neilson. Comedy musical. 109 min.
7/8/43.

October

20,0000 LEAGUES UNDER THE SEA Re-release.
FANTASIA Re-release.

February

DIAMOND HEAD Panavision, Eastman Color. Charlton
Heston, Yvette Mimieux, George Chakiris, France
Nuyen, James Darren. Producer Jerry Bresler. Director
Guy Green. Based on Peter Gilman's novel. 107
min. 1/7/43.

April

MAN FROM THE DINER'S CLUB. THE Danny Kaye, Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin. Comedy. 94 min. 4/15/43.

May

FURY OF THE PAGANS Edmund Purdom, Rosanna
Podesta.

June

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical. I 12 min. 4/15/43.

JASON AND THE ARGONAUTS (Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Kovak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic. 104 min. 4/10/43.

JUST FOR FUN Bobby Vee, The Crickets, Freddie
Cannon, Johnny Tillotson, Kerry Lester, The Tornadoes.

72 min.

July

13 FRIGHTENED GIRLS Murray Hamilton, Joyce Tay-
lor, Hugh Marlowe. Producer-director William Castle.
Mystery. 89 min.

August

GIDGET GOES TO ROME James Darren, Cindy Carol,
Jobv Baker. Producer Jerrv Bresler. Director Paul
Wendkos.

September

DR STRANGE LOVE: OR HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers,
Sterling Hayden, George C. Scott, Keenan Wynn. Pro-
ducer-director Stanley Kubrick. Comedy.

Coming

CONGO VIVO Jean Seberg, Gabriele Ferzetti.

IN THE FRENCH STYLE Jean Seberg. Producer Irwin
Shaw. Director Robert Parrish.

IRON MAIDEN, THE Michael Craig, Anne Helm, Jeff
Donnell.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins. Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/42.

MANIAC, THE Kerwin Mathews, Nadia Gray.

SON OF FLUBBER Fred MacMurray, Nancy Olson.
Keenan Wynn. Walt Disney Production. Director Robert
Stevenson. Comedy. 100 min. 1/21/43.

VICTORS, THE Vincent Edwards,
Jeanne Moreau, Romy Schneider.
Carl Forman.

Melina Mercoun,
Producer-director

BULLETIN — THIS IS YOUR PRODUCT

AUGUST SUMMARY

An early look at available product for
August shows a sparse 12 films ready
for release to date. Three of these will
come from Universal. United Artists
lists two features. Seven firms — M-G-M,
20th-Fox, Columbia, Embassy, Conti-
nental, American International and Para-
mount— each promise one release. No
new listings have been announced by
Warner Brothers, Allied Artists or Buena
Vista.

January

GREAT CHASE, THE Douglas Fairbanks, Sr., Buster
Keaton, Lillian Gish. Producer Harvey Cort. Silent
chase sequences. 77 min. 1/7/63.

LONELINESS OF THE LONG DISTANCE RUNNER. THE

Michael Redgrave, Tom Courtenay, Avis Bunnage. Pro-
ducer-director Tony Richardson. Explores the attitudes
of a defiant young man sent to a reformatory for
robbery. 103 min. 10/1/62.

LOVERS OF TERUEL, THE (French, subtitled) Color.
Ludmila Teherina. A famous legend is transformed into
a dance-ballet drama. 93 min.

March

BALCONY, THE Shelley Winters, Peter Falk. Producers
Joseph Strick, Ben Maddow. Director Strick. Unusual
version of Genet's fantasy play. 85 min. 4/1/63.

April

WRONG ARM OF THE LAW. THE Peter Sellers,
Lionel Jeffries. Sellers uses Scotland Yard in pulling off
the laugh crime of the century. 91 min.

June

DAVID AND LISA Keir Dullea, Janet Margolin, How-
ard Da Silva. Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed young-
sters. 94 min. 1/7/63.

YOUR SHADOW IS MINE Jill Haworfh, Michael Ruhl.
A European girl, raised by an Indo-Chinese family, has
to choose between her native sweetheart and the
society of her own people. 90 min.

July

THIS SPORTING LIFE Richard Harris, Rachel Roberts.
129 min.

August

NEVER LET GO Richard Todd, Peter Sellers, Elizabeth
Sellers. Producer Peter de Sarigny. Director John
Guillevmin. Crime melodrama. 90 min. 6/24/63.

September

HANDS OF ORLAC. THE Mel Ferrer, Christopher Lee,
Dany Carrel, Lucille Saint Simon. Producers Steven
Pallos, Donald Taylor. Director Edmond Greville.
Mystery. 86 min.

Coming

MEDITERRANEAN HOLIDAY 70 mm color. Travelogue
narrated by Burl Ives.

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,
Christian Doermer. Directors Francois Truffaut, Andrez
Wajda, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world. 113
min. 2/18/63.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French
Revolution. 100 min. 3/4/63.

March

FACE IN THE RAIN. A Rory Calhoun, Marina Berti,
Niall McGinnis. Producer John Galley. Director Irvin
Kershner. Suspenseful spy-chase drama. 90 min. 4/1/63.

April

LANDRU Charles Denner, Michele Morgan, Danielle
Dameux. Producers Carlo Ponti, Georges de Beaure-
gard. Director Claude Chabrol. Tongue-in-cheek drama
of the infamous ladykiller. 114 min. 4/16/63.

LAW, THE Marcello Mastroianni, Melina Mercouri, Yves
Montand, Gina Lollobrigida . Producer, Jacques Bar.
Director, Jules Dassin. Romantic drama. 114 min.

May

BEAR. THE I English-dubbed ) Renato Rascel, Francis
Blanche, Gocha.

July

CRIME DOES NOT PAY Edwige Feuillere, Michele
Morgan, Pierre Brasseur, Richard Todd, Danielle Dar-
neux. Director Gerard Oury. Drama. 159 min.

FREDERICO FELLINI'S "8Vz" Marcello Mastroianni,
Claudia Cardmale, Anouk Aimee, Sandra Milo. Pro-
ducer Angelo Rizzoli. Director Federico Fellini. Drama.
135 min. 7/8/63.

LIGHT FANTASTIC Dolores McDougal, Barry Bartle.
Producer Robert Gaffney. Director Robert McCarty.
Drama.

PASSIONATE THIEF THE Anna Magnani, Ben Gazzara,
Toto. Producer Silvio Clementelli. Director Mario
Monicelli. Comedy. 95 min.

WOMEN OF THE WORLD Technicolor. Narrated by
Peter Ustinov. Director Gualtiero Jacopetti. Women as
they are in every part of the world. 107 min. 7/8/63.

August

ONLY ONE NEW YORK Director Pierre-Dominique
Gaisseau. Documentary.

September

THREEPENNY OPERA Sammy Davis, Jr., Curt Jurgens,
Hildegarde Neff. Director Wolfgang Staudte. Screen
version of Bertolt Brecht and Kurt Weill classic.

QUEEN BEE Marina Vlady, Ugo Tognazzi. Director
Marco Ferreri. Comedy drama.

Current Releases

ARMS AND THE MAN ICasino Films) Lilo Pulver,
O. W. Fischer, Ellen Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
96 min.

BERN ADETTE OF LOURDES IJanus Films) Daniele Ajoret
Nadine Alari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE ILopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLACK FOX, THE ICapri Films) Produced, directed
and written by Louis Clyde Stoumen. 89 min. 4/29/63.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 68 min.

BLOODY BROOD, THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR. A (Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

CLEOPATRA'S DAUGHTER (Medallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

DAY THE SKY EXPLODED. THE (Excelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR. THE (Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL MADE A WOMAN. THE (Medallion) Color, To-
talscope. Sarita Montiel. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE (Ultra Pictures) Anthony Quinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS (Crown International)
Technicolor, Totalvision. Yoko Tani, Oldrick Lukes. 81
min.

FIVE DAY LOVER, THE (Kingsley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FORCE OF IMPULSE (Sutton Pictures) Tony Anthony.
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

GIRL HUNTERS, THE IColorama). Mickey Spillane,
Shirley Eaton, Lloyd Nolan. Producer Robert Fellows.
Director Roy Rowland. Mickey Spillane mystery. 103
min. 6/10/63.

HEAD, THE (Trans-Lux) Horst Frank, Michael Simon.
Director Victor Trivas. Horror. 95 min. 7/8/63.

HORROR HOTEL (Trans-Lux) Denis Lotis, Christopher
Lee, Betta St. John, Patricia Jessel. Producer Donald
Taylor. Director John Moxey. 76 min. 7/8/63.

IMPORTANT MAN. THE ILopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

LAFAYETTE (Maco Film Corp.) Jack Hawkins, Orson
Welles, Vittorio De Sica. Producer Maurice Jacquin.
Director Jean Oreville. 110 min. 4/1/63.

LA NOTTE BRAVA (Miller Producing Co.) Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LAST OF THE VIKINGS (Medallion) Color, Totalscope.
Cameron Mitchell, Edmond Purdom. 102 min.

LAZARILLO (Union Films) Marco Paoletti, Juan Jose
Menendez. An Hesperia Films Production. Director
Cesar Ardavin. Tale of a 12-year-old rogue-hero's
efforts to survive in 16th century Spain. 100 min
5/13/63.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

LOVE AND LARCENY (Major Film Distribution) Vit-
torio Gassman, Anna Maria Ferrero, Peppino Di Filippo.
Producer Mario Gori. Director Dino Risi. Satire on
crime. 94 min. 2/18/63.

MAGNIFICIENT SINNER (Film-Mart, Inc.) Romy
Schneider, Curt Jergens. Director Robert Siodmak. 91
min. 4/29/63.

MARRIAGE OF FIGARO, THE (Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin. Director Jean Meyer. French import.
105 min. 2/18/63.

MONDO CANE (Times Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/63.

MOUSE ON THE MOON, THE Eastmancolor ILopert
Pictures) Margaret Rutherford, Bernard Cribbins. Terry
Thomas. Satirical comedy. 84 min. 6/24/63.

NIGHT OF EVIL (Sutton) Lisa Gaye, Bill Campbell.
88 min.

NO EXIT (Zenith-International) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.

PARADISE ALLEY (Sutton) Hugo Haas, Corinne Griffith.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
1 1 5 min.

RICE GIRL (Ultra Pictures) Elsa Martinelli, Folco Lulli,
Michel Auclair. Producer Carlo Ponti. Director Raffa-
eilo Matarazzo. Dubbed Italian melodrama. 90 min.
2/4/63.

ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

SLIME PEOPLE, THE I Hutton-Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

SON OF SAMSON IMedallion) Color, Totalscope. Mark
Forest, Chelo Alonso. 89 min.

STAKEOUT Bing Russell. Bill Hale, Eve Brent. 81 min.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE [Victoria) Narration by Thomas
L. Row and Pauline Girard. Producer-director Marion
Gering. 67 min. 7/8/63.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRI DIANA Silvia Pinal, Francisco Rabat, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FOR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

YOJIMBO ISeneca-lnternational) Toshiro M. Fune, Kyu
Sazanka. Nakadai. Director Akiro Kurosana. 101 min.
9/17/62.

METRO -GOLDWYN -MAYER

February

HOOK. THE Kirk Douglas. Nick Adams. Producer Wil-
liam Perlberg. Director George Seaton. Drama i«t

against background of the Korean War. 98 min.
1/21/63.

Film BULLETIN — THIS IS YOUR PRODUCT

March

COURTSHIP OF EDDIE'S FATHER, THE GJenn Ford,
Shirley Jones. Producer Joe Pasternak. Director Vin-

cente Minnelli. Kom^ntic comedy revolving about a
young widower and his small son. 117 min. 3/18/63.
FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
Randell, Russ Tamblyn, Janis Paiqe. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy. 95 min. 3/4/63.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate. Based on the life of Sir Francis Drake. 95 mm.
3/18/63.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatola de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.
109 min. 5/13/63.

IT HAPPENED AT THE WORLD'S FAIR Panavision,
Color. Elvis Presley. Producer Ted Richmond. Director
Norman Taurog. Romantic comedy. 105 min. 5/13/63.

RIFIFI IN TOKYO Karl Boehm, Barbara Lass, Charles
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo. 89 min. 4/1/63.

May

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris

Sagal. Race track comedy. 94 min. 4/1/63.

DRUMS OF AFRICA Frankie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

92 min. 4/29/63.

IN THE COOL OF THE DAY CinemaScope, Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz. 90 min. 5/13/63.

SLAVE, THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites the slaves to
revolt against the Romans.

June

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West. 89 min.

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.
90 min.

MAIN ATTRACTION. THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min. 6/24/63.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GriffTTji. Pro-
ducer Aaron Rissnbe'-q. Director Lewis Milestone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/63.

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode. Producer by Sy Weintraub. Director Robert
Day. Adventure. 92 min. 7/8/63.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,

Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy. 85 min. 6/24/63.

DAY AND THE HOUR, THE (Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

TICKLISH AFFAIR, A (Formerly Moon Walk) Shirley

Jones, Gig Young. Producer Joe Pasternak. Director
George Sidney. Romantic comedy based on a story in
the Ladies Home Journal. 87 min. 7/8/63.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

August

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy. 84 min.
5/13/63.

September

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

V.I.P.'s, THE Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama.

October

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

TIKO AND THE SHARK Producer Goffredo Lombardo.
Director F. Quilici. Filmed entirely in French Poly-
nesia with a Tahitian cast.

WHEELER DEALERS, THE James Garner, Lee Remick.
Producer Martin Ransohoff. Director Arthur Hiller.
Story of a Texan who takes Wall Street bv storm.

November

GLADIATORS SEVEN Richard Harrison, Loredana Nus-
ciak. Producers Cleo Fontini, Italo Zingarelli. Director
Pedro Lazaga. Seven gladiators aid in overthrowing
a tyrant of ancient Sparta.

Coming

Coming

CORRIDORS OF BLOOD Boris Karloff, Betla St. John,
Finlay Currie. Producer John Croydon. Director Robert
Day. Drama. 84 min. 6/10/63.

COUNTERFEITERS OF PARIS Jean Gabin, Martine
Carol. Producer Jacques Bar. Director Gilles Grangier.
99 min.

FOUR DAYS OF NAPLES. THE Jean Sorel, Lea Messari,
Producer Goffredo Lombardo. Director Nanni Loy.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HOW THE WEST WAS WON Cinerama, Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/63.

MURDER AT THE GALLOP Margaret Rutherford, Paul
Robson. Producer George Brown. Director George Pol-
lock. Agatha Christie mystery.

OF HUMAN BONDAGE IMGM-Seven Arts) Laurence
Harvey, Kim Novak. Producer James Woolf. Director
Henry Hathaway. Film version of classic novel.

SUNDAY IN NEW YORK IMGM-Seven Arts) Cliff
Robertson, Jane Fonda, Rod Taylor. Producer Everett
Freeman. Director Peter Tewksbury. The eternal ques-
tion: should a qirl or shouldn't she. prior to the
nuptials?

THE PRIZE Paul Newman, Edward G. Robinson, Elke
Sommer. Producer Pandro Berman. Director Mark
Robson. Based on the Irving Wallace bestseller.

TWILIGHT OF HONOR Richard Chamberlain, Nick
Adams, Joan Blackman, Joey Heatherton. A Pearlberg-
Seaton Production. Director Boris Sagal. A young
lawyer falls victim to the bigoted wrath of a small
town when he defends a man accused of murdering
the town's leading citizen.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

WEREWOLF IN A GIRL'S DORMITORY Barbara Lass,
Carl Schell. Producer Jack Forrest. Director Richard
Benson. Horror show. 84 min. 6/10/63.

February

GIRL NAMED TAMIKO, A Technicolor. Laurence Har-
vey, France Nuyen. Producer Hal Wallis. Director John
Sturges. A Eurasian "man without a country" courts an
American girl in a bid to become a U.S. citizen.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleason,
Glynis Johns. Producer Jack Rose. Director George
Marshall. Comedy-drama based on childhood of silent
screen star Corinne Griffith. 98 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds. CUff
Robertson, David Jannsen. Producer Garet Gaither.

Director Gower Champion. Broadway star adopts six
abandoned children. 105 min. 3/18/63.

May

HUD Paul Newman, Patricia Neal, Melvyrt Douglas.
Producers Irving Ravetch, Martin Ritt. Director Ritt.
Drama set in modern Texas. 122 min. 3/4/63.

June

DUEL OF THE TITANS CinemaScope, Eastman color.
Steve Reeves, Gordon Scott. Producer Alessandro
Jacovoni. Director Sergio Corbucci. The story of
Romulus and Remus, the twin brothers who founded
the city of Rome.

NUTTY PROFESSOR, THE Technicolor. Jerry Lewi's,
Stella Stevens. Producer Ernest D. Glucksman. Direc-
tor Jerry Lewis. A professor discovers a youth-
restoring secret formula. 105 min. 6/10/63.

July

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific.

August

COME BLOW YOUR HORN Technicolor. Frank Sinatra,
Barbara Ruth, Lee J. Cobb. Producer Howard Koch. Di-
rector Bud Yorkin. A confirmed bachelor introduces his

young brother to the playboy's world. 112 min.
6/24/63.

ALL THE WAY HOME Robert Preston, Jean Simmons,
Pat Hingle. Producer David Susskind. Director Alex
Segol. Film version of play and novel.

BECKET Technicolor. Richard Burton, Peter O'Toole. j
Producer Hal B. Wallis. Director Peter Glenville. Film
version of Jean Anouilh's play.

CARPETBAGGERS, THE Technicolor. Panavision 70.
George Peppard. Producer Joseph E. Levine. Director
Edward Dmytryk. Drama based on the best-seller by I |
Harold Robbins.

FUN IN ACAPULCO Technicolor. Elvis Presley, Ur-
sula Andress. Producer Hal B. Wallis. Director Rich-
ard Thorpe. Musical-comedy.

LADY IN A CAGE Olivia de Havilland, Ann Southern.
Producer Luther Davis. Director Walter Grauman.
Drama .

LOVE WITH THE PROPER STRANGER Natalie Wood,
Steve McQueen. Producer Alan J. Pakula. Director ,
Robert Mulligan. A young musician falls in love with
a Macy's sales clerk.

NEW KIND OF LOVE, A Technicolor. Paul Newman, , j)
Joanne Woodward, Thelma Ritter, Maurice Chevalier.
Producer-director Melville Shavelson. Romantic drama.

PARIS WHEN IT SIZZLES Panavision. Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Douglas,
Fredric March. Producer Edward Lewis. Director John
Frankenheimer. A Marine colonel uncovers a military
plot to seize control of the U.S. government.

WHO'S BEEN SLEEPING IN MY BED? Panavision,
Technicolor. Dean Martin, Elizabeth Montgomery, Carol |
Burnett. Producer Jack Rose. Director Daniel Mann. . 1
Comedy.

WHO'S MINDING THE STORE? Technicolor. Jerry \
Lewis, Jill St. John, Agnes Moorehead. Producer Paul
Jones. Director Frank Tashlin. Comedy.

WIVES AND LOVERS Janet Leigh, Van Johnson, Shelley
Winters, Martha Hyer. Producer Hal B. Wallis. Direc- ^
tor John Rich. Romantic comedy.

20TH CENTURY-FOX

March

NINE HOURS TO RAMA CinemaScope, DeLuxe Coler.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

May

YELLOW CANARY. THE Pat Boone, Barbara Eden.
Producer Maury Dexter. Director Buzz Kulik. Suspense
drama. 93 min. 4/15/63.

June

LONGEST DAY, THE John Wayne, Richard Todd, Peter
Lawford, Robert Wagner, Tommy Sands, Fabian, Paul
Anka, Curt Jurgens, Red Buttons, Irina Demich, Robert
Mitchum, Jeffrey Hunter, Eddie Albert, Ray Danton,
Henry Fonda, Edmond O'Brien, Robert Ryan. Producer
Darryl Zanuck. Directors Gerd Oswald, Andrew Mar-
ton, Elmo Williams, Bernard Wicki, Ken Annakin.
180 min.

MARILYN Story of life of Marilyn Monroe narrated by
Rock Hudson.

STRIPPER. THE (Formerly A Woman in July) Joanne
Woodward, Richard Beymer, Gypsy Rose Lee, Claire
Trevor. Producer Jerry Wald. Director Franklin Schaf-
fner. Drama. 95 min. 4/29/63.

July

LEOPARD, THE Technicolor, Technirama. Burt Lan-
caster, Claudia Cardinale, Alain Delon. Producer Gof-
fredo Lombardo. Director Luchino Visconti. Story of
disintegration of traditional way of life in Italy.

August

OF LOVE AND DESIRE Merle Oberon, Steve Cochran,
Curt Jurgens. Producer Victor Stoloff. Director Richard
Bush. Romantic suspense drama.

September

CONDEMNED OF ALTONA. THE Sophia Loren, Maxi-
milian Schell, Fredric March, Robert Wagner. Pro-
ducer Carlo Ponti. Director Vittorio De Sica. Adapted
from Jean Paul Sartre's stage success.

Coming

CLEOPATRA Todd-AO Color. Elizabeth Taylor, Richard

Burton, Rex Harrison. Producer Walter Wanger.
Director Joseph Mankiewicz. Story of famous queen.
221 min. 6/24/63.

LEOPARD. THE Burt Lancaster, Claudia Cardinale.

QUEEN'S GUARDS. THE CinemaScope, DeLuxe Color.
Daniel Massey, Raymond Massey, Robert Stephens.
Producer-Director Michael Powelf. A tale of fw
tradition and importance of being a Goard.

Film BULLETIN — THIS IS YOUR PRODUCT

UNITED ARTISTS

March

SUMMER PLACE. A Re-release.

March

FIVE MILES TO MIDNIGHT Sophia Loren, Anthony
Perkins, Gig Young, Jean-Pierre Aumont. Producer-
director Anatole Litvak. Suspense drama about an
American in Europe who schemes to defraud an insur-
ance company. 110 min. 3/4/63.

LOVE IS A BALL Technicolor, Panavision. Glenn Ford,
Hope Lange, Charles Boyer. Producer Martin H. Poll.
Director David Swift. Romantic comedy of the interna-
tional set. 1 1 1 min. 3/4/43.

April

I COULD GO ON SINGING Eastmancolor, Panavision.
Judy Garland, Dick Bogarde, Jack Klugman. Producers
Stuart Millar, Lawrence Turman. Director Ronald
Ntame. Judy returns in a dramatic singing role. 99
min. 3/18/63.

May

DR. NO Technicolor. Sean Connery, Ursula Andress,
Joseph Wiseman, Jack Lord. Producers Harry Saltz-
man, Albert R. Broccoli. Director Terence Young. Action
drama based on the novel by Ian Fleming. 1 1 1 min.
3/18/43.

June

AMAZONS OF ROME Louis Jourdan. Sylvia Syms.

BUDDHA Technicolor, Technirama. Isojiro Hongo,-
Charito Solis. Producer Masaichi Nagata. Director
Ken ji Misumi. Drama dealing with the life of one of
the world's most influential religious leaders. 134 min.

CALL ME BWANA Bob Hope, Anita Ekberg, Edie
Adams. Producers Albert R. Broccoli, Harry Saltzman.
Director Gordon Douglas. Comedy. 103 min. 4/10/63.

DIARY OF A MADMAN Vincent Price, Nancy Kovak.
Producer Robert E. Kent. Director Reginald Le Borg.
Horror mystery of a man possessed by a horla. 96 min.
3/4/63.

July

GREAT ESCAPE, THE Deluxe Color, Panavision. Steve
McQueen, James Garner, Richard Attenborough. Pro-
ducer-director John Sturges. Based on true prisoner of
war escape. 168 min. 4/15/63.

IRMA LA DOUCE Technicolor, Panavision. Jack Lem-
mon, Shirley MacLaine. Producer-director Billy Wilder.
Comedy about the "poules" of Paris, from the hit
Broadway play. 142 min. 6/10/63.

August

CARETAKERS. THE Robert Stack, Polly Bergen, Joan
Crawford. Producer-director Hall Bartlett. Drama
dealing with group therapy in a mental institution. 97
min.

TOYS IN THE ATTIC Panavision. Dean Martin, Geral-
dine Page, Yvette Mimieux, Gene Tierney. Producer
Walter Mirisch. Director George Roy Hill. Screen
version of Broadway play. 90 min. 7/8/63.

September

STOLEN HOURS Color. Susan Hayward, Michael Craig,
Diane Baker. Producers Stewart Miller, Lawrence Thur-
man. Director Daniel Petrie. Drama. 100 min.

October

JOHNNY COOL Henry Silva, Elizabeth Montgomery.
Producer-director William Asher. Chrislaw Productions.
101 min.

TWICE TOLD TALES Color. Vincent Price, Mari Blan-
chard. Producer Robert E. Kent. Director Sidney Salkow.
Based on famous stories of Nathaniel Hawthorne.

November

IT'S A MAD. MAD. MAD. MAD WORLD. Cinerama.
Technicolor. Spencer Tracy, Milton Berle, Sid Caesar,
Buddy Hackett, Ethel Merman, Mickey Rooney, Dick
Shawn, Phil Silvers, Terry-Thomas, Jonathan Winters.
Producer-director Stanley Kramer. Spectacular comedy.

MCLINTOCK! Color. John Wayne, Maureen O'Hara
Yvonne De Carlo, Patrick Wayne, Chill Wills, Jack
Kruschen. Producer Michael Wayne. Director Andrew
V. McLaglen.

December

KING OF THE SUN Color. Yul Brynner, George Cha-
kins. Producer Lewis Rachmil. Director J. Lee Thomp-
son. A Mirisch Company Presentation.

Coming

BEAUTY AND THE BEAST Joyce Taylor, Mark Damon,
Edward Franz, Merry Anders. 77 mm.

CEREMONY, THE Laurence Harvey, Sarah Miles, Rob-
ert Walker, John Ireland. Producer-director Laurence
Harvey.

February

K> POUNDS OF TROUBLE Color, Panavision. Tony Cur-
tis. Phil Silvers. Suzanne Pleshette. Producer Stan Mar-
^inles. Director Norman Jewison. Comedy 105 min
12/24/62.

Film

TO KILL A MOCKINGBIRD Gregory Peck, Mary Bad-
hum Producer Alan Pakula. Director Robert Mulligan.
Based on Harper Lee's novel. 129 min. 1/7/43.

April

BIRDS, THE Technicolor Rod Taylor, Jessica Tandy,
Suzanne Pleshette, Tippi Hedren. Producer-Director Al-
fred Hitchcock. Suspense drama. 120 min. 4/1/43.

UGLY AMERICAN. THE Color. Marlon Brando, Sandra
Church, Yee Tak Yip. Producer-Director George Eng-
lund. Drama based on best-selling novel. 120 min.
4/15/43.

May

PARANOIC Janette Scott, Oliver Reed, Sheilah Burrell.
Producer Anthony Hinds. Director Freddie Francis.
Horror. 80 min. 4/15/63.

SHOWDOWN IFormerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen. Western. 79 min. 4/15/63.

June

LANCELOT AND GUINEVERE Color. Panavision. Cornel
Wilde, Jean Wallace, Brian Aherne. Producers Cornel
Wilde, Bernard Luber Director Wilde. Legendary tale
of love and betrayal. 116 min. 5/13/63.

LIST OF ADRIAN MESSENGER, THE George C. Scott,
Dana Wynter, Clive Brook, Herbert Marshall. Producer
Edward Lewis. Director John Huston. Mystery. 98
min. 6/10/63.

TAMMY AND THE DOCTOR Color. Sandra Dee. Peter
Fonda, Macdonald Carey. Producer Ross Hunter. Direc-
tor Harry Keller. Romantic comedy. 88 min. 5/13/63.

July

GATHERING OF EAGLES. A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann.

KING KONG VS. GODZILLA Eastmancolor. Michael
Keith, Harry Holcomb, James Yagi. Producer John
Beck. Director Thomas Montgomery. Thriller. 90 min.
6/10/63.

August

FOR LOVE OR MONEY IFormerly Three Way Match)
Color. Kirk Douglas, Mirzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon.

THRILL OF IT ALL. THE Color. Doris Day, James Gar-
ner. Arlene Francis. Producers Ross Hunter, Martin
Melcher. Director Norman Jewison. Romantic comedy.
108 min. 6/10/63.

TRAITORS. THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson.

Coming

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN, M.D. Gregory Peck, Tony Curtis,
Angie Dickinson, Bobby Darin, Eddie Albert. Producer
Robert Arthur. Director David Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

CHARADE Color, Panavision. Cary Grant, Audrey Hep-
burn, Walter Matthau, James Coburn. Producer-Direc-
tor Stanley Donen.

DARK PURPOSE Color. Shirley Jones, Rossano Brazzi,
George Sanders, Micheline Presle, Georgia Moll. Pro-
ducer Steve Barclay. Director George Marshall.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven, Shirley Jones. Producer Stanley Shapiro.
Director Ralph Levy.

MAN'S FAVORITE SPORT Color. Rock Hudson, Maria
Perschey, Paula Prentiss. Producer-director Howard
Hawks.

WILD AND WONDERFUL IFormerly Monsieur Cognac)
Color. Tony Curtis. Christine Kaufman, Larry Storch.
Producer Harold Hecht. Director Michael Anderson.

WARNER BROTHERS

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 10* Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family. I 19 min. 3/4/63.

September

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama.

October

RAMPAGE. Technicolor. Robert Mitchum. Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

DEAD RINGER Bette Davis, Karl Maiden. Producer
William H. Wright. Director Paul Henreid.

DISTANT TRUMPET. A Technicolor. Panavision. Troy
Donahue, Suzanne Pleshette. Producer William H.
Wright. Director Raoul Walsh. Epic adventure of
Southwest.

FBI CODE 98 Jack Kelly, Ray Denton. Producer Stanley
Niss. Director Leslie H. Martinson. Dramatic action
story.

FOUR FOR TEXAS Technicolor. Frank Sinatra, Dean
Martin, Anita Ekberg, Ursula Andress. Producer-direc-
tor Robert Aldrich. Big-scale western with big star
cast.

GREAT RACE, THE Technicolor. Burt Lancaster. Jack
Lemmon. Producer Martin Jurow. Director Blake Ed-
wards. Story of greatest around-the-world automobile
race of all time.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

KISSES FOR MY PRESIDENT Fred MacMurray, Polly
Bergen. Producer-director Curtis Bernhardt. Original
comedy by Robert G. Kane.

LONG FLIGHT, THE Spencer Tracy, James Stewart,
Richard Widmark, Carroll Baker. Producer Bernard
Smith. Director John Ford. Super-adventure drama of
struggle by 300 Indians against U.S. Army.

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

MISTER PULVER AND THE CAPTAIN Technicolor. Rob-
ert Walker, Burl Ives. Producer-director Joshua Logan.
Comedy sequel to "Mister Roberts".

OUT OF TOWNERS, THE Glenn Ford, Geraldine Page.
Producer Martin Manulis. Director Delbert Mann. Com-
edy-drama.

PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens, Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort.

ROBIN AND THE 7 HOODS Technicolor-Panavision.
Frank Sinatra, Dean Martin, Sammy Davis Jr., Joey
Bishop. Producer Gene Kelly. Director Gordon Douglas.
Based on adventures of Robin Hood set against back-
ground of Chicago in the "roaring 20's.''

YOUNGBLOOD HAWKE Suzanne Pleshette. James Fran-
ciscus. Producer-director Delmer Daves. From Herman
Wouk's best-selling novel.

GIANT Re-release.

March
April

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min. 4/1/63.

May

AUNTIE MAME Re-release.

ISLAND OF LOVE IFormerly Not On Your Lifel) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece. 101 min. 5/13/63.

BULLETIN — THIS IS YOUR PRODUCT

DEPENDABLE SERVICE!

CLARK
TRANSFER

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BULLETIN

Opinion of* the Ind.-u.stry

AUGUST 5, 1963

Cameras East

Studio on Long Island Sparks Production
In East by New and Old Wave Film Makers

A Critic Speaks
For the Defense

\Hk\ Heyk fa/% About

O a □ In fhe Movie Business □ 0 0

Theatremen Complain About Tough
Distributor's 'No Profit' Policy

euiews

FOR LOVE OR MONEY
GIDGET GOES TO ROME
KISS OF THE VAMPIRE
THREE FABLES OF LOVE
DONOVAN'S REEF
HARBOR LIGHTS
MY HOBO

M-G-M's TIMETABLE FOR THE V.I.Rs

AUG 2

M-G-M FIELD PRESS REPRESENTATIVES CONVENTION STEPS UP PACE
OF MASSIVE NATIONAL PUBLICITY PENETRATION! PERSONAL "V.I. P."
PORTFOLIOS HELP VERY IMPORTANT PERSONS OF THE PRESS BUILD
TREMENDOUS LOCAL EXCITEMENT BEHIND EVERY PREMIERE IN U.S.!

AUG 5

rHE MOST COMPLETE MOTION PICTURE CAMPAIGN EVER CONCEIVED! THIS
DATE MARKS THE DISTRIBUTION OF THE EXHIBITOR'S CAMPAIGN BOOK
CONTAINING OVER 60 UNPRECEDENTED STEP-BY-STEP SELLING STAGES!

EPT14

I-G-M LAUNCHES THE BIGGEST NATIONAL TV SATURATION CAMPAIGN
POR A MOTION PICTURE EVER ON NBC-TV NETWORK! PRE-SELLING
'THE V.I.P.s" IN 95% OF ALL TV HOMES IN THE UNITED STATES!

DATE

TIME

SHOW

Sat. 9/ 14

8:25 PM

The Lieutenant*

Mon.9/16

9:25 PM

Movie

Wed. 9/ 18

11:30-12 Noon

Missing Links

Wed. 9/ 18

3:00-3:30 PM

Loretta Young

Wed. 9/ 18

3:30-4:00 PM

You Don't Say

Thurs. 9/19

11:30-12 Noon

Missing Links

Thurs. 9/19

2:00-2:30 PM

People Will Say

Thurs. 9/ 19

3:00-3:30 PM

Loretta Young

Fri. 9/20

11:30-12 Noon

Missing Links

Fri. 9/20

3:00-3:30 PM

Loretta Young

Fri. 9/20

3:30-4:00 PM

You Don't Say

, Fri. 9/20

9:30 PM

Harry's Girls*

Fri. 9/20

11:30 PM

Tonight

Sat. 9/21

9:20 PM

Movie Premiere

Tues. 9/24

8:25 PM

Mr. Novak*

SEPT 26

OVER 114,815,000
VIEWER IMPRESSIONS!

WITH 15 ONE-MINUTE
COMMERCIALS!

ON 6 TOP-RATED
NIGHT-TIME SHOWS!

V AND 4 LEADING
DAY-TIME SHOWS!

IN 189 KEY MOVIE
MARKETS!

*There are the premiere nights for
"The Lieutenant," "Harry's Girls,"
and "Mr. Novak." Maximum audience
will be directed to all three by
intensive promotion in TV Guide
and local newspapers.

ilMULTANEOUS POWER - PACKED NATION-WIDE PREMIERES FOLLOW
:RE-RELEASE ENGAGEMENT AT RADIO CITY MUSIC HALL! GLOBAL
PENINGS PASS THE 600 MARK! M- G IVTs B M H Hfc

theViIiRS

You Will BANK MORE Because

You Profit

* PREVIEW RECORDS

For IN -THEATER Use
During INTERMISSIONS

AS WELL AS OTHER TIMES
WHEN THE SCREEN IS DARK.

y| Exhilarate and maintain the undi-
vided attention of all in your audi-
11 ence as they PLUG UP-COMING
21 ATTRACTIONS WITH MUSIC
AND SOFT-SELL DIALOGUE.

Induce an irresistible refreshment
craving by REMINDING YOUR
PATRONS ABOUT THE REFRESH-
MENTS ON SALE IN YOUR
LOBBY AND AT YOUR SNACK BAR.
Each Previe^w Record runs 5 minutes. A
2V2-minute version is also included on the
flip side for purposes of flexibility.

Available Now

Preview Records for the following attractions
are now available at all NSS branches:

• A Gathering Of Eagles • A Ticklish Affair

• Black Zoo • Beach Party • Bye Bye, Birdie

• Call Me Bwana • Captain Sindbad • Cattle
King • Come Blow Your Horn • Donovan's Reef

• Dr. No • Drums Of Africa • 55 Days At Peking •
Flipper • Hud • Irma La Douce • King Kong Vs.
Godzilla • Lancelot And Guinevere • List Of
Adrian Messenger • Main Attraction • Mutiny
On The Bounty • PT 109 • Savage Sam • Spencer's
Mountain • Tammy And The Doctor • The Great
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Wht ttey'te Talking About

□ □ □ In the Movie Business □ □ □

'HARD-AS-N AILS'. Exhibitors are working up
a head of steam against the "hard-as-nails"
distribution head of the major film companies.
Correspondence to this office charges the sales
executive with adopting what one theatreman
terms a "no profit for exhibition" policy on an
important current release. The film in question
has been an outstanding grosser, and while
the terms were cosidered satisfactory for the
high-grossing key houses, theatremen argue
that subsequent runs cannot pay the same
(60%) terms and come out with a profit on
their more limited grosses. "I played a lot of
this company's product in the past year",
complains a small circuit operator, "and made
no money with any of it. Now they finally have
a blockbuster and set the terms so high that
I can't make any money with that in most of
my houses." From another exhibitor, the irate
comment: "This fellow (the distribution
executive) apparently is determined to be a
'hero' to his company by being hard-as-nails.
I've seen other heads of distribution roll
because they didn't use common sense in
setting up terms. It just doesn't make sense to
ask the same percentage from a house that
grosses $1800 a week as they take from one
that grosses $10,000."

ALLIED ARTISTS IN RED. An unconfirmed,
but apparently reliable, report from a Wall
Street source advises us that Allied Artists will
show a "substantial loss" for its fiscal year
ended June 30. Our informant suggested that
it might run in excess of $2 million.

PROMOTION MERRY-GO-ROUND. There's a
strong suspicion that the top advertising
executive of another major distributor will take

a walk before long. Reason: the familiar one
of increasing encroachment on his job by other
high echelon officials of the company. This is a
pattern of recent years. Production and
distribution executives, lacking in creative
showmanship background or knowledge, fancy
themselves experts in the field and intrude on
the province of the promotion department.
This has accounted for the rather rapid
turnover in key ad executives throughout the
industry in the past decade.

GOLDMAN REPORT. Too late to be included
in our recent survey of theatre business for the
first six months of 1963, the following report
from William Goldman, prominent eastern
Pennsylvania circuit operator, contains some
pertinent comments on exhibition's problems:
"Our business circuitwise is running behind
last year. The major factor holding down
grosses is the shortage and quality of available
products. There is a dearth of important film
and a wealth of mediocrity. The few so-called
blockbusters are being doled out only at peak
attendance periods, including holiday or
summer playing time and do well at the
boxoffice. The films booked to fill the gaps are
most disappointing and pull down the profit
average. Newer pictures on prime TV time have
helped further hold down theater attendance
on mediocre attractions. Why should the public
go out and pay to see second rate films when
television offers better for free? A glaring
example of TV competition recently took place
here in Eastern Pennsylvania. Timed to
coincide with the premiere of our industry's
most costly production, the old Cecil B. DeMille
Oleopatra' was aired on TV to cash in on the
publicity and interest in this valuable property.
This is surely 'dirty pool' and until the film
companies see fit to place restrictions on
dating TV showings of films when selling our
stock-in-trade to TV, we will be continually
plagued with this ridiculous and embarrassing
practice. After all, the exhibitors provided the
revenue source to pay for all these films in the
first place. Surely, their welfare should be
respected in the residual use of the films."

Hartford Feevee Gets
Boost on Anniversary

"Encouraging and enlghtening" — but
inconclusive. That is the appraisal of
the first year of pay TV testing in
Hartford, Connecticut, in a report is-
sued by the promoters of the project.

Thomas F. O'Neil, board chairman
of General Tire & Rubber, which con-
trols RKO General Phonevision, and
Joseph S. Wright, president of Zenith
Radio, which has been trying to put
over pay TV for the past 15 years or
more, both sought, obviously, to sound
optimistic.

O'NEIL

O'Neil: "Although it is still too early
to provide us with complete conclusions
as to the future of Subscription TV, the
experiment has already shown that we
are meeting a public need, that program
expenditures are consistent and that dis-
connections due either to dissatisfaction
on the part of subscribers or delin-
quency in payment, are remarkably
low." Current subscribers, he reported,
total over 3000. "That number could
be much greater had we desired to in-
crease our installation rate."

Wright: "We have always believed
that TV could be more than just an
advertising medium ... It appears that
our confidence in Subscription TV was
justified. We believe that commercial
TV will not lose by Subscription TV
but will benefit eventually."

O'Neil expressed gratification with
the cooperation given pay TV in Hart-
ford by most of the film companies. He
said all major companies — except 20th-
Fox and Universal — are supplying prod-
uct, including a substantial number of
first subsequent runs, exhibited at home
day-and-date with Hartford theatres.

Armstrong Calls for
'Continuing Dialogue7

Allied States Association seeks to
serve its function in the industry by
carrying on a "continuing dialogue be-
tween exhibition and distribution on the
merits and disadvantages of specific

CAST &
CREDITS
■

Report on the Industry's
PEOPLE and EVENTS

trade practices and sales policies". Na-
tional president Jack Armstrong thus
described the exhibitor organization's
aim at the annual convention of the
New York State unit at Lake Kiamesha
last week.

Film buying, he made clear, was the
problem of each individual exhibitor.
"No exhibitor is entitled by virtue of
his Allied membership to the best deal
made by the best film buyer in the
country."

Milton H. London, executive director
of the national body, declared that
theatremen should consider the poten-
tial of new theatres and improvement
of existing facilities to meet the "rising
cycle" of attendance. Henry H. Martin,
Universal Pictures vice president, called
for full cooperation in the drive for
funds to support the Will Rogers Hos-
pital. COMPO executive vice president
Charles E. McCarthy told the conven-
tion delegates that it is essential they
cooperate with his organization's pro-
gram to foster awareness of the Bill of
Rights.

Sidney J. Cohen was reelected presi-
dent of New York Allied.

HERMAN ROBBINS

With the passing last Wednesday of
Herman Robbins, the motion picture
industry lost one of its most dynamic
and respected leaders.

The long-time head of National
Screen Service was highly esteemed for
his acumen and enormous personal
drive, but none the less for his wide
range of philanthropic work. He de-
voted himself unceasingly for many
years to the development of the Will
Rogers Hospital, his pet project among
the many charities to which he con-
tributed of his time and money.

Burton E., now carries on the tradi-
tions of Herman Robbin as president of
National Screen Service.

FERGUSON

Columbia Won't Let
One Customer Escape

"We're prepared to spend more time,
more money and more imagination on
every film on the schedule to make sure
that Columbia product will get max-
imum audience support."

This credo of all-out showmanship
was voiced by Robert S. Ferguson, Co-
lumbia Pictures vice president in charge
of promotion, to an enthusiastic meet-
ing of the company's executives and
field force. They had previously heard
Rube Jackter, vice president and sales
chief outline an impressive array of 14
features which Columbia will have in
release during the next eight months.

Detailing his department's "hand-
tailored" merchandising techniques, Fer-
guson declared: "What brings people
into the theatre is advertising, publicity
and exploitation that creates a desire
to see the film when the film is avail-
able." Each release, he said, would be
backed by "as much money as is nec-
essary to bring in every single motion
picture viewer in the country."

Honors for DFZ

Double honors were heaped upon
Darryl F. Zanuck in recent weeks. The
20th Century-Fox president was named
1963 Motion Picture Pioneer of the
Year, and the Golden David statuette
of the Donatello Awards at the Sicily
arts festival was bestowed upon him for
his production, "The Longest Day",
voted the best foreign film of the 1962-
63 season.

Zanuck will be honored by the Pio-
neers at the annual dinner November
25 "for his brilliant leadership that has
reinvigorated 20th Century-Fox, and for
the vision and courage that have char-
acterized his career as one of the world's
foremost producers."

Named . . .

Ralph D. Hetzel, Jr., to serve as act-
ing head of MPAA in absence of Eric
Johnston ... Ira Teller to Columbia ad
department . . . Randy Fields to Em-
bassy.

Page 6 Film BULLETIN August 5, 1963

Viewpoints

AUGUST 5, 1963 / VOLUME 31, NO. 16

it Critic Speaks far the Defense

On the perimeter of movie busi-
ness, but unattached to it, lies the
province of the film critics who write
for the public press. A recent View-
point here suggested that our indus-
try cease firing buckshot at every re-
viewer who pans a picture and strive
for more amenable relations with the
press. This has drawn interesting re-
sponse from some of the country's
foremost critics, not the least of
which is the following waggish com-
ment by Jesse Zunser, Executive Edi-
tor and Motion Picture Editor of CUE
Magazine, the New York weekly.

To the Editor:

I appreciated your extremely interest-
ing and perceptive editorial (STOP
TRYING TO 'CURE' THE CRITICS).
I have read it twice, and want to con-
gratulate you on your calmness in ap-
praising the matter (under the pretty
feverish circumstances that must have
inspired it), and the good writing in it.

There are all sorts of critics, as all
sorts of hardware dealers, sausage
makers, plumbers, publishers and edi-
tors. Some let their jobs go to their
heads; some are surly, sarcastic, bitter,
had fights with their wives (or hus-
bands) and take it out on the customers
or clients or readers, or kick the dog
and bite the cat's tail in frustration and
revenge.

Most of us try to be intelligent, bal-
anced, fair — and unless we're on a deli-
berately snooty magazine (you can name
them better than I) don't attempt to
chop up a picture just to get across to
the reader how damn smart and witty
and clever we are.

We know that pictures cost a helluva
lot of money to make — in dollars, in
sweat, tears, heartbreak and anguish
generally. We don't enjoy murdering
such pictures when they are honestly
made. We don't enjoy ruining an in-
vestment, hurting producers, writers,
actors, exhibitors — and, incidentally,
maybe keeping the public from seeing

the general relationship of that film to
the people as a whole.

When a critics gets angry at some
films — as I do, for example, in the en-
closed proof of an article in next week's
(Aug. 10) Cue — it is not because I hate
movies — but because I love them, and I
want to see good ones, and I would like
to see the standards of films raised, not
lowered by unscrupulous, fast-buck guys
who have crawled into the business and
don't give a damn how they get that
fast buck. I want to be able to send
more of Cue's half-million readers to
the movies — and I want to be able to
tell them they will enjoy the picture
and they can take their kids and recom-
mend the picture to their friends.
None of us wants to be a censor, but
do you think the way to movie popu-
larity is for a producer to turn out pic-
tures portraying prostitution as a fine
profession for girls to get into, that im-
morality is great fun and can be cleaned
up in the last thirty-seconds of a picture
by "repentence?" That salaciousness in
theme, in inverted moralities presented
to kids who can't separate logic from
illogic, is good for the movie business?

Remember the old gag, the old vaude-
ville gag about the cop who arrested
the victim of a robbery for being on the
site at the time? Or Zero Mostel's clas-
sic World War II imitation of the iso-
lationist senator who demanded: "What
were the Hawaiian Islands doing in the
Pacific Ocean, in the first place?" . . .

A maker of a lousy movie cannot
blame the critics who tell the people
he's trying to grab that his picture is
really a lousy one. They (the critics) may
be wrong occasionally; they're only hu-
man, though many might argue this
point, too, but they're trying desperately
to be honest, fair, decent, moral — and
not be hated. We all want to be, like
Willy Loman, li-i-i-ked . . . And result:
Everybody hates poor little, sweet little
fellers, like

Very truly yours,

JESSE ZUNSER.

a picture that might give them an eve-
ning's honest relaxation. A good laugh
is needed by all these days (in comedy);
and fine dramas stimulate the mind, add
to our understanding and knowledge
and, we hope, goodness. It is no pleas-
ure to pan.

Movies, however, are one of the few
things in this world sold like a cat in a
bag. A customer doesn't know what he's
paid for until he out on the sidewalk
again — too late to say, "We wuz
robbed." The fantastic exaggerations of
motion picture advertising — the implied
lies in sex-angled advertising — glamor-
ous billboards, lobby displays, publicity-
promoted columnist items, phony inter-
views, etcetera, etcetera, are designed
not to tell the reader the truth (ob-
viously, there are many exceptions), but
to lure him into the theater and get his
dollar.

Under these circumstances, the hon-
est critic who describes a picture hon-
etly is — heaven help me ! — a public
servant, and a benefactor, and maybe
the exhibitor should give him a medal.
They are not, as is sometimes supposed,
a part of the motion picture industry,
although they may love many of the
guys and gals in it. They are a part of
the newspaper (or magazine) business;
they are reporters, writer, and critics —
I hope in the larger sense — critics of the
film, of the substance of the film, of the
idea and philosophy behind the film, of

BUITETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 1239 Vine
Street, Philadelphia 7, Pa., LOcust 8-0950, 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manager; Max Garelick,
Business Manager; Robert Heath, Circulation
Manager. BUSINESS OFFICE: 550 Fifth Ave-
nue, New York 36, N. Y., Circle 5-0124;
Ernest Shapiro, N.Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
S3. 00 in the U. S.; Canada, $4.00;
Europe, $5.00. TWO YEARS. $5.00 in
the U. S.; Canada, Europe, $9.00.

Film BULLETIN August 5, 1943 Page 7

The Viet* frw OuUiJe

mmmmmmmmmmmmm by ROLAND pendaris ^m^hmm

Theatres — Legit & Movie

I have a simple suggestion for improving the customer rela-
tions of the motion picture industry. Just send more people to
New York Broadway stage theatres. One visit to the average
Times Square legit playhouse and the customer will really appre-
ciate his motion picture theatre.

Right now there are only a dozen stage shows on Broadway.
For the most part, they tax the patience of the theatregoer in a
variety of ways. And every way offers another lesson in the
superiority of the motion picture theatre, if the theatre owner
would only realize and exploit the fact. I doubt, for example,
whether any but the most impoverished theatre owner would
permit his seats to deteriorate the way the $4.00 (and up) bal-
cony seats have almost literally rotted away in the legit houses.
The Broadway theatregoer who spends less than $6 for a seat
these days is likely to be sitting at a tilt, because the forward
end of his seat, the middle and the back have fallen apart at
differing rates of decline.

When it comes to building strong feeling on the part of the
customers, the prices for candies and refreshments at the Broad-
way stage houses are powerful indeed. The world's most expen-
sive orange drink, combined with the world's most elusive free
water fountains, makes the automatic soda machine in the lobby
of your neighborhood theatre look doubly attractive.

■< ►

The non-charms of the Broadway stage emporium start long
before you enter its lounge or auditorium. The first traumatic
experience comes when you scan the drama page and look at the
ticket prices. There is one show, for example, with a cast of four
and an abbreviated running time. A seat in the orchestra for
any evening performance costs $7.50. That's for one seat. And
as if the ticket price isn't bad enough, there's the fact that you
can't go whenever you want to; you generally have to buy
tickets in advance.

The other Saturday matinee, a couple I know decided to see a
comedy which has won wide acclaim. They bought tickets in the
morning, then came back to see the show. The price of a seat
in the middle of the balcony (they call it a mezzanine, but it is
a balcony) was $4,00. If the show had lived up to their expecta-
tions and the theatre had been packed, the price would still have
been pretty high. But the show was a disappointment and the
theatre was half empty, they reported. The half-emptiness of the
theatre was made somewhat painful for the $4.00 ticket pur-
chasers by the fact that in short order the occupants of cheaper
seats filtered down. They found themselves no better off than
people who paid considerably less for their tickets.

The whole idea of the reserved-seat, different-price scale of
the Broadway house seems to wind up making theatregoing less
pleasurable. In the first place, the greatest number of seats is
always in the highest price range. In the second place, you can
often find yourself in the unhappy position of being pinned
down in a bad seat while good seats go empty — or, conversely,
of having paid more for your seat than the guy who winds up
sitting next to you.

At a road show movie, the ticket scale usually has no more
than two prices, orchestra and balcony; but there are often as
many as five differently priced tickets for the very same per-
formance of a Broadway stage play.

I have recited these specific attributes of legitimate theatre-
going along the Great White Way because I believe each of
them presents a lesson in what not to do to the customer, and
perhaps the motion picture industry can avoid some of the
stage's mistakes. Where we can't avoid the mistakes, maybe we
can somehow profit by them.

The first mistake is price. I don't care how many times a
Broadway hit gets away with a $9 top. For every such success
there are a dozen failures. And now that the off-Broadway thea-
tre in New York is running into trouble it is worth pointing out
that the off-Broadway trouble started when the off-Broadway
shows raised their prices and ceased to be such great bargains.
When you charge an exorbitant price for a show, whether it be
stage, screen or closed circuit television, you sooner or later
acquire a dissatisfied and then an evaporating audience.

I am inclined to think that one of the reasons for the failure
of some of the big pictures of recent years has been that they
just set too high a ticket price. I am not suggesting that the
ticket buyer turns away because the price is high. What I do
believe is that the ticket purchaser who, after seeing the movie,
feels that it was too high priced then urges his friends not to
waste their money. The high price leads to bad word-of-mouth
when the picture doesn't live up to the price tag.

The second error which Broadway shows make — and the
movies shouldn't — is to make the ticket price structure so com-
plicated. There are advantages to reserved seats, and they need
no defense, but how can you justify a higher price for the 22nd
row of the orchestra, for example, than for the first row of the
mezzanine? The ticket price structure should be simple.

While we are on the subject of the price structure I think it
well to mention the ticket broker. The broker, who can be
defended as carrying on a legitimate business as a sort of com-
mercial factor for the theatre, is a new-business discourager.
When you find you can't buy tickets to a hit at the boxoffice,
but can get them at a broker's mark-up, you begin to lose con-
fidence in the box office. When motion picture theatres — as they
sometimes do in New York — have tickets sold through brokers,
they are hurting themselves in the long run. But more impor-
Therefore, I think there should be supplementary boxoffice win-
tres, whenever purchasing tickets at a boxoffice is made more
difficult, I believe the long-term influence on patronage is bad.
Therefore, I think there should be supplementary box office win-
dows when business warrants.

M ►

The Broadway stage has been in a steady decline. Possibly
television is partly responsible, but I think the main reason is a
disregard of the normal practices of good business. You can't
keep on overpricing, under-servicing and inconveniencing your
customers and expect them to continue as loyal patrons. What
happens is that they shop around more, they buy the hits, where
they are willing at the outset to put up with the hazards, and
they skip the average attractions. Then, after a while, they
become more and more selective even when the critics raved.

You can see this sort of thing happening in the movies, too.
Merely to say that the audience is growing more selective is to
ignore some of the important reasons for that selectivity. If a
customer gets no place to park his car, or has to sit in a delapi-
dated seat at the theatre, he becomes more selective. The attrac-
tion has to be pretty darned good to get him to put up with the
shortcomings of the theatre.

Page 8 Film BU LLETI N August 5, 1943

CxcluMK BULLETIN feature

AUGUST 19 ISSUE

The first comprehensive, authoritative

research report

on

public response to

PAY-TV
in Etobicoke, Canada

PREPARED BY

lenScope

WHAT ARE THE ATTITUDES OF THE PEOPLE— SUBSCRIBERS

AND NON-SUBSCRIBERS— WHERE PAY TV IS BEING TESTED?

FINANCIAL REPORT

Advice To Investors: Product
Is the Key; Witness Paramount

The volatile, chameleon-like character of motion picture
business puzzles and sometimes distresses our friends in Wall
Street. They find it difficult to comprehend the swift changes
taking place in the fortunes of movie companies from year to
year, and even from quarter to quarter.

Paramount Pictures is a case in point. Once endowed with
gilt-edge status in the speculative world of film shares, Para-
mount has fallen into a slump in brokerage house esteem. This
was never more apparent than in a recent telephone inquiry put
to Film BULLETIN by a New York investment firm surveying
film prospects in the months ahead. When Paramount was
cited as one of the best prospects for the second half of the
year, the researcher said, "We regard investment dollars as
quite safe, of course," said he, "but is there really sufficient
strength there to restore earnings to the level of their better
years? Can the reversal take place that fast?"

This is characteristic of those who evaluate this business in
terms of the orthodox tools of security analysis. Movie business
is not so much a business or an industry as it is a function of
showmanship and promotion on a picture-to-picture basis —
each picture a fiscal entity in itself.

In showing its first loss in 25 years in 1962, Paramount re-
mained long on its traditional good fiscal management, but
short on the showmanship entities. For this reason, perhaps, its
loss was less severe than it might have been. This summer, the
company has the best all-around product of any distributor.
President Barney Balaban told the annual meeting on June 4
that he anticipated a "very improved" second half. Agreed.
Earnings should be exceptionally good, one of the best six
months for Paramount in many years. The strong grosses of
"Come Blow Your Horn," "Hud," "Donovan's Reef" and
"The Nutty Professor" support this view.

It just goes to prove once again that product is the key. And
right now Paramount has got it.

UA Theatres, 7 Arts Feel Sting
Of Dissident Stockholder Groups

Disaffected stockholders in the past week set the waters to
bubbling, if not to boiling, on two corporate fronts. In each case,
the insurgents are deep in shares, steeped in wealth and heavy in
fellow dissidents. For the present, at least, they do not appear
to be deep enough.

Maxwell Cummings is leading an attack upon United Artists
Theatre Circuit, Inc., which promises to erupt into a blood-
letting proxy struggle by time of the annual meeting in December
— and perhaps sooner. Cummings, a director of U.A. Theatres,
together with his associates has established a group known as
The Stockholders' Committee for Better Management of United
Artists Theatre Circuit, Inc. This body has petitioned the theatre
chain for a special shareholders' meeting to be called August 20
to consider replacing 11 of the company's 12 directors. The
dissident committee has named six candidates of its own so far.
The nominees are Billy Wilder, motion picture director; Walter
Reade, chairman and chief executive officer of Walter Reade-
Sterling, Inc.; Jerome K. Ohrbach, recently resigned as president
of Ohrbach, Inc., the New York department store; Nathan M.
Ohrbach, chairman of Ohrbach, Inc.; Lester Osterman, Broadway

theatre owner and producer; Joseph H. Flom, a New York
attorney.

A letter soliciting proxies from shareholders, mailed in early
August, makes the following charges against management: down-
trend in earnings, culminating in loss from operation for last
fiscal year; a nine year dividend hiatus; a minus working capital
position; deterioration in the market value of the company's
stock. As of this time, the complexion of the U.A. Theatres board
would appear to forestall the granting of a special shareholders'
meeting — and hence a postponement of the showdown until the
December meeting. Moreover, there is some doubt that the
dissidents control as many shares as reported.

The annual meeting of Seven Arts Productions, Ltd. revolved
into a merry flap as management came under fire for buying a
20% interest in a land development company in Grand Bahama
Island. Angered minority interests, led by counsel for major
stockholder M. Mac Schwebel, blasted the transaction, contend-
ing the company would be better off by expanding its resources
within the entertainment industry. Louis Chesler, a Canadian
and chairman of Seven Arts, owns an 8% interest in Grand
Bahama Development Corp. Management prevailed, but the
acrimony that marked the tumultous meeting left wounds that
may fester into more corporate difficulties.

These were the first cases of organized shareholder opposition
to management in the movie industry in a number of years.

FILM &

THEATRE

STOCKS

Film Companies

Close

Close

7/18/63

8/1/63

Change

ALLIED ARTISTS

■ ■ 3%

2%

~ %

ALLIED ARTISTS (Pd.)

... 91/4

93/8

+ %

CINERAMA

14

133/4

- %

COLUMBIA

.24%

233/4

- Vl

COLUMBIA (Pfd.)

-.823/8

81%

- 7/8

DECCA

...45%

45%

DISNEY

...38i/8

383/4

+ %

FILM WAYS

■■• 7%

6%

- %

MCA

55

543/4

- %

MCA (Pfd.)

...36%

36%

- %

M-G-M

...28%

281/z

PARAMOUNT

39i/2

433/8

+3%

SCREEN GEMS

...211/4

2iy8

- %

20TH-FOX

...28V2

293/8

+ Vi

UNITED ARTISTS

...24%

231/8

-1%

WARNER BROS

...13%

131/8

- 3/4

Theatre Companies

* * *

AB-PT

...29%

29

- %

LOEW'S

...18%

183/g

NATIONAL GENERAL

...11%

11%

STANLEY WARNER

...21%

2IV4

~ %

TRANS-LUX

...Hi/4

A sfe

12%

+ 1%

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, American

Exchange; all others

on New York Stock Exchange.)

v 9 9

7/18/63

8/1/63

Over-the-counter

Bid

Asked

Bid

Asked

COMMONWEALTH OF P.R.

.... 6%

7%

63/8

7y4

GENERAL DRIVE-IN

... .103/g

11%

10

n

MAGNA PICTURES

.... 21/4

2%

2%

25/8

MEDALLION PICTURES

.... 83/4

93/4

83/4

93/4

SEVEN ARTS

.... 7%

8%

73/4

8%

UA THEATRES

12

131/8

131/4

143/8

UNIVERSAL

No quotation

63

68 1/2

WALTER READE-STERLING

. ■ • 23/4

3i/4

25/8

3

WOMETCO

....24i/2

261/4

24

25%

( Quotations courtesy National Assn. Securities Dealers, Inc.)

Page 10 Film BULLETIN August 5, 1963

Cameras East

The Eastern Shore Suddenly is Awash
With Wave of New and Did Film Makers

By JOHN ANO

Film production, long a sometime
thing in the East, has suddenly perked
up, and with it has come the woebegone
caterwauling of the professional sooth-
sayers. Providing counterpoint are the
jubilant arias of the novices, who try to
ooze sincerity, rather than sweat, from
their pores, as they modestly suggest that
their amateur films eclipse Antonioni in
sheer creativity and outshine Ross
Hunter in mass appeal. Fortunately,
there are those who feel that there is no
substitute for talent, perspiration and
hard work, and it is these men who, their
efforts tempered, at times by caution and
pessimism, are providing a resurgence
in local film making.

Inspired by the rather startling suc-
cess of Frank and Eleanor Perry's
"David and Lisa", numerous shoestring
ventures are being planned in New
York and environs, and some are under
way. For those who can afford studio
costs, Michael Myerberg, a stage and
film producer, recently opened the Mi-
chael Myerberg Studios at Roosevelt
Field, Long Island, in an endeavor
toward making New York City a mod-
ern major film center.

Myerberg's plant, a $2,500,000 com-
plex, has three air-conditioned sound
stages now under occupancy, and he en-
visions an eventual 16 sound stages,
facilities for projection, cutting and proc-
essing of films, and, ultimately, establish-
ment of the East Coast's first school of
motion picture art. The studio officially
opened on June 24 when the Columbia
Pictures production, "Lilith ", directed by
Robert Rossen, began a week's shooting
in a remodeled hangar. After location
shots at Oyster Bay, the "Lilith" com-
pany returned to the studio in late July
to complete the 13-week shooting sched-
ule. The sound-proofed stage used by

Artist's conception of Myerberg
studio complex on Long Island.

"Lilith" measures 120 by 100 ft., with
a 38-ft. ceiling, and, according to Myer-
berg, is the largest sound stage avail-
able for film production in the East.

Pan Arts' "The World of Henry
Orient", directed by George Roy Hill
for United Artists release, moved onto
stages 2 and 3 on July 29 for a sched-
uled 10 weeks. Before winter, Myerberg
expects to utilize his facilities for his
own production, "The Frog Pond." The
producer anticipates a heavy demand on
his studio by film makers, since tele-
vision has forced motion pictures out
of most of the available space in the
metropolitan area. The Fox Movietone
and Biograph (Gold Medal) studios are
the only fully-equipped facilities avail-
able for major production in New

Bin Maddow (on floor, right) discusses scene
for "An Affair of the Skin" with Herbert
Berghof (on ladder), Viveca Lindfors and
crew members.

York, and these usually are occupied by
video projects.

Mr. Myerberg, in a news conference
at the opening of his studios, presented
a grim picture of New York movie
making and made it clear that only with
proper facilities could the city hope to
attract production. Richard Sylbert,
"Lilith" designer, declared. "Without
some space, pictures won't be made
here. We have the talent and the peo-
ple and this is the first indication that
anybody cares."

Meanwhile, across the East River in
the ivory towers of Manhattan, real-
estate magnate Abraham P. Levine was
heralding the renaissance of production,
sparked, fostered, and nourished in
New York, as a great breakthrough for
American films. Scoffing at the need
for elaborate production facilities, he
asserted that "ideas and creativity" are
the only real essentials, and pointed to
the recently released "Greenwich Vil-
lage Story" which was made under con-
ditions that would have been considered
impossible by accepted production
standards. Yet, this low-budget ($125,-
000) film, made at little more than
1/19 the estimated cost ($2,300,000) of
"Lilith", played through July and early
August at Broadway's Victoria Theatre
and received favorable critical response
from all except the Herald-Tribune's
ever-dissenting Judith Crist.

"Greenwich Village Story" writer-
producer-director Jack O'Connell is
typical of the American New Wave
movie maker. After gaining technical
experience in Italy, he spent eight
months raising money from backers,
then assembled a technical crew, and
finally cast his film — a modern retell-
ing of "La Boheme" — from off-Broad-
way, television, and, in the case of lead-

( Continued on P<ige 12)

Film BULLETIN August 5, 1963 Page 11

CAMERAS EAST

it Few Successes Wilt Briny Money far Protluetisn

(Continued from Page 11)

ing lady Melinda Plank, the American
Ballet Theatre. Interiors were filmed in
O'Connell's apartment and street scenes
were shot "secretly" from inside a bur-
lap-covered truck, the actors perform-
ing, unnoticed, with microphone wires
dangling from their pants cuffs. Local
cafes, shops, abandoned wharves, and
landmarks fitted into the shooting
schedule. When the film was completed,
O'Connell received bids from major
distributors, but he felt that none
offered more than token advances on
his investment until he finally made a
deal for domestic rights with the newly
formed A. P. Levine company, Shawn
International.

Mr. Levine, too, has been occupied

Director Robert Rossen talks over "Lilith"
scene with star Jean Seberg in Myerberg
Studio.

in co-production with Sandy Howard
in the recently-formed Homer Produc-
tions. Howard, tv and radio producer
and a former vice-president of Sol
Lesser Productions, was winding up a
two-month shooting schedule on "Diary
of a Bachelor" at the small Seneca stu-
dios, just a few blocks from the new
Myerberg plant where "Lilith" was
underway. An ebullient Mr. Howard
took a few minutes from a tight sched-
ule on the sweltering, non air-condi-
tioned set to explain that "Dairy" is "in
the 'Pillow Talk' style, sophisticated but
in good taste," and the $250,000 film
is aimed, not at art houses, but the gen-
eral market. He feels he has a real find

in William Traylor, a seasoned Shakes-
pearen performer who also has done
tv work. "He could be another Jack
Lemmon, only different," asserted How-
ard. The co-production team is already
at work on their next film, "Heaven
or the Black Muslims," a documentary.

Other projects abound. Even that
other Levine, the canny Joseph E., has
his finger in the pie with a financial
stake in "The Light Fantastic," a sus-
pense drama, soon to be released. Ex-
band leader Artie Shaw is joining pro-
ducer ranks with "Hope Is the Thing
with Feathers," a comedy drama, and
the improvisational Premise Players are
at work on "The Troublemaker," said
to revive the Keystone Cop tradition.

The most talked-about New York
New Wave production is "An Affair of
the Skin," produced and directed by
Ben Maddow ("The Savage Eye"),
described as a "bold probing into Amer-
ican sexual attitudes." Boasting a cast
that includes Viveca Lindfors, Kevin
McCarthy, Lee Grant, Diana Sands, and
Herbert Berghof, production costs are
held down to $200,000 by filming in
Miss Lindfors' apartment and on the
streets. No studio facilities were used.
It is scheduled for fall release by Zen-
ith International.

By far, the most spectacular success
story of the new eastern film makers is
that of husband and wife team, Frank
and Eleanor Perry, whose first feature,
"David and Lisa", was made at a cost
of $200,000 and already has grossed
more than $1,500,000 — only a fraction
of its ultimate boxoffice potential. The
Perrys raised money for "David and
Lisa" in much the same way that
O'Connell financed "Greenwich Village
Story," with investments ranging from
$300 to $1,000, but for their second
film, "Ladybug, Ladybug", United Art-
ists supplied the full, modest $320,000
budget and gave the Perrys complete
artistic freedom.

"Ladybug, Ladybug ", shooting in
rural Pennsylvania, will complete its
seven-week shooting schedule in early
August and will be ready for distribu-
tion in November, nine months after
Mrs. Perry first conceived the idea from
an actual account of the effects of a
civil-defense alert on a group of school
children. She prepared a fictionalized

treatment and has been improvising and
adjusting the script as filming continues.
A cast of 13 professional children and
nine adult performers from New York
is being augmented by 120 local chil-
dren and townspeople, while technical
and production crews are from New
York and Philadelphia.

It is estimated that "Ladybug, Lady-
bug" would have cost about $750,000
to produce if studio facilities were util-
ized, but, expenses aside, producer-
director Frank Perry is a firm advocate
of location shooting. He feels that it
provides added dimension and realism
and a "texture of life" that can not be
obtained from studio backdrops. The
Perrys have three future films on the
agenda, two for United Artists, and one
for Twentieth Century-Fox.

And so the wave of film production
sweeps eastward. By no means does it
rival Hollywood operations, but a few
more successes will accelerate the
movement, and new money will appear
to urge on the New Wave on these
shores. The "Hollywood style" has ar-
rived with the shiny new studios put
up by Mr. Myerberg. The more affluent
producers will flock to the Myerberg
facilities, while the Perrys and Maddows
will continue to scorn them. If a little
competition develops and the low-bud-
get location producers give the "majors"
a run for their money, all the better. It's
the exhibitor with more product to
play and, ultimately, the public who
will benefit.

Frank Perry points out location scene for
"Ladybug, Ladybug" to Film BULLETIN s
John Ano.

Page 12 Film BULLETIN August 5, 1 963

/lie 'Doiayf

MERCHANDISING 1 ,

Powerhouse TV and All-Media,
Campaign Under Way for 'V.I.P.s'

TERRELL

tensive television

Seldom has the
industry seen a pro-
motion campaign
more concretely or-
ganized and loaded
with dynamism than
the one conceived
by Metro-Goldwyn-
Mayer for its forth-
coming '"The
V. I. P.."

A gigantic pre-
sell campaign, uti-
lizing the most ex-
coverage ever em-
ployed for a film, has been plotted on
a day-by-day basis by M-G-M executive
director of advertising, publicity and
promotion Dan Terrell and his staff
of boxofficers.

Terrell described two aspects of the
merchandising program for the pro-
duction starring Elizabeth Taylor and
Richard Burton as constituting "major
firsts": (1) the concentrated network
television campaign, and (2) the un-
usual campaign book which outlines in
minute detail and chronological order
the full 8 weeks — from August 5 to
September 26 — program of intensive
selling that will precede the film's 600
to 700 world-wide openings, including
a minimum 300 U. S. dates. A pre-
release engagement will be at Radio
City Music Hall earlier in September.
The vast television campaign will entail
a steady stream of 1 -minute spots car-
ried throughout the nation via 167
NBC stations at a reputed cost of ap-
proximately one-half million dollars.

The comprehensive over-all campaign
planned by Terrell in collaboration with
his staff, comprised of Emery Austin,
Bill O'Hare, Sid Glazer, Ab Weissburg
and Archie Sullivan will include a va-
riety of other promotional media. Field
press representatives will cooperate with
local theatremen in every major market
area to solicit the cooperation of news-
paper editors and radio and television
outlets. A special 40-second teaser
trailer, highlighting stars Taylor and
Burton will be made available. In each
area local radio personalities will be
used in connection with 20-, 30- and
60-second spot ads. Extensive tie-ins
will be made with major department
and specialty stores in every market,
with a V. I. P. fashion portfolio de-
tailing the exciting Givenchy costumes
displayed in the film.

Another major facet of the promotion

Original Score Album

Fashion Portfolio

DELI ?- 50c

A magnificent, explosive novel of
love and money, power and crisis

THE

YIP

BY MARVIN H. ALBERT

Now a great WM molion picture

S

Paper Back Promotion

effort will be concentrated on the score
of "The V. I. P.s", by Miklos Rozsa,
which will be available in an Original
Album from MGM Records. David
Rose also has recorded "The Love
Theme from The V. I. P.s". Several
other recordings will also be available.

Dell Publishing will put on an in-
tensive campaign for its paperback
edition of the story through its 800
dealers and over 100,000 retail outlets.

Trans World Airlines also will par-
ticipate in the "V.I.P.s" promotion.
TWA's role involves its use of scenes
from the film in a series of full-color
ads placed by the airline in national
magazines featuring the company's In-
flight Motion Picture program. This
phase of the campaign will be supple-
mented with numerous newspaper ads
to appear over the next two months.
Counter card standees will be on dis-
play at all TWA ticket offices and the
windows of its agencies throughout the
world.

For point-of-purchase display, M-G-M
has prepared an impressive theatre front
display, unusual in basic design and
simple to set up by the theatreman. A
giant standee for lobby use will be one
more item available through National
Screen Service branches in all areas.

Preview Records Catching

Preview Records, the new idea for
filling theatre intermissions, appears to
be gaining favor fast with theatremen.
Cut with the music from current and
forthcoming film releases, Preview Rec-
ords are being recognized by showmen
as an excellent means of plugging their
coming attractions, while adding enter-
tainment to show breaks.

Available through National Screen
Service branches the recordings are
being rented at the cost of Sl.50 per
week. The library already includes music
from the most important summer and
early fall releases.

Film BULLETIN August 5, 1963 Page 13

"Kiss of the Vampire"

Scttutete 1£<nU*9 O O Plus

Hammer's latest shrill chill epic. If properly dualled and
strongly sold, should do OK in saturation play-offs.

"Kiss of the Vampire" is the latest chiller from the Hammer
horror mills in Britain. This entry has a nice gory Eastman
color setting, better than average production values, and com-
petent performances. If Universal backs it with a strong local
level campaign, and it is coupled with the right kind of co-
feature, it should get some fairly good grosses in saturation
play-off. Director Don Sharp and producer Anthony Hinds have
managed to insert some new twists in the well-photographed
and gimmicky film. The John Elder screenplay is basically the
same one that has been keeping Count Dracula and his de-
scendants busy lo these many years, with a finale borrowed from
"The Birds" thrown in for good measure. In a gory prologue,
blood spurts from a casket after a shovel is forced through it.
The story, which takes place in 1910, begins when Edward
De Souza and his pretty blond bride, Jennifer Daniel, run out
of gas on a country road and seek refuge at a dark, musty inn,
located near a castle. That night they dine with their lordly
neighbor, Noel Willman, and, later, Miss Daniel is spirited
away by Willman, who sinks his fangs into her swan-like neck.
He is, it seems, headmaster of a whole cult of vampires, and
De Souza finds himself hopelessly outnumbered when he tries
to rescue his mesmerized bride. The neighborhood drunk,
Clifford Evans, comes to De Souza's aid, explaining about the
vampires and how he had to desecrate his daughter's body at
her own funeral in order to free her from their evil spell.
De Souza is captured by the vampires and, just as a hungry
wench is about to feast upon him, he draws the sign of the
cross, grabs his bride and makes a break. The drooling vampires
pursue, but a flock of horrendous bats descends upon them.
Evans whispers some magic words over Miss Daniel, who has
not yet been completely transformed into a demon, and she
conies out of her spell just in time to see the satiated bats
departing from the castle of the now-bloodless vampires.

Universal. 88 minutes. Clifford Evans, Noel Willman. Produced by Anthony Hinds.
Directed by Don Sharp.

"Donovan's Reef

gu4tne4<t Kate*? O G Plus

Brawling, fast-moving Wayne action comedy by John
Ford should satisfy family audience.

John Wayne is in typical form as he battles it out with
Lee Marvin and, between bouts, tames Boston socialite Elizabeth
Allen against a lush Hawaiian Technicolor background. "Dono-
van's Reef is robust, fast-moving, family entertainment. It is
competing with earlier Wayne pictures that are now available,
almost nightly, on free television. Producer-director John Ford
staged this Paramount release primarily for laughs and some
of the sequences seem hardly motivated. Wayne and Marvin
move into action only for the pure joy of it, and after awhile
they look like a couple of overgrown kids — and their antics
tend to become dull. Tall, gravelly-voiced Elizabeth Allen, in
her first important screen role, is given ample opportunity to
display a fine comic flair. Cesar Romero is around in his familiar
role, the fortune-hunting playboy, and Dorothy Lamour, sans
sarong, adds a nostalgic note as a sort of South Seas Mae West
who sings "Silent Night" during a hurricane. Jack Warden,
Dick Foran, Mike Mazurki, round out the cast. The screenplay
by Frank Nugent and James Edward Grant is set on a South
Pacific Island just after World War II. Wayne and Marvin
are a couple of brawling ex-seamen who run a saloon called

Donovan's Reef. When Miss Allen, daughter of their crony,
doctor Jack Warden, arrives to see if her father is responsible
enough to inherit a fortune, Wayne adopts Warden's three
native children so as not to offend the lady's sensibilities. This
causes all sorts of misunderstandings, especially after Miss
Allen falls in love with Wayne and learns that he has never
been married. Warden returns from a long trip and explains
everything to his understanding daughter. She continues to hold
a grudge against Wayne until he loses his patience, spanks her,
and then asks her to marry him.

Paramount. 108 minutes. John Wayne. Lee Marvin, Jack Warden, Elizabeth Allen,
Cesar Romero, Dorothy Lamour. Produced and directed by John Ford.

"My Hobo"

'Sutut&M 72. a tiny O O

Mild Japanese comedy with touches of home-spun
humor. Fair art market entry. Badly subtitled.

A philosophical comedy from Japan, concerning an egg-head
hobo and the two waifs he befriends, provides generally pleas-
ing, if undistinguished, entertainment. Badly subtitled, the film
is too cliched in its home-spun philosophies to generate more
than mild art-house interest. The Eastman color and Tohoscope
film, for which Senezumi Fujimoto and Hideyuki Shino were
executive producers for the Tokyo Eiga Company, offers intrig-
uing background as the hobo, Keiji Kobayashi, ambles from
Kyushu to Tokyo. Unfortunately, the subtitles fail to reveal the
locale of some of the most interesting and scenic sights. Along
the journey, writer-director Zenao Matsuyama has supplied
diversions with a pretty, upper-class vagabond, Hideko Taka-
mine, who takes Kobayashi's money and deposits it in a bank
for his safekeeping, and in the two completely natural and
disarming moppets, Noriehi Miki and Reiko Dan. There is
much talk about honesty, religion and man's responsibility to
himself and to others. In the end, after the orphaned children
become permanent charges, the hobo gives up his carefree life,
marries Miss Takamine, and accepts the responsibilities of main-
taining a family.

Toho. 98 minutes. Keiji Kobayashi, Hideko Takamine. Produced by Tokyo Eiga Com-
pany. Directed by Zenzo Matsuyama.

"Harbor Lights"

SudinedA IRatcHf O Plus

Third-rate meller for support in action houses.

This mild actioner being released by 20th-Fox is suitable
only for rounding out dual bills in the sub-runs. Under Maury
Dexter's production and direction, the Puerto Rican-made melo-
drama moves fairly rapidly, has performances that are compe-
tent and some interesting location shots of San Juan. Filmed
by Associated Producers, it features Kent Taylor, Jeff Morrow,
Mirian Colon, and a locally-recruited supporting cast, with some
of the minor roles dubbed, rather poorly, into English. Henry
Cross' pedestrian screenplay finds Taylor, a professional gam-
bler, investigating the mysterious death of his brother. He is
approached by a smuggler (Morrow) who wants a diamond that
the brother was trying to take out of the country, and is chased
by the police, who believe he murdered a crooked barge captain.
Miss Colon supplies an is-she-or-isn't-she (with the smugglers)
touch, and, in the final reel, decides to side with Taylor. Finally
realizing that Taylor is innocent of the charges against him, the
police trace the murders to Morrow. Taylor finds the diamond
and gives it to charity.

20th Century-Fox. 68 minutes. Kent Taylor, Jeff Morrow, Mirian Colon. Produced
and directed by Maury Dexter.

Page 14 Film BULLETIN Augusts, 1963

"For Love or Money"

&ti4iH*M IRetfc*? O O O

Amusing, well-paced romantic comedy best suited for
metropolitan audiences. Color and good cast.

Another sophisticated romp from the Universal fun rooms,
this should be a crowd pleaser in the metropolitan and class
markets. Kirk Douglas, Mitzi Gaynor, and Gig Young lead a
first-rate cast through the papier-mache plot and barely, just
barely, miss that extra bit of finesse that made producer Robert
Arthur's "That Touch of Mink" and director Michael Gordon's
"Pillow Talk" such boxoffice bonanzas. The screenplay is by
veteran mirthmakers Larry Markes and Michael Morris. Miss
Gaynor and Young display their usual comedy fillip, but
Douglas lacks the light touch to make his bachelor-about-town
role completely convincing. Thelma Ritter and William Bendix
lend some added weight to the marquee list, although their
roles are not as rewarding as they might have been. It's all
bedecked in Eastman color, with a lusher-than-life-even-among-
the-rich-touch adding to the fairy tale aura. Multi-millionairess
Thelma Ritter engages attorney Kirk Douglas to act as match-
maker for her three daughters: brainy Mitzi Gaynor, beatnik
Leslie Parrish, and muscle-bound (no kidding) Julie Newmar.
The girls have no trouble finding men of their own, but the
characters they come up with are a bit too out of this world
for Mama. She feels they need opposites to balance their
eccentricities. So, based upon reports prepared by her private
Pinkerton team headed by Bendix, she selects a playbody for
Mitzi, a prison reformer for Leslie, and an internal revenue
agent for Julie. Douglas will collect $100,000 if he succeeds in
cupid's role. Since he is a bit of a playboy himself, it isn't too
difficult for him to arrange the necessary meetings. Matters,
he thinks, are made easier by Mama's choice for Mitzi — his
best friend, Gig Young. It is this match that creates enough
complications to keep the plot spinning until its hilarious
climax aboard a yacht owned jointly by Douglas and Young.
Mitzi gets Douglas, who was Mama's secret choice all along, and
the other girls also find happiness with Mama's selections.

Universal. 108 minutes. Kirk Douglas, Mitzi Gaynor, Gig Young. Produced by
Robert Arthur. Directed by Michael Gordon.

"Gidget Goes to Rome"

SutitcM IRa&Hf O O Plus

Wholesome, easy-to-take escapist fare has pleasant
romance, eye-filling scenes of Eternal city. Cindy Carol
is delightful Gidget. Will score with teenage fans.

Here is pleasant easy-to-take escapist fare. Backed by Col-
umbia's intensive promotional campaign, it should register well
with both teenagers and the family trade, especially in the
smaller cities and hinterlands. Even in the more sophisticated
metropolitan markets its relaxing romantic quality will please
audiences. That sweet-as-cotton-candy lassie, Gidget, is given
a wistful, waif-like quality by Cindy Carol. She spreads marsh-
mallow fluff all over the eternal city, and has a nice romance
with attractive James Darren. The acidulous humor of Jessie
Royce Landis, a literate script, and the imaginative direction of
Paul Wendkos all contribute toward making this bright, whole-
some family entertainment. The Jerry Bresler production will
win approval and, we trust, endorsement from PTA and other
educational groups, for the screenplay by Ruth Brooks Flippen
and Katherine and Dale Eunson is noteworthy in that it does
not portray Gidget and her pals as adolescent "boobs." These
kids obviously have studied their school books, and their trip
to Rome is enhanced by their knowledge of literature and his-
tory. Educational values never get in the way of the entertain-

ment, however, and teenagers will be charmed by the affair
Miss Carol and Darren (who sings two songs), milady will revel
in the Fontana fashion show, and armchair travelers will be
treated to a stunning Eastman color tour of the city. There is
humor aplenty. Miss Landis models a collection of outrageous
wigs, while Gidget has a brief, hilarious fling as a high-fashion
model. And she indulges in a series of satirical daydreams, one
of which is a take-off on Cleopatra's entrance into Rome, and she
even gets to attend a "La Dolce Vita" type party that manages
to be both clean and funny. The plot is only a peg on which to
hang a string of episodic adventures among Rome's scenic
beauties. Gidget is 18 now and she makes her first grown-up
trip with her usual pals and their boyfriends. Miss Landis, aunt
of one of the boys, serves as chaperone for the group, but
Gidget's parents (Jeff Donnell and Don Porter) secretly arrange
to have an Italian journalist, Cesare Danova, watch over their
daughter. Darren becomes enamored of a charming guide
(Danielle de Metz) and, to spite him, Gidget makes a play for
Danova, whom she compares to Dante's Paoli. At vacation's
end, Gidget and Darren are reunited.

Columbia. 101 minutes. Cindy Carol, James Darren, Jessie Royce Landis, Cesare
Danova, Danielle de Metz. Produced by Jerry Bresler. Directed by Paul Wendkos.

"Three Fables of Love"

Satinet IRcttucc^ O O Plus

French omnibus tells three short stories, one of which is
outstanding. Has Leslie Caron, Rossano Brazzi. OK art
entry.

A galaxy of international stars and a trio of directors fail to
make this French omnibus of La Fontaine's fables more than
intermittently entertaining, but moderate boxoffice success can
be predicted due to the art house popularity of Leslie Caron,
Rossano Brazzi, Charles Aznavour, and director Rene Clair.
The Madeleine Films-Franco London Films co-production, pro-
duced by Gilbert de Goldschmidt, utilizes three short fables
with varying results. The first, "The Tortoise and The Hare,"
pits Monica Vitti and Sylva Koscina in a race for the love of
Rossano Brazzi. The adaptation by Suzanne Cecci D'Amico and
Alessandro Blasetti, who also directed, is sluggish and so are
the performances. Since Miss Vitti here exerts far more sex
appeal than her rival, the fable, in which she is the slow starter,
loses its impact. The second opus, "The Fox and The Crow,"
has moments of humor, thanks to the spirited performance of
Michel Serrault and Jean Poiret and the tongue-in-cheek direc-
tion of Herve Bromberger. Unfortunately, the screenplay, by
Bromberger and Frederic Grendel, extends a story that could
be told in ten minutes to a rather tedious half hour. The crow,
Serrault, is overly protective of his wife, Anna Karina, but fox
Poiret plays on the crow's vanity and makes off with the damsel.
The final and briefest fable, lasting only 20 minutes, is a minor
gem. Director-writer Rene Clair has staged "Two Pigeons" with
style and verve and has provided Leslie Caron with a role that
enables her to display another facet of her talent. Miss Caron
is the epitome of sophistication as an ultra-chic fashion model.
She is about to embark on a weekend vacation when she dis-
covers that her door is jammed. She enlists the aid of Charles
Aznavour, an unworldly neighbor, who accidentally locks him-
self inside the apartment. It is a holiday, there are no other
neighbors around, and Aznavour accidently breaks the tele-
phone. And so the two spend the weekend together, subsisting
on Metrecal cocktails. By the time they are rescued, they have
fallen in love, but a double-twist ending holds a few more
happy surprises. The film, a Janus release, has adequate English
subtitles.

Janus. 76 minutes. Leslie Caron, Rossano Braizi, Monica Vitti, Sylva Koscina Charles
Aznavour, Jean Poiret, Michel Serrault, Ann Karina. Produced by Gilbert de
Goldschmidt. Directed by Alessandro Blasetti, Herve Bromberger, Rene Clair.

Film BULLETIN August 5, 1963 Page 15

A

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

April

DAY OF THE TRIFFIDS, THE CinemaScope. Color.
Howard Keel, Nicole Maurey, Janette Scott, Keiron
Moore. Producer Philip Yordan. Director Steve Sekely.
Sc ience-fiction thriller. 93 min. 5/13/63.

May

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Lauren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.
88 min. 5/13/63.

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
Producer David Deutsch. Director Michael Winner.
Musical, 74 min. 7/8/63.

June

55 DAYS AT PEKING Technirama, Technicolor.
Charlton Heston, David Niven, Ava Gardner, Flora
Robson, Harry Andrews, John Ireland. Producer Samuel
Bronston. Director Nicholas Ray. Story of the Boxer
uprising. 150 min. 4/29/63.

July

GUN HAWK, THE Rory Calhoun, Rod Cameron, Ruta
Lee, Rod Lauren. Producer Richard Bernstein. Direc-
tor Edward Ludwig. Outlaws govern peaceful town of
Sanctuary.

September

SHOCK CORRIDOR (Formerly The Long Corridor)
Peter Breck, Constance Towers, Gene Evans, James
Best, Hari Rhodes. Producer-director Samuel Fuller. A
Leon Fromkess Production. A suspense drama. 101 min.
7/22/63.

Coming

GUNFIGHT AT COMANCHE CREEK Color. Cinema-
scope. Audie Murphy, Colleen Miller, Susan Seaforth.
Producer Ben Schwalb. Director Frank McDonald. Pri-
vate detective breaks up outlaw gang.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen, Tuesday Weld, Tony Bill, Tom Poston, Chris
Noel, Ed Nelson. Producer Martin Jurow. Director

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

February

BATTLE BEYOND THE SUN IFilmgroupl Color & Vista-
scope. Ed Perry, Aria Powell. 75 min.

NIGHT TIDE (Filmgroup) Dennis Hopper, Linda Law-
son. 84 min.

March

CALIFORNIA Jock Mahoney, Faith Domergue. Western.
86 min.

April

FREE, WHITE AND 21 (Formerly Question of Consent)

Frederick O'Neal, Annalena Lund. Drama. 102 min.

OPERATION BIKINI (Formerly Seafighters) Tab Hunter,
Frankie Avalon, Eva Six. Producer-director Anthony
Carras. War action drama. 84 min. 4/29/63.

May

MIND BENDERS, THE Dirk Bogarde, Mary Ure, John
Clement. Producer Michael Relph. Director Basil Dear-
den. Science fiction. 99 min. 4/15/63.

YOUNG RACERS. THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama. 84 mm.

June

DEMENTIA ifl3 (Filmgroup) William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK, THE CONQUEROR I Formerly Miracle of the
Viking). Color, CinemaScope. Cameron Mitchell,
Kessler Twins. Action drama. 90 min.

July

TERROR, THE (Filmgroup) Color, Vistascope. Boris Kar-
loff. Sandra Knight. Horror. 81 min.

August

BEACH PARTY Color, Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funicello.
Producer James H. Nicholson. Director William Asher.
Teenage comedy. 100 min. 7/22/63.

September

HAUNTED PALACE. THE Color, Panavision. Vincent
Price, Debra Paget, Lon Chaney. Edgar Allan Poe

classic.

SUMMER AFFAIR, A (Formerly Summer Holiday) Tech-
nicolor, Technirama. Cliff Richard, Lauri Peters. Teen-
age musical comedy. 100 min.

October

FLIGHT INTO FRIGHT (Formerly Schizol Leticia
Roman, John Saxon. Producer-director Mario Dava. Sus-
pense horror.

"X"— THE MAN WITH THE X-RAY EYES Ray Milland,
Diana Van Der Vlis, John Hoyt, Don Rickles. Science
fiction. 80 min.

November

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester, Harvey
Lembeck. Horror comedy.

UNDER AGE Teenage drama.

December

GOLIATH & THE GLADIATORS Color. Scope. Mark
Forrest, Jose Greco, Erno Crisa.

SAMSON AND THE SINS OF BABYLON Color, Scope.
Mark Forrest, John Chevron.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

BLACK SABBATH Color. Boris Karloff, Mark Damon.
Horror.

COMEDY OF TERRORS, A Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff, Basil Rathbone, Joyce
Jameson. Horror, comedy.

DUNWICH HORROR Color. Panavision. Science Fiction.
GENGHIS KHAN 70mm roadshow.

MAGNIFICENT LEONARDO. THE Color, Cinemascope.
Ray Milland.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

MUSCLE BEACH Color, Panavision. Frankie Avalon,
Annette Funicello. Teenage musical.

PYRO Color. Barry Sullivan, Martha Myer. Suspense
melodrama .

RUMBLE Color. Frankie Avalon, Annette Funicello. Teen-
age drama.

TIARA TAHITI Color. James Mason, John Mills. Action.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Vincent Price.
Producers Julian Wintle, Leslie Parkyn. H. G. Wells

classic.

April

MIRACLE OF THE WHITE STALLIONS Color. Robert
Taylor, Lili Palmer, Curt Jergens. A Walt Disney pro-
duction. Director Arthur Hiller. Story of the rescue of
the famous white stallions of Vienna. 118 min. 4/1/63.

June

SAVAGE SAM Brian Keith, Tommy Kirk, Kevin Cor-
coran. Marta Kristen. Dewev Martin. Jeff York. Pro-
ducer Walt Disney. Director Norman Tokar. Tale of the
pursuit of renegade Indians who kidnap two boys and
a girl. 110 min. 6/10/63.

July

SUMMER MAGIC Hayley Mills, Burl Ives, Dorothy Mc-
Guire, Deborah Walley, Peter Brown, Eddie Hodges.
Director James Neilson. Comedy musical. 109 min.
7/8/63.

October

2OJ0O00 LEAGUES UNDER THE SEA Re-release.
FANTASIA Re-release.

April

MAN FROM THE DINER'S CLUB, THE Danny Kaye, Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin. Comedy. 96 min. 4/15/63.

May

FURY OF THE PAGANS Edmund Purdom, Rosanna
Podesta.

June

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical. 112 min. 4/15/63.

JASON AND THE ARGONAUTS (Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Kovak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic. 104 min. 6/10/63.

JUST FOR FUN Bobby Vee, The Crickets, Freddie
Cannon, Johnny Tillotson, Kerry Lester, The Tornadoes.

72 min.

July

13 FRIGHTENED GIRLS Murray Hamilton, Joyce Tay-
lor, Hugh Marlowe. Producer-director William Castle.
Mystery. 89 min.

August

GIDGET GOES TO ROME James Darren, Cindy Carol,
Jobv Baker. Producer Jerrv Bresler. Director Paul
Wendkos.

September

IN THE FRENCH STYLE Jean Seberg. Producer Irwin
Shaw. Director Robert Parrish.

Coming

BEHOLD A PALE HORSE Gregory Peck, Anthony Quinn.

CARDINAL, THE Tom Tryon, Romy Schneider, Carl Lyn-
ley, John Saxon. Producer-director Otto Preminger.

CONGO VIVO Jean Seberg, Gabriele Ferzetti.

DR STRANGE LOVE: OR HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers,
Sterling Hayden, George C. Scott, Keenan Wynn. Pro-
ducer-director Stanley Kubrick. Comedy.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

L-SH APED ROOM, THE Leslie Caron, Tom Bell. Pro-
ducer James Woolf, Richard Attenborough. Director
Bryan Forbes. Drama. 125 min. 7/22/63.

MANIAC Kerwin Mathews, Nadia Gray.

OLD DARK HOUSE, THE Tom Poston, Joyce Greenfell.

RUNNING MAN, THE Laurence Harvey, Lee Remick.

SWINGIN' MAIDEN, THE (Formerly The Iron Maiden)
Michael Craig, Anne Helm, Jeff Donnell.

UNDER THE YUM YUM TREE Jack Lemmon, Carol Lyn-
ley.

VICTORS, THE Vincent Edwards, Melina Mercouri,
Jeanne Moreau, Romy Schneider. Producer-director
Carl Forman.

March

BALCONY, THE Shelley Winters, Peter Falk. Producers
Joseph Strick, Ben Maddow. Director Strick. Unusual
version of Genet's fantasy play. 85 min. 4/1/63.

April

WRONG ARM OF THE LAW. THE Peter Sellers.
Lionel Jeffries. Sellers uses Scotland Yard in pulling off
the laugh crime of the century. 91 min.

Film BULLETIN — THIS IS YOUR PRODUCT

AUGUST SUMMARY

Over the past fortnight there has
been only a slight change in the release
chart for August. The total number of
available features is now 13. Univer-
sal has increased its listing to four.
Continental has also added another
film to join United Artists in offering
two properties. Five companies —
M-G-M, Columbia, Embassy, American
International and Paramount — each
have one release. 20th-Fox, Warner
Brothers, Allied Artists and Buena
Vista have nothing scheduled for the
month of August.

June

DAVID AND LISA Keir Dullea, Janet Margolin, How-
ard Da Silva. Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed young-
sters. 94 min. 1/7/63.

YOUR SHADOW IS MINE Jill Haworth, Michael Ruhl.
A European girl, raised by an Indo-Chinese tamily, has
to choose between her native sweetheart and the
society of her own people. 90 min.

July

THIS SPORTING LIFE Richard Harris. Rachel Roberts.
Producer Karel Reisz. Director Lindsay Anderson. Dra-
ma. 129 min. 7/22/63.

August

LORD OF THE FLIES Director Peter Brooks. Dramatiza-
tion of William Golden's best selling novel. 90 min.
NEVER LET GO Richard Todd, Peter Sellers, Elizabeth
Sellers. Producer Peter de Sarigny. Director John
Guillevmin. Crime melodrama. 90 min. 6/24/63.

September

HANDS OF ORLAC, THE Mel Ferrer, Christopher Lee,
Dany Carrel, Lucille Saint Simon. Producers Steven
Pallos, Donald Taylor. Director Edmond Greville.
Mystery. 86 min.

Coming

MEDITERRANEAN HOLIDAY 70 mm color. Travelogue
narrated by Burl Ives.

mssnmm

February

LOVE AT TWENTY Eleonora Rossi-Drago, Barbara Frey,
Christian Doermer. Directors Francois Truffaut, Andrez
Wajda, Shintaro Ishihara, Renzo Rossellini, Marcel
Ophuls. Drama of young love around the world. 113
min. 2/18/63.

MADAME Technirama, 70mm. -Technicolor. Sophia
Loren, Robert Hossein. Producer Carlo Ponti. Director
Christian Jaque. Romantic drama set in the French
Revolution. 100 min. 3/4/63.

March

FACE IN THE RAIN, A Rory Calhoun, Marina Berti,
Niall McGinnis. Producer John Calley. Director Irvin
Kershner. Suspenseful spy-chase drama. 90 min. 4/1/63.

April

LANDRU Charles Denner, Michele Morgan, Danielle
Darrieux. Producers Carlo Ponti, Georges de Beaure-
gard. Director Claude Chabrol. Tongue-in-cheek drama
of the infamous ladykiller. 114 min. 4/16/63.

LAW, THE Marcello Mastroianni, Melina Mercouri, Yves
Montand, Gina Lollobrigida. Producer, Jacques Bar.
Director, Jules Dassin. Romantic drama. 114 min.

May

BEAR, THE I English-dubbed ) Renato Rascel, Francis
Blanche, Gocha.

July

CRIME DOES NOT PAY Edwige Feuillere, Michele
Morgan, Pierre Brasseur, Richard Todd, Danielle Dar-
rieux. Director Gerard Oury. Drama. 159 min.

FREDERICO FELLINI'S "Vh" Marcello Mastroianni,
Claudia Cardinale, Anouk Aimee, Sandra Milo. Pro-
ducer Angelo Rizzoli. Director Federico Fellini. Drama.
135 min. 7/8/63.

LIGHT FANTASTIC Dolores McDougal, Barry Bartle.
Producer Robert Gaffney. Director Robert McCarty.
Drama.

PASSIONATE THIEF THE Anna Magnani, Ben Gazzara,
Toto. Producer Silvio ClementeMi. Director Mario
Monicelli. Comedy. 95 min.

WOMEN OF THE WORLD Technicolor. Narrated by
Peter Ustinov. Director Gualtiero Jacopetti. Women as
they are in every part of the world. 107 min. 7/8/63.

August

ONLY ONE NEW YORK Director Pierre-Dominique
Gaisseau. Documentary.

September

THREEPENNY OPERA Sammy Davis, Jr., Curt Jurgens,
Hildegarde Neff. Director Wolfgang Staudte. Screen
version of Bertolt Brecht and Kurt Weill classic.

QUEEN BEE Marina Vlady, Ugo Tognazzi. Director
Marco Ferreri. Comedy drama.

Current Releases

ARMS AND THE MAN (Casino Films) Lilo Pulver,
O. W. Fischer, Ellen Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
96 min.

BERN ADETTC OF LOURDES (Janus Films) Daniele Ajoret
Nadine Alari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE ILopertl Lan Carmichael. Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLACK FOX, THE (Capri Films) Produced, directed
and written by Louis Clyde Stoumen. 89 min. 4/29/63.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 68 min.

BLOODY BROOD, THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR, A (Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

CLEOPATRA'S DAUGHTER (Medallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

DAY THE SKY EXPLODED, THE (Excelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR, THE (Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL MADE A WOMAN. THE (Medallion) Color, To-
talscope. Sarita Montiel. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE (Ultra Pictures) Anthony Quinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS ICrown International)
Technicolor, Totalvision. Yoko Tani, Oldrick Lukes. 81
min.

FIVE DAY LOVER, THE IKinqsley International] Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FORCE OF IMPULSE (Sutton Pictures) Tony Anthony,
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

GIRL HUNTERS, THE IColorama). Mickey Spillane,
Shirley Eaton, Lloyd Nolan. Producer Robert Fellows.
Director Roy Rowland. Mickey Spillane mystery. 103
min. 6/10/63.

HAND IN THE TRAP (Angel Films) Elsa Daniel, Fran-
cisco Rabal. Director Leopoldo Torre Nilsson. Horror.
90 min. 7/22/63.

HEAD, THE (Trans-Lux) Horst Frank, Michael Simon.
Director Victor Trivas. Horror. 95 mm. 7/8/63.

HORROR HOTEL ITrans-Lux) Denis Lotis, Christopher
Lee, Betta St. John, Patricia Jessel. Producer Donald
Taylor. Director John Moxey. 76 min. 7/8/63.

IMPORTANT MAN, THE (Lopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

LAFAYETTE [Maco Film Corp.) Jack Hawkins, Orson
Welles, Vittorio De Sica. Producer Maurice Jacquin.
Director Jean Oreville. 110 min. 4/1/63.

LA NOTE BRAVA I Miller Producing Co.) Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LAST OF THE VIKINGS (Medallion) Color. Totalscope.
Cameron Mitchell, Edmond Purdom. 102 min.

LAZARILLO (Union Films) Marco Paoletti, Juan Jose
Menendez. An Hesperia Films Production. Director
Cesar Ardavin. Tale of a 12-year-old rogue-hero's
efforts to survive in 16th century Spain. 100 min.
5/13/63.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

MAGNIFICIENT SINNER (Film-Mart, Inc.) Romy
Schneider, Curt Jergens. Director Robert Siodmak. 91
min. 4/29/63.

MARRIAGE OF FIGARO, THE (Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin. Director Jean Meyer. French import.
105 min. 2/18/63.

MONDO CANE (Times Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/63.

MOUSE ON THE MOON, THE Eastmancolor (Lopert
Pictures) Margaret Rutherford, Bernard Cribbins. Terry
Thomas. Satirical comedy. 84 min. 6/24/63.

NIGHT OF EVIL (Sutton) Lisa Gaye, Bill Campbell.
88 min.

NO EXIT (Zenith-International) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.

ORDERED TO LOVE IM. C. Distributor Release) Maria
Perschy. Producer Wolf Brauner. Director Werner
Klinger. Drama. 82 min. 7/22/63.

PARADISE ALLEY ISutton) Hugo Haas, Corinne Griffith.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I 15 min.

RAIDERS OF LEYTE GULF (Hemisphere Pictures) Mich-
ael Parsons, Leopold Salcedo, Jennings Sturgeon. Pro-
ducer-director Eddie Romero. War melodrama. 80 min.
7/22/63.

ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

SLIMfc PEOPLE, THE I Hutton-Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

SON OF SAMSON (Medallion) Color, Totalscope. Mark
Forest, Chelo Alonso. 89 min.

STAKEOUT Ping Russell, Bill Hale, Eve Brent. 81 min.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Victoria) Narration by Thomas
L. Row and Pauline Girard. Producer-director Marion
Gering. 67 min. 7/8/63.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal. Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titles) Eastman-
color. Madeileine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FCR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

METRO-GOLPWYN -MAYER

March

COURTSHIP OF EDDIE'S FATHER, THE Glenn Ford.
Shirley Jones. Producer Joe Pasternak. Director Vin-

cen.e M 'iicili. Komcn,ic ^rneay revolv ng oDout a
young widower and his small son. 117 min. 3/18/63.

FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
RandeM, Russ Tamblyn, Janis Paiae. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy. 95 min. 3/4/63.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate. Based on the life of Sir Francis Drake. 95 min.
3/18/63.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatoli de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.
109 min. 5/13/63.

IT HAPPENED AT THE WORLD'S FAIR Panavision,
Color. Elvis Presley. Producer Ted Richmond. Director
Norman Taurog. Romantic comedy. 105 min. 5/13/63.

RIFIFI IN TOKYO Karl Boehm, Barbara Lass, Charles
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo. 89 min. 4/1/63.

May

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris
Sagal. Race track comedy. 94 m;n. 4/1/63.

Film BULLETIN — THIS IS YOUR PRODUCT

DRUMS OF AFRICA Frankie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

92 min. 4/29/63.

IN THE COOL OF THE DAY CinemaScope, Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling

novel by Susan Ertz. 90 min. 5/13/43.

SLAVE, THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites the slaves to
revolt against the Romans.

June

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West. 89 min.

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.
90 min.

MAIN ATTRACTION. THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small

European circus. 85 min. 6/24/63.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GriffTTh. Pro-
ducer Aaron Rosenberg. Director Lewis Milestone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/63.

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode. Producer Sy Weintraub. Director Robert Day.
Day. Adventure. 92 min. 7/8/63.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,

Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy. 85 min. 6/24/63.

DAY AND THE HOUR. THE (Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

TICKLISH AFFAIR. A I Formerly Moon Walk) Shirley
Jones, Gig Young. Producer Joe Pasternak. Director
George Sidney. Romantic comedy based on a story in
the Ladies Home Journal. 87 min. 7/8/63.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

August

YOUNG AND THE BRAVE. THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy. 84 min.
5/13/63.

September

HAUNTING. THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

V.I.P.s, The Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama.

October

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

TIKO AND THE SHARK Producer Goffredo Lombardo.
Director F. Quilici. Filmed entirely in French Poly-
nesia with a Tahitian cast.

WHEELER DEALERS. THE James Garner, Lee Remick.
Producer Martin Ransohoff. Director Arthur Hiller.
Story of a Texan who takes Wall Street bv storm.

November

GLADIATORS SEVEN Richard Harrison, Loredana Nus-
ciak. Producers Cleo Fontini, Italo Zingarelli. Director
Pedro Lazaga. Seven gladiators aid in overthrowing
a tyrant of ancient Sparta.

SUNDAY IN NEW YORK (MGM-Seven Arts) Cliff
Robertson, Jane Fonda, Rod Taylor. Producer Everett
Freeman. Director Peter Tewksbury. The eternal ques-
tion: should a girl or shouldn't she, prior to the
nuptials?

TWILIGHT OF HONOR Richard Chamberlain, Nick
Adams, Joan Blackman, Joey Heatherton. A Pearlberg-
Seaton Production. Director Boris Saga.l. A young
lawyer falls victim to the bigoted wrath of a small
town when he defends a man accused of murdering
the town's leading citizen.

December

THE PRIZE PauJ Newman, Edward G. Robinson, Elke
Sommer. Producer Pandro Berman. Director Mark
Robson. Based on the Irving Wallace bestseller.

Coming

CORRIDORS OF BLOOD Boris Karloff. Betta St. John,
Finlay Currie. Producer John Croydon. Director Robert
Day. Drama. 84 min. 6/10/63.

COUNTERFEITERS OF PARIS Jean Gabin, Martine
Carol. Producer Jacques Bar. Director Gilles Grangier.
99 min.

FOUR DAYS OF NAPLES. THE Jean Sorel, Lea Messari.
Producer Goffredo Lombardo. Director Nanni Loy.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HOW THE WEST WAS WON Cinerama, Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/63.

MURDER AT THE GALLOP Margaret Rutherford, Flora
Robson. Producer George Brown. Director George Pol-
lock. Agatha Christie mystery. 81 min. 7/22/63.

OF HUMAN BONDAGE (MGM-Seven Arts) Laurence
Harvey, Kim Novak. Producer James Woolf. Director
Henry Hathaway. Film version of classic novel.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

WEREWOLF IN A GIRL'S DORMITORY Barbara Lass,
Carl Schell. Producer Jack Forrest. Director Richard
Benson. Horror show. 84 min. 6/10/63.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleason,
Glynis Johns. Producer Jack Rose. Director George
Marshall. Comedy-drama based on childhood of silent
screen star Corinne Griffith. 98 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cliff
Robertson, David Jannsen. Producer Garet Gaither.

Director Gower Champion. Broadway star adopts six
abandoned children. 105 min. 3/18/63.

May

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Rirt. Director Ritf.
Drama set in modern Texas. 122 min. 3/4/63.

June

DUEL OF THE TITANS CinemaScope, Eastman color.
Steve Reeves, Gordon Scott. Producer Alessandro
Jacovoni. Director Sergio Corbucci. The story of
Romulus and Remus, the twin brothers who founded
the city of Rome.

NUTTY PROFESSOR, THE Technicolor. Jerry Lewis,
Stella Stevens. Producer Ernest D. Glucksman. Direc-
tor Jerry Lewis. A professor discovers a youth-
restoring secret formula. 105 min. 6/10/63.

July

DONOVAN'S REEF Technicolor. John Wayne. Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific.

August

COME BLOW YOUR HORN Technicolor. Frank Sinatra.
Barbara Ruth, Lee J. Cobb. Producer Howard Koch. Di-
rector Bud Yorkin. A confirmed bachelor introduces his

young brother to the playboy's world. 112 min.
6/24/63.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmons.
Pat Hingle. Producer David Susskind. Director Alex
Segol. Rim version of play and novel.

BECKET Technicolor. Richard Burton, Peter O'Toole.
Producer Hal B. Wallis. Director Peter Glenville. Film
version of Jean Anouilh's play.

CARPETBAGGERS, THE Technicolor. Panavision 70.
George Peppard. Producer Joseph E. Levine. Director
Edward Dmytryk. Drama based on the best-seller by
Harold Robbins.

FUN IN ACAPULCO Technicolor. Elvis Presley, Ur-
sula Andress. Producer Hal B. Wallis. Director Rich-
ard Thorpe. Musical-comedy.

LADY IN A CAGE Olivia de Havilland, Ann Southern.
Producer Luther Davis. Director Walter Grauman.
Drama.

LOVE WITH THE PROPER STRANGER Natalie Wood,
Steve McQueen. Producer Alan J. Pakula. Director
Robert Mulligan. A young musician falls in love with
a Macy's sales clerk.

NEW KIND OF LOVE, A Technicolor. Paul Newman,
Joanne Woodward, Thelma Ritter, Maurice Chevalier.
Producer-director Melville Shavelson. Romantic drama.
PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Douglas,
Fredric March. Producer Edward Lewis. Director John
Frankenheimer. A Marine colonel uncovers a military
plot to seize control of the U.S. government.

WHO'S BEEN SLEEPING IN MY BED? Panavision,
Technicolor. Dean Martin, Elizabeth Montgomery, Carol
Burnett. Producer Jack Rose. Director Daniel Mann.
Comedy.

WHO'S MINDING THE STORE? Technicolor. Jerry
Lewis, Jill St. John, Agnes Moorehead. Producer Paul
Jones. Director Frank Tashlin. Comedy.

WIVES AND LOVERS Janet Leigh, Van Johnson, Shelley
Winters, Martha Hyer. Producer Hal B. Wallis. Direc-
tor John Rich. Romantic comedy.

20TH CENTURY-FOX

March

HOUSE OF THE DAMNED CinemaScope. Ronald Foster,
Merry Anders. Producer-Director Maury Dexter. Archi-
tect inspects haunted house and runs across circus of
freaks. 62 min.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

April

NINE HOURS TO RAMA CinemaScope, DeLuxe Coler.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63.

May

YELLOW CANARY. THE CinemaScope. Pat Boone. Bar-
bara Eden. Producer Maury Dexter. Director Buzz Kulik.
Suspense drama. 93 min. 4/15/63.

June

STRIPPER, THE (Formerly A Woman in July) Cinema-
Scope. Joanne Woodward, Richard Beymer, Gypsy Rose
Lee, Claire Trevor. Producer Jerry Wald. Director
Franklin Schaffner. Unsuccessful actress seeks happi-
ness. 95 min. 4/29/63.

July

HARBOR LIGHTS CinemaScope. Kent Taylor, Jeff Mor-
row. Producer-Director Maury Dexter. Thieves commit
murder for possession of fabulous diamond. 68 min.

LONGEST DAY, THE CinemaScope. John Wayne, Rich-
ard Todd, Peter Lawford, Robert Wagner, Tommy
Sands, Fabian, Paul Anka, Curt Jurgens, Red Buttons,
Irina Demich, Robert Mitchum, Jeffrey Hunter, Eddie
Albert, Ray Danton, Henry Fonda, Edmond O'Brien,
Robert Ryan. Producer Darryl Zanuck. Directors Gerd
Oswald, Andrew Marton, Elmo Williams, Bernhard
Wicki, Ken Annakin. 180 min.

MARILYN CinemaScope, DeLuxe Color. Screen clips
from Marilyn Monroe's films with narration by Rock
Hudson. 83 min.

August

OF LOVE AND DESIRE Merle Oberon, Steve Cochran,
Curt Jurgens. Producer Victor Stoloff. Director Richard
Bush. Romantic suspense drama.

September

CONDEMNED OF ALTONA. THE CinemaScope. Sophia
Loren, Maximilian Schell. Fredric March, Robert Wag-
ner. Producer Carlo Ponti. Director Virtorio De Sica.
Adapted from Jean-Paul Sartre's stage success.

A FAREWELL TO ARMS. Re-release.

LASSIE'S GREAT ADVENTURE DeLuxe Color. June Lock-
hart, Jon Provost. Producer Robert A. Golden. Director
William Beaudine. Lassie and his master get lost in
Canadian Rockies. 103 min.

October

THE LEOPARD CinemaScope, DeLuxe Color. Burt Lan-
caster, Alain Delon, Claudia Cardinale. Producer Gof-
fredo Lombardo. Director Luchino Visconti. Based on
famous best-seller detailing disintegration of Italian
nobility.

Coming

CLEOPATRA Todd-AO Color. Elizabeth Taylor, Richard

Burton, Rex Harrison. Producer Walter Wanger.
Director Joseph Mankiewicz. Story of famous queen.
221 min. 6/24/63.

MOVE OVER. DARLING CinemaScope, DeLuxe Color.
Doris Day, James Garner, Polly Bergen. Producers
Aaron Rosenberg, Martin Melecher. Director Michael
Gordon. Romantic comedy.

QUEEN'S GUARDS. THE CinemaScope, DeLuxe Color.
Daniel Massey, Raymond Mastey, Robert Stephens.
Producer-Director Michael Poweir. A tale of the
tradition and importance of being a Guard.

TAKE HER. SHE'S MINE CinemaScope, DeLuxe Color.
James Stewart, Sandra Dee. Producer-Director Henry
Koster. Comedy. Film version of Broadway play.

UNITED ARTISTS

March

FIVE MILES TO MIDNIGHT Sophia Loren, Anthony
Perkins, Gig Young, Jean-Pierre Aumont. Producer-
director Anatole Litvak. Suspense drama about an
American in Europe who schemes to defraud an insur-
ance company. 110 min. 3/4/63.

Film

BULLETIN — THIS IS YOUR PRODUCT

LOVE IS A BALL Technicolor, Panavision. Glenn Ford,
Hope Lange, Charles Boyer. Producer Martin H. Poll.
Director David Swift. Romantic comedy of the interna-
' tional set. 1 1 1 min. 3/4/43.

April

I COULD GO ON SINGING Eastmancolor, Panavision.
Judy Garland, Dick Bogarde, Jack Klugman. Producers
Stuart Millar, Lawrence Turman. Director Ronald
Neame. Judy returns in a dramatic singing role. 9?
min. 3/18/63.

May

DR. NO Technicolor. Sean Connery, Ursula And re is,
Joseph Wiseman, Jack Lord. Producers Harry Saltz-
man, Albert R. Broccoli. Director Terence Young. Action
drama based on the novel by Ian Fleming. 1 1 1 min.
3/ 1 8/ 63.

June

AMAZONS OF ROME Louis Jourdan. Sylvia Syms.

BUDDHA Technicolor, Technirama. Kojiro, Hongo,
Charito Solis. Producer Masaichi Nagata.' Director
Kenji Misumi. Drama dealing with the life of one of
the world's most influential religious leaders. 134 min
7/22/43.

CALL ME BWANA Bob Hope, Anita Ekberg, Edie
Adams. Producers Albert R. Broccoli, Harry Saltiman.
Director Gordon Douglas. Comedy. 103 min. 6/10/63.

DIARY OF A MADMAN Vincent Price, Nancy Kovak
Producer Robert E. Kent. Director Reginald Le Borg.
Horror mystery of a man possessed by a horla. 96 min
3/4/43.

July

GREAT ESCAPE. THE Deluxe Color, Panavision. Steve
McOueen, James Garner, Richard Attenborough. Pro-
ducer-director John Sturges. Based on true prisoner of
war escape. 148 min. 4/15/43.

IRMA LA DOUCE Technicolor, Panavision. Jack Lem-
mon, Shirley MacLaine. Producer-director Billy Wilder
Comedy about the "poules" of Paris, from the hit
Broadway play. 142 min. 4/10/43.

August

CARETAKERS. THE Robert Stack, Polly Bergen Joan
Crawford. Producer-director Hall Bartlett. Drama
dealing with group therapy in a mental institution 97
mm.

TOYS IN THE ATTIC Panavision. Dean Martin, Geral-
dine Page, Yvette Mimieux, Gene Tierney. Producer
Walter Minsch. Director George Roy Hill. Screen
version of Broadway play. 90 min. 7/8/43.

October

JOHNNY COOL Henry Silva, Elizabeth Montgomery.
Producer-director William Asher. Chrislaw Productions
101 mm.

T3*l5E„TO,LD TALES Color- Vincent Price, Mari Blan-
chard. Producer Robert E. Kent. Director Sidney Salkow
Based on famous stories of NathanieJ Hawthorne.

November

ITS A MAD, MAD. MAD. MAD WORLD. Cinerama.
Techmcoor Spencer Tracy, Milton Berle, Sid Caesar
Buddy Hackett Ethel Merman, Mickey Rooney, Dick
Shawn, Phil Silvers, Terry-Thomas, Jonathan Winters.
Producer-director Stanley Kramer. Spectacular comedy.
MCLINTOCK! Color. John Wayne, Maureen O'Hara
Yvonne De Carlo, Patrick Wayne, Chill Wills, Jack
Kruschen Producer Michael Wayne. Director Andrew
v. McLaglen.

December

f.,NG OF THE SUN Color. Yul Brynner. George Cha-
fr??ucel Kewis Rachnlil- Director J. Lee Thomp-
son. A Minsch Company Presentation.

Coming

BEAUTY AND THE BEAST Joyce Taylor, Mark Damon,
Edward Franz, Merry Anders. 77 min.

C5REiMOLNY' THLE Lauren<:e Harvey, Sarah Miles, Rob-
ert walker, John Ireland. Producer-director Laurence
Harvey.

nan iw\m

March

TO KILL A MOCKINGBIRD Gregory Peck, Mary Bad-
ham Producer Alan Pakula. Director Robert Mulligan
Based on Harper Lee's novel. 129 min. 1/7/43.

April

BIRDS. THE Technicolor Rod Taylor, Jessica Tandy
Suzanne Pleshette, Tippi Hedren. Producer-Director All
tred Hitchcock. Suspense drama. 120 min. 4/1/43.

r?LYuA M,ER,CA,N' ™E Color- Marlon Brando. Sandra
Church Yee Tak Yip. Producer-Director George Eng-
4/15/63 rama ed °n best-se'li"g novel. 120 min.

May

PARANOIC Janette Scott, Oliver Reed, Sheilah 8urrell.
Producer Anthony Hinds. Director Freddie Francis.
Horror. 80 min. 4/15/63.

SHOWDOWN I Formerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen. Western. 79 min. 4/15/63.

June

LANCELOT AND GUINEVERE Color. Panavision. Cornel
Wilde, Jean Wallace, Brian Aherne. Producers Cornel
Wilde, Bernard Luber. Director Wilde. Legendary tale
of love and betrayal. 116 min. 5/13/63.

LIST OF ADRIAN MESSENGER, THE George C. Scott,
Dana Wynter, Clive Brook, Herbert Marshall. Producer
Edward Lewis. Director John Huston. Mystery. 98
min. 6/10/63.

TAMMY AND THE DOCTOR Color. Sandra Dee, Peter
Fonda, Macdonaid Carey. Producer Ross Hunter. Direc-
tor Harry Keller. Romantic comedy. 88 min. 5/13/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family. 119 min. 3/4/43.

July

GATHERING OF EAGLES. A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann.

KING KONG VS. GODZILLA Eastmancolor. Michael
Keith, Harry Holcomb, James Yagi. Producer John
Beck. Director Thomas Montgomery. Thriller. 90 min.
4/10/43.

August

FOR LOVE OR MONEY (Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon.

SECRET PASSION (Formerly Freud) Montgomery Clift,
Susannah York. 139 min.

THRILL OF IT ALL. THE Color. Doris Day, James Gar-
ner. Arlene Francis. Producers Ross Hunter, Martin

Melecher. Director Norman Jewison. Romantic comedy.
108 min. 4/10/43.

TRAITORS. THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson.

September

KISS OF THE VAMPIRE Eastman Color. Clifford Evans,
Edward De Sorga, Jennifer Daniels. Producer Tony
Hinds. Director Don Sharpe.

Coming

BRASS BOTTLE. THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN. M.D. Gregory Peck, Tony Curtis,
Angie Dickinson, Bobby Darin, Eddie Albert. Producer
Robert Arthur. Director David Miller.

CHALK GARDEN. THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

CHARADE Color, Panavision. Cary Grant, Audrey Hep-
burn, Walter Matthau, James Coburn. Producer-Direc-
tor Stanley Donen.

DARK PURPOSE Color. Shirley Jones. Rossano Brazzi,
George Sanders, Micheline Presle, Georgia Moll. Pro-
ducer Steve Barclay. Director George Marshall.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven. Shirley Jones. Producer Stanley Shapiro.
Director Ralph Levy.

MAN'S FAVORITE SPORT Color. Rock Hudson, Maria
Perschey, Paula Prentiss. Producer-director Howard
Hawks.

WILD AND WONDERFUL (Formerly Monsieur Cognac)
Color. Tony Curtis. Christine Kaufman, Larry Stored.
Producer Harold Hecht. Director Michael Anderson.

WARNER BROTHERS

GIANT Re-release.

March

A pril

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min. 4/1/43.

May

AUNTIE MAME Re-release.

ISLAND OF LOVE (Formerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece. 101 min. 5/13/43.
SUMMER PLACE. A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

September

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama.

October

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

DEAD RINGER Bette Davis, Karl Maiden. Producer
William H. Wright. Director Paul Henreid.

DISTANT TRUMPET, A Technicolor. Panavision. Troy
Donahue, Suzanne Pleshette. Producer William H.
Wright. Director Raoul Walsh. Epic adventure of
Southwest.

FBI CODE 98 Jack Kelly, Ray Denton. Producer Stanley
Niss. Director Leslie H. Martinson. Dramatic action
story.

FOUR FOR TEXAS Technicolor. Frank Sinatra, Dean
Martin, Anita Ekberg, Ursula Andress. Producer-direc-
tor Robert Aldrich. Big-scale western with big star
cast.

GREAT RACE. THE Technicolor. Burt Lancaster, Jack
Lemmon. Producer Martin Jurow. Director Blake Ed-
wards. Story of greatest around-the-world automobile
race of all time.

INCREDIBLE MR. LIMPET. THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

KISSES FOR MY PRESIDENT Fred MacMurray, Polly
Bergen. Producer-director Curtis Bernhardt. Original
comedy by Robert G. Kane.

LONG FLIGHT. THE Spencer Tracy, James Stewart,
Richard Widmark, Carroll Baker. Producer Bernard
Smith. Director John Ford. Super-adventure drama of
struggle by JO0 Indians against U.S. Army.

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

MISTER PULVER AND THE CAPTAIN Technicolor. Rob-
ert Walker. Burl Ives. Producer-director Joshua Logan.
Comedy sequel to "Mister Roberts".

OUT OF TOWNERS, THE Glenn Ford, Geraldine Page.
Producer Martin Manulis. Director Delbert Mann. Com-
edy-drama.

PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens, Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort.

ROBIN AND THE 7 HOODS Technicolor-Panavision.
Frank Sinatra, Dean Martin, Sammy Davis Jr., Joey
Bishop. Producer Gene Kelly. Director Gordon Douglas.
Based on adventures of Robin Hood set against back-
ground of Chicago in the "roaring 20's.1'

YOUNGBLOOD HAWKE Suzanne Pleshette, James Fran-
ciscus. Producer-director Delmer Daves. From Herman
Wouk's best-selling novel.

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Member National Film Carriers

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

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it#7 f - \ w

THE TIME IS NOW TO SUPPORT THE
WILL ROGERS HOSPITAL AND
O'DONNELL MEMORIAL RESEARCH
LABORATORIES' ANNUAL
CAMPAIGN.

Audience collection drives are cur-
rently underway in theatres all over
America. We need your support to
make the 1963-'64 campaign the
greatest ever.

For further information, write to Will
Rogers Memorial Fund, 1501 Broad-
way, New York 36, or contact your
local exhibitor or distributor
chairman.

Get FREE Gregory Peck Trailer

DISTRIBUTOR CHAIRM

ALBANY

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M. G. M.

CHARLOTTE

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ke rv

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EXCLUSIVE

research report

on

public response to

PAY-TV
in Etobicoke, Canada

PREPARED BY

lendcope

ETIN

AUGUST 19, 1963

euLevus

THE V.I.P.S
THE LEOPARD
THE CARETAKERS

RAMPAGE
WALL OF NOISE
RUN WITH THE DEVIL
SIEGE OF THE SAXONS
THE GREENWICH VILLAGE STORY
THE BURNING COURT
MY NAME IS IVAN

American toemationalkiJ

/
t

r,no BOB

FRANKIE ANNETT]

AVALON • FUNICEIl

V

%
%
%

And Featuring

DICK DALE AND THE DELTONES • William asher- lou rusoff james hj

pg...Surfing Aug. 14th Bash!

HARVEY JODY / JOHN

MBECK "„ McCREA ' ASHLEY «

-ALSO STARRING

MOREY EVA

AMSTERDAM -■ SIX

COLOR. PANAVISION

0

Executive Producer

Music by

[SlandLOU RUSOFF • SAMUEL Z. ARKOFF • LES BAXTER -anAMERICAN INTERNATIONAL™

hooTenwmisjy

IS HEREi-KND

MGM's GC5T IT!

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M-G-M IS ON THE MOVEl

Research Report on Public Response To Pay TV

By

ndcopt

Pay TV in Etobicoke
Seen Near Disaster

A riddle wrapped in a
mystery inside an enigma.

Winston Churchill's picturesque turn
of expression had, of course, no refer-
ence to Pay Television, but it aptly de-
scribes that unique and complex new
show business venture. For Pay TV is
like an iceberg, the inner truths lying
nine-tenths submerged.

What is the real meaning of Pay
TV? What are its flaws? Its virtues?
Its potentials? And, to what degree is
Pay TV a commercially marketable and
commercially enduring service?

Audienscope, by this survey, has
sought to pierce the quandary by the
probing blade of inquiry. Others have
skimmed the surface of the pay system
issue by academical polls of the unin-
itiated public at large: Are you in favor
of Pay TV? Are you against it? Their
findings have been of wide variety and
inconclusive. This study is an attempt
to deliver the issue from an observation
of mere externals to a search for basic
reality, to learn the truth from the one
community on earth that has sampled
the system for an extended period of
time.

Etobicoke, a Toronto suburb on the
shores of Lake Ontario, has been the
laboratory of a Pay Television experi-
ment for more than three years. A sec-
tion of the community has been "wired"
with cables that make available to that
portion of its population what has been
termed the "boxoffice-in-the-home".
Only those residents of Etobicoke — the
laboratory creatures, so to speak — and
the project's sponsors, International

Telemeter Company, a subsidiary of
Paramount Pictures Corporation, hith-
erto have been privy to the results of
the experiment. Now, Audienscope re-
veals this finding on the basis of its re-
search on the site:

Home Pay Television in Etobicoke is
in the throes of rapid retrogression, and
borders on the verge of disaster.

This conclusion stems from the re-
sponses of the people most exper-
ienced in Pay Television. Their de-
cisions to subscribe or abstain, to pass
up or pay up for the programs offered,
to keep the "boxoffice" or throw it out,
the pleasures and pains they derived
from the Telemeter enterprise — these
are the elements upon which Audien-
scope relied for this report. It bears
implications that should be useful in
appraising the future of this relatively
new development in communication
and entertainment custom.

The mater now takes on a new di-
mension in light of the avowed inten-
tion of substantial business interests,
hinging their hopes largely on the base-
ball fans, to introduce a Pay system for
home service in Los Angeles and San
Francisco by mid- 1964.

The promoters and investors in Cali-
fornia might heed the findings of this
survey before they plunge pell-mell into
the costly venture. Let them take note
that after three and one-half years of
home service, Telemeter is now turning
its attention to a different form of Pay
TV — in the theatre. It is planning to
present major sports attractions on
( Continued on Page I } )

MAJOR FINDINGS

9 The Pcy Television
(Telemeter) experiment
in Etobicoke, Canada,
has been losing sub-
cribers at a steady rate
since mid-1962.

gjj Audienscope, on the
basis of its survey, esti-
mates subscribers now
number 2600-2700.

B Decline in subscribers
is attributed to two prin-
cipal, intertwined fac-
tors:(1) Programming; (2)
Price. Many respondents
who cite price as too
high claim worthy attrac-
tions too few.

H $15 annual service fee
a key factor in high vol-
ume of cancellations.

B 39% of present sub-
scribers voice satisfac-
tion with pay system.
Many others uncertain
about continuing service.

H Most desired attrac-
tions: (1) new movies; (2)
sports. Majority of sub-
scribers complain about
lack of new movies.

■ $4-$6 per month
quoted as expenditure
ideal for "good" attrac-
tions by majority.

Film BULLETIN August 19. I?43 Page 5

To say Hammer Films exercise a mon >-
oly on the production of suspense and tl ill
films would be a slight exaggeration, at
it is true that few producers anywhere lo
them more effectively. "Kiss of the V n-
pire" is no exception. The film obvioily
will have its greatest appeal to those 1 10
like their film fare eerie, but it's lively ti-
tertainment for the rest of us.

Motion Picture ,y

i
I

^Horror thriller made \th
style, intelligence and <a-,
matic excitement. Excel! it
fare. The image of ho:3r
pervades It is handsomly
mounted and intelligeily
presented. It has the <e-
ments of story, . lavish S3,
fine acting to win praise id
popular appeal. 99 M*fJf

0*5

I

I

1

Shriek trade will love it. Horror fans will dig is
latest effort from Hammer. Slickly produced o Dr
story of evil doings replete with suspense, deir >
ism and mystery tightly wrapped in a skilul
package of effective performance and well-pa :d
direction. Solid entry in the exploitation pic sw( ?-
stakes. Slick chiller.99

V&RIEft

All departments commonly slighted in
duction of blood-curdlers give an outsts
ing account of themselves in "Kiss of ie
Vampire". Genuinely distinguished. "Jss
of the Vampire" is far from a routine go< e-
bumper. Chilling. Will satisfy the most
manding horror-hungry audience. 99

THE 4

:

le
ss
e-

IFFORD EVANS • NOEL WILLMAN • EDWARD DE SOUZA • JENNIFER DANIEL- BARRY WARREN Umnrsdl

Screenplay by JOHN ELDER • Directed by DON SHARP • Produced by ANTHONY HINDS • A Hammer Film Production ^Release)

•

Viewpoints

AUGUST 19, 1963 # VOLUME 31. NO. 17

VOLUME 31, NO. 17

Da We Get the Mast Out af Our Market ?

We strongly feel the answer to the
above question is no. Our attitude is
conditioned by the exception, rather
than the rule.

When one considers the extraordin-
ary success achieved occasionally by
B pictures on the wings of unusual,
intensive promotion campaigns, it is
inevitable that the question be asked:
Why not more often? Look at the
remarkable performance of Columbia's
"Gidget Goes To Rome" in the Pitts-
burgh territory (see story Page 11);
ponder the grosses being rolled up by
M-G-M with releases like "Captain
Sindbad" and "Flipper "; recall, if you
will, what was accomplished by an
unknown named Joe Levine with a
something called "Hercules", and doubt
must arise that we are truly getting
the most out of our market.

A few years ago the book publishing
industry struck a new bonanza. Some-
body got the bright idea that if people
were willing to buy cheap paper-back
editions of established best sellers there
might also be a market for paper-back
originals.

The paper-back became, so to speak,
the subsequent run of the book pub-
lishing business. As such, it produced
very comfortable revenues and invited
the entry of more and more publishers.
To a considerable extent, the sale of a
particular title depended on how much
popularity and promotion the original
hard-covered edition had enjoyed.

Then the paper-back people discov-
ered that they could push their sales
volume way up by conducting their own
promotional campaigns. They learned
that instead of merely relying on the
momentum the original edition had
generated they could create new mar-
kets by specialized publicity and ad-
vertising campaigns.

It was only a step from this discov-
ery to the next move. If such tactics
could create a new market for an old
book, why not publish new books in
paper-back form?

So original books began to be issued
in paper-back editions far cheaper than
the hard-covers. With a hard-covered
original, the initial printing might be

10,000 copies; with a paper-back, the
first printing would be a quarter of a
million. The profit per sale was in
pennies; but the volume was such that
the pennies added up to plenty of
dollars.

Any showman should be able to see
the parallel between our own business
and the book publishers. Every year we
have what we might call the "paper-
back" originals — the films which are
basically exploitable, promotable mass
market items. These pictures do best
when given saturation play-offs on the
local level backed by concentrated ad-
vertising and promotional campaigns.

In our business, however, all too of-
ten we have to depend on the "hard-
cover" premiere publicity and advertis-
ing effort to provide for the "paper
back" pictures, because most distribu-
tors have a single crew of advertising
and publicity operatives, and in latter
years the promotion staffs of film com-
panies have been sharply curtailed.

In the present competitive climate,
movie advertising has to fight hard
against all other kinds of leisure time
promotions in the pages of the news-
paper. Advertising rates have gone up
to the point where a warmed-over re-
plate of an earlier first-run ad is hardly
the ideal or even the economical way
to attract customers. New promotion
techniques must be developed to reach
the mass market most effectively.

Just as the paper-back people devel-
oped their own advertising and promo-
tion approach, and set up their own

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 123? Vine
Street, Philadelphia 7, Pa., LOcust 8-0950. 0951
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manager; Max Garelick,
Business Manager; Robert Heath, Circulation
Manager. BUSINESS OFFICE: 550 Fifth Ave-
nue, New York 36, N. Y., Circle 5-0124;
Ernest Shapiro, N.Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
S3. 00 in the U. S.; Canada, $4.00;
Europe, $5.00. TWO YEARS, $5.00 in
the U. S.; Canada, Europe, $9.00.

staffs to accomplish the purpose, so in a
much more ambitious key the movie
distributors should recognize the value
of specialization in promotion.

While this idea may raise the hair of
conservative film company presidents,
we offer the suggestion that it would
be practicable and profitable for even
tna/or film distributor to maintain a
special unit — functioning under the
supervision of the director of adver-
tising— for the promotion of pictures
that do not achieve the status of block-
busters.

If anything has been proved in the
motion picture business over the years,
it is that the key to success is adequate
promotion. People have to know about
your picture. Ads have to be written,
tie-ups and display ideas have to be
dreamed up, publicity stories have to
be placed where they will do the most
good. This cannot be effectively and
fully accomplished by limited staffs
with too many varied functions to
perform.

It is apparent that the promotion and
sales departments of the films compan-
ies today labor under extreme pressure
to extract maximum revenue from the
blockbuster attractions, with the lesser
product often coming in for compara-
tively incidental attention. Frequently,
decisions to go with a saturation re-
lease are made on short notice, requir-
ing the sales and promotion staffs to
work post-haste and, perhaps, slap-dash
to rush a film pell-mell into the market.

This outmoded method of distribu-
ing motion pictures points up the fact
that most of the film companies are not
apace of the changing nature of our
business. Some film executives still har-
bor the ancient notions that a first-run
engagement — even a losing one — is
essential to successful distribution. The
entire business would perk up if all
the majors adopted an aggresshe ap-
proach to the marketing of "paper
back" pictures on a broadscale. A sep-
arate division in each company to mer-
chandise exploitation pictures would
be the logical way to realize the full
potential in this type of product.

Film BULLETIN August 19, 1943 Page 7

Till HOLIDAY SHOWTHAT PUTS

mm.

s wm »Ts A KtfoKY

starring

KERWIN NADIA also DONALD

MATHEWS- GRAY*"1

Km ■ < > i'.:i< ti DrncM If A HAMMER FILM PRODUCTION • Megascope

IIMMY SANESIER • MICHAEL CARRE RAS A COLUMBIA PICTURE S RELEASE

FINANCIAL REPORT

Wall Street Confidence in Film
Stocks Revealed by Analysts

By PHILIP R. WARD

Wall Street's frigid attitude toward film shares, of almost
a year's duration, appears to be thawing. The coolness set
in when two of the industry's most respected and affluent
operations, Metro-Goldwyn-Mayer and Paramount, experienced
production setbacks that spattered their ledgers with red ink,
the latter company showing its first loss (for 1962) in a
quarter of a century. Confidence in movie business generally
was shaken.

However, Metro and Paramount are finding their way out
of the woods, 20th Century-Fox looks like it will survive the
near-calamitous extravagance of "Cleopatra", and some seg-
ments of the industry show signs of extreme good health. The
keen eyes in Wall Street are taking note, and evidence abounds
that the financial community once again is "romancing" movie
stocks. In recent weeks, analysts of several prominent invest-
ment firms have called upon this department for information
and opinion about various industry members, and our mails
are heavy with upbeat appraisals of certain movie companies.

The current objects of affection are Disney, Columbia and
most recently, Paramount. Disney has been heralded as a
strong bet for several months running, and the enthusiasm for
this company was given fresh impetus by the prediction of
treasurer Lawrence E. Tryon that earnings for the current
fiscal year, ending Sept. 27, could run as high as $3.80 per
share compared to the $3.14 last year. Small wonder that
Disney shares stood at 44y2 on Aug. 15, our chart-closing
date from a 1962 low of 27%.

In a current report on Disney, analyst Fred Anschel of
Shearson, Hammill & Co. (NYSF) forecosts "a reasonably good
chance" that earnings will continue to rise through fiscal 1964
to a possible $4.00 or more per share.

Among the factors that impel Shearson, Hammill to rec-
ommend the stock as a Buy are these: "(1) Disney has stead-
fastly aimed its films at a 'family' audience so that both adults
and children find them entertaining. This emphasis on overall
entertainment value has paid rich dividends in the form of
the virtually timeless quality of Disney pictures. (2) Disney
films are generally limited to relatively modest budgets, so
that the risk of any one picture being a failure at the boxoffice
it not too large. (3) All films are produced and financed
entirely by Walt Disney Productions with no participation or
profit sharing by independent producers or stars, and are dis-
tributed through the company's own distribution arm, Buena
Vista. This means that all of the rentals generated by Disney
films go into the company's treasury without any of the distri-
bution fees or other extraneous costs that often tend to dilute
the income from the exhibition of theatrical films."

Another noteworthy factor cited by Anschel is Disney's
withholding of its product from TV showing, enabling the
company to "cash in handsomely on its library by reissuing
a number of its films every few years."

A Bache & Co. Market Letter of August 13 still finds Disney
"speculatively interesting ", despite its rapid rise, on the basis
of the fact that it is selling at one 11-12 times current earnings.

Columbia Cited as Good Prospect

Two Wall Street houses boost Columbia Pictures as a bright
investment candidate. Hayden, Stone & Co. describes the
company as "attractive on three counts: the probability of a

return to profitable motion picture operations; participation in
the lucrative field of television production via and 89% equity
in Screen Gems, Inc.; and high asset value of Columbia stock."

Paine, Webber, Jackson & Curtis terms Columbia on the
verge of a "turnabout" in its film division. Four factors are
listed in its favor: (1) motion pictures likely to chalk up losses
have been written off the books; (2) recent major releases are
well on their way toward box-office records; (3) the roster of
upcoming films is the strongest in recent history; (4) Columbia
is in better financial condition than has been true for many
years."

Robert P. Bingaman, Jr., the Hayden, Stone analyst, expresses
the view that the present price of Columbia common "reflects
primarily the profitable situation inherent in Screen Gems,
without giving proper weight to the potentials of the company's
motion picture operations. Assuming the motion picture ex-
pectations are realized, Columbia in fiscal 1964 could demon-
strate an excellent earnings increase." He regards the shares as
"speculatively attractive for the intermediate and longer term."

Paine, Webber's Bert Haas finds the current market price of
Columbia "unduly conservative" and recommends the stock
on a two years basis for investors "willing to asume those
risks inherent in the motion picture industry."

Paramount is recommended by Newburger, Loeb & Co. (re-
searcher Richard D. Cohen) chiefly on the basis of its estimated
asset value of over $100 per share and its strong product show-
ing this summer.

FILM & THEATRE STOCKS

Close

Close

Film Companies

8/1/63

8/75/63

Change

ALLIED ARTISTS

■ ■ ■ 2%

23/4

~ %

ALLIED ARTISTS (Pfd.)

... 9%

8%

" %

CINERAMA

...133/4

I33/4

COLUMBIA

...233/4

263/4

+3

COLUMBIA (Pfd.)

...81%

82

+ %

DECCA

.451/2

45%

+ %

DISNEY

- 383^

441/2

+ 53/4

FILMWAYS

. . . 6%

6%

MCA

.543/4

60 V2

"+53/4

MCA (Pfd.)

...36%

37

+ %

M-G-M

281/2

30%

+ 2%

PARAMOUNT

...43%

47%

+ 4

SCREEN GEMS

...21%

24%

+ 3

20TH-FOX

...29%

31%

-21/2

UNITED ARTISTS

...23%

19

-4%

WARNER BROS

...13%

14%

+ 1

Theatre Companies

AB-PT

29

31%

+ 2%

LOEWS

...18%

16%

-1%

NATIONAL GENERAL

...11%

10%

-1

STANLEY WARNER

...211/4

211/4

TRANS-LUX

...12%

12

- %

( Allied Artists, Cinerama, Screen Gems, Trans-Lux,

American

Exchange; all others

on New York Stock Exchange.)

Over-the-counter

=F -F ^

8/1/63

8/15/63

Bid

Asked

Bid

Asked

COMMONWEALTH OF P.R.

.... 63/8

7%

6

63/4

GENERAL DRIVE-IN

10

11

10%

11%

MAGNA PICTURES

. . . . 21/4

2%

2

2%

MEDALLION PICTURES

.... 83/4

9%

9%
8

10%

SEVEN ARTS

.... 73/4

8%

9%

UA THEATRES

...I3I/4

14%

14%

16

UNIVERSAL

63

68%

64

69%

WALTER READE STERLING

. . . . 2%

3

2%

3

WOMETCO

24

25%

2534

273/4

( Quotations courtesy National Assn.

Securities

Dealers, Inc.)

Film BULLETIN August 19, 1943 Page 9

The Vieu> frw OutMje

by ROLAND PENDARIS

The Durability of Talent

There is a pet word among the flesh peddlers. "Exposure" is
the thing. You're sunk if you have too much exposure, and
you're equally sunk if you don't get enough exposure. As part
of the subtleties of the art of exposure, a star will appear with
Johnny Carson late in the evening, but not on a matinee TV
program; another will only do a straight interview (no act),
while a third wants at least a half hour on the air all to herself.
Exposure is simply what you make it out to be. No movie per-
former exposes himself to the public more than Jerry Lewis —
and so far all his movies have made money. But the decline and
fall of half a dozen new stars every few years is blamed on
over-exposure.

I think it is time to lay this myth to rest. Nobody is over-
exposed as long as the public wants to see him. And when they
stop wanting him, it isn't because they've seen too much of him.
It's because they've seen too much of him doing the same old
act. People don't become disinterested gradually in an old act.
They accept it until the point when they've had enough of it,
and then they abruptly refuse to accept it anymore.

The popularity of a screen star can be durable. It can be so
durable that we fail to recognize its decline. Gloria Glamorous
is a top star. She commands top vehicles, top leading men, top
grosses. After a while, it's the co-stars, the leading men, the
vehicles that are holding Gloria up on top. But no one knows
this until she makes a picture without them — and then her box
office decline comes as a sudden shock, and we are told that the
public is fickle and poor Gloria is the victim of over-exposure.
Gloria is the victim of nothing more than having no new tricks.

Comics are among our longest lived stars, and the reason is
that they live on new routines — new variations of old routines.
A great profile has to become something more — a glamour girl
has to out-sexpot the new entries (which becomes more difficult
each year).

< ►

The art of capturing and holding the attention of the public
does not depend on exposure of talent half as much as on the
ability of talent to grow. Clark Gable was a sensation as a ro-
mantic personality, but he was the King because he grew before
the public as a man and as an actor. Errol Flynn, a man of infi-
nite charm and ability, went in the opposite direction. Today
there seems to be a great tendency to forget the dynamics of
movie stardom in favor of bloodless criteria like "the right
exposure." For true star material, there are few rights and
wrongs. Marilyn Monroe profited by calendar art that would
have hurt Doris Day. What's right for one person can be dead
wrong for another.

The movies need big stars, not one-string-to-their-bow char-
acters whose single facet must be rationed for public view, but
full-blown personalities whose every appearance just makes the
public want to see them more. There are any number of com-
petent actors — but most of the great stars were striking per-
sonalities before they really learned how to act — like Gable or
Crosby or Audrey Hepburn or Spencer Tracy. I don't mean
they were incompetent — far from it. I mean that at the outset
the impact of their personalities was far more electric than the
professionalism of their performances. What makes for this
personality impact? I don't know. I do know that you can't sit

around waiting for it. You've got to look for it. You've got to
talent scout and search and keep at this kind of quest all the
time.

It is my impression that in the days when the motion picture
companies were enjoying their greatest popularity, they had
large staffs of talent scouts ranging throughout the country and
all over the world looking for likely screen prospects. It is my
impression that today these large scouting staffs are virtually
non-existent and that most of the talent hunting is done in
front of the television screen or from an aisle seat at a Broad-
way theatre.

But even if today's talent scouts were as numerous, as ubiq-
uitous and as peripatetic as those of the golden age, they would
be up against one considerable handicap. There just isn't as
much chance today as there used to be to give budding talent
an opportunity to prove itself on the screen. Darned few direc-
tors or producers will agree to write in a bit in the multimillion
dollar production simply to try out a new performer on the
public.

The great genius of creative motion picture making has been
that it was able to project personalities more successfully than
any other medium. Television in its palmiest days never came
up with a Valentino or a Monroe or a young Brando. But as
long as motion pictures continue to recruit actors and have them
do the same kind of acting they do on the stage or on television,
that old touch of celluloid magic is going to be hard to find.

I do not believe that the magic is lost. I can't help wishing,
however, that a few more people were trying to find it.

A lot of corny lines have been written about how this starlet
was discovered in a filling station and that one in the soda
fountain at Schwab's, and this romantic mythology has some-
how obscured the fact that motion picture talent can be found
in the darndest places. Discovering talent is a matter of hard
work and diligent searching. It requires not only careful attend-
ance at every kind of event where potential performers may be
on view; it also requires the expenditure of considerable time
and money in testing and testing — producing 50 screen tests
before you come up with one more than middling possibility.

This is precisely the kind of effort which most of the motion
picture companies today insist they cannot afford. Their insist-
ence, it seems to me, is somewhat like an aviation manufactur-
ing company claiming it cannot afford to recruit new engineers
or design new plans. Research and development can be the keys
to a bigger and better industry, but research and development
must be conducted on a businesslike basis, which, in this case,
means that they must be done in sufficient quantity and with
sufficient quality to be really meaningful.

Few businesses are as dependent as motion pictures on the
indefinable aspects of personal magnetism and appeal that are
embodied in the product itself. Few businesses, it seems to me,
do as little to find new assets.

There was a time when the lure of Hollywood was so great
that its production people could wait comfortably in their
offices while talents eager for an opportunity pursued them.
That situation no longer applies. The talent must still be avail-
able, but it is not knocking on Hollywood's door, hat in hand.
Whatever Hollywood wants, Hollywood had better start dig-
ging for, and digging wide and deep.

Page 10 Film BULLETIN August 19, 1943

THE SKY'S THE LIMIT'

Local Level Ballyhoo
Gives fGidget'
Boxoffice Zing

By JOHN ANO

"There's no limit to the business thea-
tres can do if there's the proper collabo-
ation between exhibitor and distributor.
All you need is a fairly attractive film
and the kind of all-out cooperation that
a showmanship-wise company like Co-
lumbia gives you. Then, the sky's the
limit for boxoffice results."

It was Harry B. Hendel, executive
secretary of Allied Theatres Owners of
Western Pennsylvania, speaking — in
the flush of the whopping success some
70-odd Pittsburgh area theatres had
just experienced with "Gidget Goes to
Rome." The gross for the premiere
saturation engagement, which started
Wednesday, July 31, came very close
to matching the record set by a prior
Columbia release, "The Interns", in
that territory — this despite the fact that
Pittsburgh and environs was hit Satur-
day night, August 3, by a violent, tor-
nado-like, electrical storm that forced 10
of the drive-ins playing the picture to
close down.

Extra Money Gets Extra People

Harry Hendel bubbles enthusiasm
about the saturation-type playoff, which
is called the Allied-Compo Merchan-
dising Plan out there. This hard-work-
ing exhibitor leader sees the saturation
break idea as the salvation for the
average picture and for the average
theatre. "But, he avers, it requires two
basic elements: a distributor, like Co-
lumbia, that is willing to spend extra
money to draw extra people, and ex-
hibitors who will get off their fannies
and go out to work.

"Bob Ferguson (Columbia vice presi-
dent in charge of advertising, publicity,
exploitation) is one of those practical
showmen who knows the value of
grassroots promotion. He gave us the
guidance, the extra manpower we
needed, and the extra dough to make
the 'Gidget' campaign here a rousing
success. And let me say that the trade
papers do their share to work up ex-
hibitor enthusiasm", he added.

Hendel said Columbia and Universal
are the two film companies that display
the greatest awareness of the potential
in exhibitor-distributor collaboration to

COLUMBIA'S FERGUSON

give boxoffice zing to the non-block-
buster picture. "If every film company
and the exhibitors in every territory
followed this pattern, there would be a
lot less crying in our business", Hendel
declared.

The 'Gidget' promotion was fash-
ioned of all the familiar, but oft-neg-
lected showmanship devices. The par-
ticipating theatres were supplied with
half a million tabloid heralds, already
imprinted for each situation, and 2,000
colorful window cards, also bearing
each theatre's imprint. They received
(Continued on Page 12)

THE

SUNDAY
PRESS

July 28, 1963

THEATERS

MOVIES

rtainment

BROADWAY

°aq. 9

Film To Premiere Here at 69 Theaters

Cindy: A New Gidget

By HENRY WARD

t bwomc quite "Leave II To Bnvn.' "Thf Donna Reed Show."
r "Hi week at "Bachelor Father." "Wafon TVtln." "The Red Skel-
eitcni Penn«y!> too Show ' anri wai pl»y»nc Loretia Y«uiie'» daueh'
l*r Binkie «hrn she WU • 'dumvrrrt" o> Producer
e movie houtea Jerry Breiikr.

taneomly with The "dlMovwy" cam* ejler Mr. BrtMkv had

rwilnf (■
I brought In

i d no ■

We broke tirt»a<l with the perviniole Cindy ^
or* ah* uirted nut on the aaJarl that can
o Butler, Alumna. Johmiown. New Caitlr,

"It MWMfd Uk» l mi /: f™ mi if-
ii«.utK I An.- « fih hiriMit ramtni uf.

fm i»m| t.. ,,,.< I n, going wi SO U<->
J,, ii nidi cenrunVi why nay! I iff ti irftlt
i«v mfff the n,k.-,l n,„l diHnl M o-i

PUBLICITY STORIES SPLASHED IN PITTSBURGH NEWSPAPERS

Film BULLETIN August 19, 1963 Page 11

LOCAL LEVEL BALLYHDD

Film 3§&§t Should Proviclo Enthusiasm— Bresler

(Continued from Page 11)

lobby streamers, 7-foot standees, and
various other lobby and front displays.
The Pittsburgh and other local news-
papers carried over 5,000 lines of dis-
play space, not to mention numerous
publicity stories. Three hundred radio
and TV spots peppered listeners and
viewers in advance and during the
film's engagement. And the whole cam-
paign was brightly sparked by the tour
of the complete area by young 'Gidget'
starlet Cindy Carol and producer Jerry
Bresler.

More of the same kind of local level
showmanship will be pursued by Co-
lumbia's Bob Ferguson. With an ex-
panded force of 40 field men spread
from coast to coast, 'Gidget Goes to
Rome' and a minimum of eight other
films scheduled for release by year's
end are earmarked for Pittsburgh-style
campaigns.

Among those who sing highly the
praises of the Columbia brand of grass-
roots exploitation is pipe-chewing 'Gid-
get' producer Bresler. Having taken a
sabbatical from his production chores
to help drumbeat the current release,
the movie-maker was caught in the Co-
lumbia home offices, where he had
come to confer on future projects with
company executives. Revealing a keen
appreciation of the practical phases of
every branch of the business, Bresler
paused to tell a Film BULLETIN re-
porter some of the observations gleaned
in his ballyhoo peregrinations.

Audiences, he believes, are waiting to
return to theatres if movie men give
them what they want to see. But "the

STARLET CINDY CAROL PUTS FOOT IMPRINT
OUTSIDE NEW THEATRE AS BRESLER WATCHES

public wants to know what kind of
picture it is, and phony advertising
isn't going to make them accept some-
thing that isn't what it appears." He
cited a recent film from a major studio,
which, geared to a small-town family
campaign, did well, but when it played
in more sophisticated metropolitan
areas, backed by a sex campaign, it
died. Bresler feels that a more honest
campaign, backed by Columbia's sort
of showmanship, could have resulted in
boxoffice success in the big cities, too.

He found that theatremen, for the
most part, are anxious to meet and
talk with movie men. "Some of them
need encouragement", he said "and the
film people should do everything pos-
sible to engender enthusiasm in the
exhibition field."

Bresler was pleased to see that thea-
tres throughout the East are being
spruced up and remodeled, and that
new houses are being built. Also, the
ever-increasing number of drive-ins, he
feels, will attract more and more mid-
dle and lower income families that
can't afford babysitters, parking fees,
and other expenses that often go with
hard-top attendance.

Field Men Important

The gregarious producer found that
visiting with local editors and column-
ists resulted in better understanding
between the news press and movie men,
and in increased cooperation from local
news facilities. In one town, Bresler
noticed that the local paper's type on
the 'Gidget' ads was too light. He
descended on the newspaper office to
voice his views, and in succeeding edi-
tions 'Gidget' came through loud and
clear. "Theatre men should catch this
sort of thing, but often they're too
busy. That's why having men in the
field is so important.

Bresler cited individual, local factors
as playing an important role in a film's
success in any given area. In Monroe-
ville, just outside Pittsburgh, he found
that "Gidget Goes to Rome" was the
initial attraction at a new theatre, and
he conceived the idea of having Cindy
Carol put her footprints in cement in
the lobby. "I think this was the first
time this sort of thing has been done
outside Hollywood," Bresler said, "and

PRODUCER BRESLER

it attracted nationwide publicity and
resulted in fantastic business at the
theatre."

The tour wasn't all sunshine, how-
ever. Pointing to Miss Carol's personal
appearance tour, he said that, although
her appearances had been highly touted
by Columbia, one exhibitor hadn't
bothered even to place her name on the
marquee or in front of the theatre. In
another instance, Bresler was greeted
at a cinema palace by an usher; the
manager had taken the day off. "You
go out of your way to see an exhibitor
and the least you can expect is to find
him at hand. These guys can't expect
to have a hit without a little effort on
their part. There should be cooperation
on every level. It's a two-way street.
Most of the theatre men realize this,
but there are a few who don't and
they're probably the ones who com-
plain the most when grosses sag."

The producer praised Ferguson's the-
ory that getting the name of a star or
a film in front of the public via na-
tional media is only the beginning of
an ad campaign, that hand-tailored
merchandising on the local level is
what finally gets the public in to see
the picture.

Page 12 Film BULLETIN August 19, 1943

PAY TV SURVEY

Appears To Have Tost JO per cent of Subscribers

( Continued roni Page 5 )

large screen television in nine film

houses this coming season.

Is Pay TV a myth fashioned of prop-
aganda or a realizable force? For the
better part of a dozen years the notion
of a home boxoffice has bulked large
upon the upper slopes of the mass
amusement and sports industries like a
shadowy wraith, a kind of Abominable
Snowman in Madison Avenue rags — ■
appalling in potential, but still a murky
mystery.

For proponents and opponents alike
it has been a source of inconclusive agi-
tation. Backers of the toll system, to-
gether with a scramble of show pro-
ducers and sports promoters, mull the
euphoria of a 15 to 40 million home
boxoffice hook-up, while theatremen
envision the incubus of a totally lost
audience, and the free TV networks
fidget fitfully.

Tests of pay systems have been con-
ducted prior to Etobicoke in Chicago,
in Palm Springs, in Bartlesville, Okla.,
and for the past year West Hartford,
Conn., has been a new testing ground.
But nowhere have the wheels become
unstuck; they seem to remain mired in
the softness of public enthusiasm and
certain intrinsic problems of the system.

Withal, the latency of Pay TV con-
tinues to fire the imagination of some
who regard it the wave of the future.
The Audienscope findings in Etobicoke
will furnish very limited comfort to
those who share this view.

FORM OF THE SURVEY

The study was conducted in seven
distinct zones or neighborhoods within
the interior of the known wire trans-
mission range. Care was taken to in-
clude representation from all economic
strata, from the plushier Kingsway dis-
trict to more modest sections — where
Telemeter appeared to have its best
following, and where attitudes were
generally less severe and critical. In
most cases the heads of households were
interviewed.

The interview itself was of a per-
sonal, qualitative nature. A standard-
ized questionnaire of open-end design
was employed to allow for eliciting
answers to fixed questions, as well as
some calling for free choice responses
of an attitudinal type. The latter were
graded and collated into broad response

categories. Where apt, direct quotations
are woven into the text for purposes of
amplification.

The study's aim was simple and di-
rect: to evaluate the attitudes and re-
actions of a population that has shared
an environment of continuous, full-
service Pay TV longer than anywhere
else.

What are the net sentiments of those
who have taken the meter into their
homes? What do payers like best, last?
Have subscriptions grown or regressed?
If the latter, how great is the drop-out
trend? What were the main causes?
What do Non-Subscribers think? What
has influenced their decision to hold
out?

Let's examine the findings.

SUBSCRIPTION TREND

This section attempts to define or
break down the various percentages of
the test site population that (1) saw
fit to purchase the service, (2) resisted
the service, (3) discontinued the serv-
ice.

The pollees fell into one of the three
following classifications as of the time
of the survey:

Subscriber — anyone whose home was
wired for Pay TV reception.

Former Subscriber — anyone whose
home once had Telemeter, but was no
longer receiving Pay TV service.

Non-Subscriber — anyone whose home
was in the wired area, but had never
ordered the service.

Lumped together, these groups make
up 100% of the sample membership.
The one criterion common to all is
residence in a sector where Telemeter
is available.

This survey does not profess to be a
census, or head-by-head count, of the
entire Etobicoke population. Telemeter
is confined to a certain area of the com-
munity. Within the crucial area,
Audienscope conducted a thorough, ex-
tensive, cross-sectioned study of the
districts where Pay TV installation
appeared densest. It is believed, allow-
ing for a reasonable degree of error,
that the following figures approximate
Subscriber trends among the overall
test population:

SUBSCRIBERS 23%
FORMER SUBSCRIBERS 19%
NON-SUBSCRIBERS 58%

Thus, slightly less than one quarter
of the homes covered by the Audien-
scope interview team were found to be
metered. Whether this is a good show-
ing— close to one out of four homes
where service is most available — others
will have to say. Conclusions will have
to be drawn in relation to the slim
comparative data, if available, from
other test sites. Also, findings have to
be viewed in connection with the sales
effort behind the test.

Among the Non-Subscriber majority
(58%) were to be found pollees who
cannot fairly be termed as opposed to
Pay TV. A certain number professed a
lack of knowledge. Others were simply
indifferent. A sizable number indicated
their abstinence was not meant to damn
the pay system. The greatest number of
abstainers, however, held firm views,
reported in the section on Non-Sub-
scriber attitudes.

By far, the most informative aspect
of the break-down is the existence of a
significant Former Subscriber element.
The extent of the decline in Telemeter
subscriptions is demonstrated by these
figures:

(1) Drop-outs as a class of the test
site population are now 83% as large
as the body presently subscribing.

(2) The rate of Subscriber shrinkage
from an estimated high-water mark in
installations runs 45%. The test pro-
gram, in terms of this study, may be
said to have suffered a loss of approxi-
mately half its maximum Subscriber
total.

Based on the evidence available to it,
Audienscope estimates that the max-
imum installation total fell somewhat
short of the proclaimed figure, usually
reported as 5,500.

The survey prompts the conclusion
that Subscriber installations now must
be reckoned as falling between 2,600
and 2,700.

It appears that the greatest progress
in sale of subscriptions took place
within the trial's second year.

The estimated apex was reached dur-
in Winter, 1962, but in Summer of that
year, the decline set in. This was the
time when Telemeter introduced a Si 5
annual service fee.

While the charge w as based on policy
aimed at winnowing out "infrequent"

( Continued on Page H)

Film BULLETIN August 19, 1963 Page 13

PAY TV SURVEY

Sports Funs Most Owotvtl to Pay Systvm

( Continued from Page 13)
users of the service, its effect was to
harden opinion among many with re-
spect to the quality of purchaseable pro-
gramming. Imposition of the $15
charge marked the reversal in Tele-
meter's fortunes in Etobicoke. It offered
evidence that many people will accept
the pay system on a take-it-on-leave-it
basis, but rebel against fixed charges.

SUBSCRIBER ATTITUDES

The Subscriber residue that exists,
23% of the sample enumeration, is a
positive condition of itself, worthy of
examination.

What are the specific responses of
those who have taken Telemeter into
their homes and hold it there? A wide
range of inquiry was undertaken. The
more pertinent findings are herein dis-
closed.

Subscribers were asked:

What Was Your Primary
Reason for Subscribing?

In answer to this free choice question
37% cited the desire to see attractions
that are blacked-out or unavailable on
free TV. The key factor here appeared
to be a wish to have a better rounded
television experience, and Pay TV ap-
parently was viewed as a supplement
toward that end. (Later break-downs
will list which type attractions Sub-
scribers are most willing to pay for.)

"Expected to see better programs,"
was the expression of 14%. This group
spoke variously of "big shows", new
movies, plays and special sports events.
There was not, however, widespread
adverse criticism of free TV entertain-
ment.

New movies was the inducement
registered by 20%, while sports as a
specific reason was offered by 18%. A
total of 6% spoke of just "curiosity",
the consensus expression being, "It's
nice to have." Annoyance with TV
commercials was, surprisingly, a reason
offered by a mere 3%. Only 2% men-
tioned such attractions as opera, ballet
or shows of an educational nature.

These, then were the primary expec-
tations of Subscribers. We now pass to

the realm of actual Telemeter exper-
ience. Has realization matched hope?

Subscribers were asked:

How Do You Feel About
Pay TV Today?

SATISFIED 39%

DISSATISFIED 26%

UNDECIDED 35%

Comments ran to a wide extreme.
Those voicing any degree of approval
straight out, or, on balance, more ap-
proval than disapproval, or whose
comments were simply marked by an
absence of complaint, were graded as
"satisfied." Pollees whose comments
consisted of overt negative declarations
only, were graded as "dissatisfied." This
class of respondents contained a signifi-
cant number who served notice of an
intention to drop out. Pollees who could
not, on balance, vote one way or the
other were classed as "undecided". This
class enunciated many shortcomings,
but recognized certain potential values
as well. Some among these made known
their consideration of a discontinuance
of the service.

Here is a break-down of the reasons
voiced by those who are

Satisfied With Pay TV
Sports 56%
Movies 22%
Special shows 6%

Kids like it 6%
Other reasons 8%
No reasons 2%
As a prime reason for payee satisfac-
tion, sports tops the next type of attrac-
tion, movies, by 2l/2 to 1. It is apparent
that sports fans make up the medium's
most devoted adherents. This group
among Subscribers appear more tol-
erant of other program deficiencies, and
less sensitive to cost considerations.

It is crucial to point out that Toronto
Maple Leaf hockey is the subject of
rabid local interest. Telemeter presents
the away games which number about
35 a season. The professional Football
Argonauts occupy a small Toronto sta-
dium, frequently filled to capacity.
Some eight home games are transmitted
over the Telemeter wires, and these
also are highly favored by the sports
element among Subscribers.

Those citing movies (22%) were
much taken with the privilege of seeing
a first-run film in the comfort of one's
home. They said, however, that new
movies were few and far between, and
some protested that a large percentage
of the films offered by Telemeter were
as old as those being shown on free
TV.

The unimportant vote for special
shows (6%) manifests a Subscriber
yawn in the direction a genre of enter-
tainment that loomed large in the orig-
inal promotion of Telemeter. It appears
evident that so-called spectaculars, at
least those staged for the Etobicoke
medium, contribute little toward elevat-
ing its image. Children's shows, mind
you, scored as high in favorable re-
sponse as the specials.

A conclusion drawn by Audienscope
is that the staunchest advocates of the
pay system are the males. The desire
to relax at home after the day's work,
and their taste for sports attunes them
more fully to what Pay TV offers. Few
of the females interviewed registered as
much enthusiasm as the satisfied males.
This was most apparent among the
medium and lower medium income
groups.

And now the reasons expressed by
those who are

Dissatisfied or Undecided
Too Many Old Movies 47%
Price (inc. annual fee) 29%

Not enough Sports 1 1%
Disappointed in Shows 6%
Other Reasons 7%

The "dissatisfied" and the "unde-
cided" Subscribers have been lumped
together in the above table because they
have the common characteristic of not
being satisfied with Pay TV's perform-
ance, and the causes of their lack of
satisfaction followed similar lines, vary-
ing only in degree.

The handling of movie entertainment
is at the seat of much Subscriber mal-
content. Many regard it as the most
grievous defect in Telemeter program-
ming, and it has been a principal factor
in motivating cancellations. Audien-
scope is convinced by its study that the
hard pre-sell of Pay TV as a purveyor
of first-run films, and its inability to
deliver the goods in satisfying quantity
has been one of Telemeter's major fail-
ures in Etobicoke.

Page 14 Film BULLETIN August 19, 1963

PAY TV SURVEY

Majority Willing To Pay S I - SO I*,.,- Month

The 47% who expressed disappoint-
ment about too many old movies, or, if
you will, not enough new ones, griped
most vehemently about what one vexed
Subscriber termed, "Too damn many
repeats!" This complaint was heard re-
peatedly.

Subscriber unrest was not confined to
failure alone. A very impressive 29%
of the nay-sayers voted "price", per se,
as a primary ground. A further break-
down reveals that far fewer groused
about the rates for attractions than
about the annual $15.00 service charge
imposed last Summer.

About three-quarters of the unsatis-
fied elements said that they do not
believe they are getting as much use
from the medium currently as when
they first subscribed. An overwhelming
majority of "dissatisfied" Subscribers
declared they use the medium hardly at
all in the summer. The "undecided"
element closely approximated this
view. A negligible number saw fit to
cite the insufficiency of special shows,
spectaculars, or serious programming as
ground for complaint. Some (11%)
complained that sports attractions were
not as numerous as desired.

So far, the study has established (1)
the original expectations of Subscribers,
and (2) how they "feel" now in light
of actual "home boxoffice" experience.

At this juncture, Audienscope
deemed it of interest to ascertain what
type of programming all Subscribers
(satisfied or otherwise) would prefer,
if they remain Telemeter customers.

In view of their experience with the
medium, a hypothetical inquiry seemed
in order.

What Kind of Attraction Are
You Most Willing to Pay For?

New Movie 56%
Sports 47%
Other 7%

The disclosures that new movies and
sports, together, make up a staggering
93% of the attractions Etobicoke's Pay
TV patrons are most willing to pay for
brings us to a revelation of the funda-
mental nature of the medium, as re-
flected by this expression of its au-
dience's tastes. Movies and sports, sports
and movies — in the words of Keats, all
ye know and all ye need to know, so

far as this study can discern.

The Canadians who submitted to the
research appear to be counterparts of
Americans in the modest income
($5000-$8000) bracket and of average
educational background. They are typi-
cal of people in the States outside of
the highly sophisticated, higher income
elements in large metropolitan centers.

This look at the Etobicoke popula-
tion would seem to explain, to some
extent at least, why so-called "long-
hair" entertainment, such as opera, bal-
let and programs of an educational
nature, received little notice in the re-
sponses on entertainment tastes. Very
few acknowledged with any enthusiasm
the special attractions which were
staged and taped for Telemeter presen-
tation. On the other hand, theatre
drama registered about two-thirds of
the preference for "other" attractions.

Having been told what they would
prefer to pay for, it was, of course, logi-
cal next to inquire how much the sub-
scribers would pay.

How Much Are You Will-
ing To Spend on Pay TV?

$4 to $6 per month 58%
$6 to $10 per month 11%
Above $10 per month 3%
Depends upon Attractions 17%
Under $4 per month 8%
Undecided 3%
The question as put was predicated
entirely on the kind of programming
Subscribers have known. More than
two-thirds volunteered the information
that their responses were conditioned
upon worthwhile attractions being of-
fered. No doubt was left in the inter-
viewers' minds that price was inextri-
cably intertwined with programming.

Once the above query was put, Sub-
scribers were asked if the hypothetical
figures coincided with actual expendi-
tures. A total of 61% said they believed
their actual spending was lower, but
blamed the offerings rather than their
budgets for this.

Those fixing $4 to $6 per month as
their "willing to pay" figure the next
highest tally by about three-and-a-half
to one. This might have to be inter-
preted as evidence that average Sub-
scribers have set that as a limit on
their Pay TV expenditures.

It was found that those willing to
spend above $6 per month were sports
fans in the main. The group saying
"would Depend upon Attractions" was
comprised of a high percentage of
movie fans.

Subscriber spending is largely con-
fined to Fall and Winter. Almost 80%
said they watch not at all or infre-
quently in Summer.

More than 55% said they believed
they paid to see all or most of the new
films presented. A much smaller num-
ber reported paying for older films. In
this phase of the interviews there again
recurred the complaints against "too
many repeats" and "too many old
films". About one-fifth said Children
continuing basis.

Shows has exacted money on a fairly

Within the framework of the ex-
penditure ideal of $4 to $6 per month,
Subscribers appear willing to pay re-
quired rates for worthwhile attractions.
When, within this cost context, shows
are not satisfying, the medium is viewed
as expensive, as not worth the money.
This is behind many cost gripes dealing
with program rates.

The greater cost irritant is the $15
annual service fee. Its impact rever-
berated throughout the interviews.
Compounding the sore were complaints
of the failure of general programming.
Many declaimed against the carrying
charge as not justified because of infre-
quent use. Spread over few shows, the
$15 fee sends the unit cost per show
spiraling, they said. A point appears to
be reached in the fixing of Subscriber
charges where an added increment pro-
duces drastic reaction.

If it was the intention of Telemeter
to winnow out infrequent users by the
$15 charge, it apparently succeeded —
and then some. It appears to have
chased more than a few with moderate
tuning habits. At the time of the sur-
vey, it was cited by many more as a
decisive factor in their announced in-
tentions to cancel.

Earlier data clearly demonstrates that
infrequency of meter use is still pre-
valent. A still significant portion of
remaining Subscribers are holding on
to the medium in the hope that pro-
gramming will improve.

* * *

Wither Subscribers? What course of
aciton can meter holders be expected
( Continued on Page 16)

Film BULLETIN August 19, 1963 Page 15

PAY TV SURVEY

Price 4i ml Prwyramminfj Both fast Subscribvr.s

(Continued from Page 15)
to take in view of the expressed atti-
tudes? Hold on? Or cut the cable?
This question was put:

What are Your Inten-
tions Regarding Pay TV?

A 54% majority of remaining Sub-
scrbers said they plan to continue the
Telemeter service. An interesting fea-
ture of the vote is that it runs higher
than the "satisfied" vote (39%).
Hence, a percentage of the "dissatis-
fied" and "undecided" apparently in-
tend to hold on to their meters.

More significant, perhaps, is that a
grand total of 46% could not say with
certainty that they will continue. This
balance is broken down as follows:
"considering cancellation" received a
vote of 22%. "Decided to cancel"
brought a vote of 16%. A total of 8%
voted "undecided."

As indicated by prior responses, the
hard core of sports fans make up the
major composition of the "will con-
tinue" group. About one-fifth of the
stay-put group said they will "try it one
more year, and see what happens."
These apparently are hoping for better
programs.

Among the 22% "considering can-
cellation", a main factor was the un-
expired portion of their annual $15
outlay.

The Subscriber residue as measured
by this study — now down approxi-
mately 45% to some 2,600 to 2,700
outlets — is fraught with mixed attitudes
of satisfaction. Only 39%, mostly sports
fans, could express contentment of a
more or less positive nature. Without
immediate redress in the form of more
ample general entertainment, princi-
pally new movies, Audienscope must
conclude that Subscriber ranks will
slump to a bedrock comprised of old-
sters, shut-ins, and overflow spectators
from Toronto's ice hockey and football
attractions.

FORMER SUBSCRIBERS
ATTITUDES

This category was found to be 83%
as large a group as present Subscribers
in the Audienscope study. As indicated
by announced payer intentions, the
ranks of Former Subscribers likely is
growing steadily.

Taken as a whole, Former Subscrib-
ers may be described as a more hostile
version of the "dissatisfied" Subscriber
group examined earlier. Complaints run
to a broadly similar line. The main
difference is that Former Subscribers
translated their unfavorable attitudes
into the positive action of cancellation.

While the Former Subscribers, in
overwhelming majority, were found to
be adamant in their disapproval of the
experience, some thought an improved

utilization of the medium might give
them pause for reconsideration.

What prompted this group to throw
in the sponge? What accounts for a
Subscriber shrinkage of 45% in the
Audienscope sample — a show business
phenomenon matched, perhaps, only by
the nose-dive in theatre attendance?

This question was asked of Former
Subscribers:

What Was Your Primary
Reason for Discontinuing?

Disappointment in programming 44%

Cost 40%

Rather go out 7%

Removed by Telemeter 4%

Other reasons 5%

Again, we find the basic factors of
price and programming so interwoven
in a cause-and-effect relationship. Thev
are inseparable elements.

The introduction of a new cost aspect
— the $15 annual charge — unmistakably-
goaded many pay patrons into a closer
examination of the Telemeter service. A
large number then decided Pay TV
wasn't worth the money, and they quit.
Many were not sure what impelled their
decision — the increased charge or the
inferior programming. It was the old
chicken or egg quandary.

Nonetheless, it was found that the
annual fee chased not only infrequent
or marginal users, but moderate users
as well, many of whom viewed Tele-
meter as tolerable in terms of the earlier
overall costs, but unacceptable in the
higher cost context.

The other side of the coin is this:
had the general programming been held
in higher viewer esteem, it is evident
that the increased cost would not have
taken on so oppressive a character, and
a lower proportion of cancellations
would have resulted.

The issue is reducible to a judgment
of what the payee believes he is getting
for his money. For $15 per year more, a
very high number felt not enough.

Specific charges against Telemeter
programming deal essentially with (1)
the inferiority of attractions and (2)
the insufficiency of worthy ones. Dis-
appointment in film offerings — too few
new pictures, too many "repeats" and
( Continued on Page 21 )

SUBSCRIBERS SAID:

"Will keep one more year because
we paid the rate. Hope shows will
improve. Very disappointed so far.
They did not give what they promised."

"Even though they raised the rate,
I like Telemeter for the sports they
show, but we hardly use it in the sum-
mer."

"Programs deteriorated atfer the
first year. We think the shows were
very disappointing and the movies of
lower quality."

"We like it pretty much. The shows
in the winter are good, mostly the
games. We watch little in the sum-
mer because they repeat many things."

"Poor shows. I'm not interested in
what is offered. I haven't turned it on
in a long time. Will discontinue."

"Quality of programs not bad, not
good. But I don't know if we'll keep
it because of the rate. We don't use it

enough. If it doesn't improve, we'll
give it up."

"May have it taken out. For my
part, they can take it out. My husband
may want it for the hockey. We haven't
made a decision yet. I rather watch
regular TV."

"Programs good at first, then it
started to go down. There are too
damn many old movies. I don't like
the sports announcer."

"We use it now and then. Actually,
the children use it much more than
we do."

"Movies are no good — kid stuff. The
whole thing's too expensive for what
we're getting. There's not enough de-
scription of what's going to play."

"I think it's convenient, but the
shows definitely could be better. The
kiids keep us home."

"I think it's nice. We can seldom
go out because of an invalid son."

Page 16

Film BULLETIN August 19, 1963

'THE CLEOPATRA PAPERS' . . . VIOLENCE ON THE SCREEN AND IN THE PRESS

Up until a few days ago, this corner
concluded that there was little more
that could be told about "Cleopatra,"
which, undoubtedly, will hold until the
end of time the record as the most
publicized motion picture ever made.
Then we received a copy of a book
titled, "The Cleopatra Papers, A Private
Correspondence", by Jack Brodsky and
Nathan Weiss. To say that nearly every-
one will be entertained by this docu-
ment would be a slight to its signific-
ance as the first clinical record ever
written about the production of a great
motion picture.

The social scientists and the econo-
mists, who in the future will study the
phenomena of this industry, will cer-
tainly find this book more helpful than
all the data they can assemble by prob-
ing, digging and exploring the archives.

Thanks to "The Cleopatra Papers"
(Simon & Schuster), we not only must
multiply our admiration and respect for
all those who heroically brought a crisis
to a glamourous and successful climax,
but for the first time we learn how two
publicity men, in the person of the co-
authors, could truthfully express their
anxiety and anguish without in any
way crying "uncle". As a former mem-
ber of the publicity fraternity, I tip my
helmet to these lads whose nervous sys-
tems did not go hay-wire, but, instead,
seemed to strengthen proportionately as
new crises developed.

"The Cleopatra Papers" record by
means of private memoranda, cables and
phone calls the excitement that sur-
rounded the authors from the autumn of
1961 through the summer of 1962, when
the actual production was completed.
During this period Weiss was publicity
manager of Twentieth Century-Fox and
Brodsky was his executive assistant. It
was upon Weiss' recommendation that
Brodsky was assigned to Rome with the
hope that the publicity could be focused
more on the picture and less on you-
know-who. When Brodsky was compel-
led to return to New York due to his
wife's pregnancy, Weiss took over in
Rome. "The Papers" then present a
blow-by-blow report on all the problems
confronting the corporation, the pro-
duction, the stars and all others who
were directly involved, or who felt the
reflexes of the storms that raged from
beginning to end. But through it all,
the authors reveal not only their expert
professional talents, but their dedication
to the job and their zeal in doing every-
thing possible in their areas to see that
"Cleopatra"would be known as not
only the most expensive picture ever
made but as one of the greatest.

To come through all of this without

ADAM WEILER

rancor, bitterness or humiliation cer-
tainly speaks well for Weiss and Brod-
sky. And at the same time it speaks
well for the craft that can turn out lads
like the authors of this extraordinary
document.

All through the correspondence you
get the feeling that the authors were
concerned primarily with the hope that
20th-Fox, "Cleopatra", would once again
be restored to financial health. And this
reader got a clearer picture than from
any other source of where the executive
responsibility for the "Cleopatra" pro-
duction troubles should be laid.

If you ever had the feeling that press
agentry is just getting names and titles
in print, then you will get a very differ-
ent idea from this most readable and
interesting book.

Both Weiss and Brodsky left their
jobs with Twentieth-Century-Fox. But,
oh, what memories!

A long time ago this department sug-
gested that motion pictures should never
be accused of going overboard on vio-
lence because there is so much violence
in everyday life. Maybe violence in films
nowadays is anti-climactic; maybe there
should be a return to sweetness and
light.

After all, a good love story is still
boxoffice. The sordid is all around us in
the newspapers and television (although
the idiot eye seems to be losing some of
its bloodshot tinge).

According to the FBI's annual uni-
form Crime Reports for 1962, someone
is murdered every hour in the United
States. Every 2 minutes there is a forc-
ible rape, and every four minutes an
aggravated assult. There is a robbery
every six minutes, and someone steals
more than fifty dollars worth of prop-
erty every minute. An automobile is
stolen every minute and a half. The
report informs us that the national
crime toll reached a record high last
year and is increasing four times as fast
as the population.

The newspapers have done a fine job
reporting crime. Isn't it surprising that

the fanatics who are advocating classi-
fication of motion pictures do not feel
the same about newspapers. Should
newspapers be classified for adults? Or
should the young folks have the news-
papers hidden from their view? The
way things are going in the area of
censorship, such a thought is not too
absurd.

The Liston blow that felled Floyd
Patterson could — but probably won't —
be the blow that kills off audiences for
future closed-circuit fights in theatres.

Your correspondent, always on the
job to get the suckers' reaction to these
events, heard some pretty violent re-
actions to the quick knockout. One
gent mumbled on the way out: "This
convinces me that the movie theatres
should stick to showing movies. I could
have seen three movies for what this

Liston-Patterson sold the tickets, but
their performance was pretty bad. Will
the theatres go for Clay vs. Liston? I'm
sure they will, and I know the same fans
who bought Liston vs. Patterson will
turn out for that one. Personally, I
would rather book Clay in person for
poetry readings.

I don't know Mr. Robert J. Gurney,
but I admire his idea to develop a
motion picture studio at the New York
World's Fair. A special committee of
the MPA studied the possibilities of the
industry's participation in the fair, but
decided to forget about the whole
thing.

Mr. Gurney's idea is a good one,
especially in view of the fact that he
would be able to make a feature film
and pay for it as he shoots it. He can
get all the extras he wants or needs for
nothing just by filming the paying cus-
tomers. If he tries this, he has a natural
exploitation gimmick, as every yokel
will want to see if he is in the film.
Without wishing to be vulgar, I
commend to Mr. Gurney the idea that
he could charge the audiences a small
fee to get their faces in the picture. If
he had extras from even- key and sub-
key city, think what an army of press
agents he would have for the picture!

Further, think of the income possi-
bilities if he has the services of a star
who would not mind having a piece of
the "still" business that could be built
up merely by the star posing one hour
a dav with the fans.

But what intrigues me most of all
about Mr. Gurney is his intention to
move the studio to Manhattan after
the Fair is over. Is he thinking of
buying Ellis Island? Not a bad thought,
eh.

Film BULLETIN August 19, 1963 Page 17

"The Leopard"

SutiK&te RcxtitQ © O Plus

Rating is strictly for art and select class houses, Pic-
torially handsome, but dramatically too obscure and
slow-paced for tastes of average filmgoer. Lancaster
provides marquee power, but play-off will be limited.

While a somewhat longer version of this film won the best
picture award at the Cannes Film Festival earlier this year,
there will be much to overcome in selling its merits to the
American public. Burt Lancaster gives a powerful, beautifully
shaded performance, one of the finest of his career — but unless
one has read the Guiseppe di Lampedusa novel on which the
film is based, the story never becomes clear and, eventually,
the spectator's attention will wander away from the images
on screen. Pictorially, "The Leopard" is superb, but the pace
is slow, very slow. Where audiences can accept this — for two
hours and 45 minutes — it stands a chance of achieving some
success, but it must be concluded that this will be limited to
houses and select class situations. Certainly the names of
Lancaster, Alain Delon, Claudia Cardinale, director Luchino
Visconti ("Rocco And His Brothers"), and the reputation of
the novel, will carry some weight with discriminating movie-
goers. This Titanus production, produced by Goffredo Lom-
bardo and released by 20th Century-Fox, was photographed in
Cinemascope and DeLuxe color on location in Sicily. Land-
scapes, village slums and princely villas are captured as if by
an artist's master strokes. However, director Visconti, as if
overcome by nostalgia, appears more interested in preserving
and extending these atmospheric touches than in presenting
a human drama. With the exception of Lancaster, who has the
only really large role, the players are so vague as to be almost
anonymous. The screenplay by Visconti, Suso Cecchi D'Amico,
Pasquale Festa Campanile, Massimo Franciosa, and Enrico
Medioli covers a transitional period in Italian history, the
1860's, the time of the Aribaldi uprising and the unification
of Italy. At the forefront is middle-aged Prince Fabrizio (Lan-
caster), called 't'he Leopard" after the beast on the family coat
of arms. The prince senses the social change, but is reluctant
to come to terms with it. When his beloved nephew (Delon)
becomes infatuated with a low-born, but wealthy commoner
(Miss Cardinale), Lancaster, impressed by the girl's dowry,
arranges a marriage between the two. At a fashionable ball,
he reluctantly consents to dance with his nephew's bride and
then realizes how complete is the decline of the aristocracy.
Afterwards, the Prince walks home alone, musing over a way
of life that is past and a future that is beyond his under-
standing.

20th Century-Fox. 165 minutes. Burt Lancaster. Alain Delon, Claudia Cardinale.
Produced by Goffredo Lombardo. Directed by Luchino Visconti.

"Rampage"

SdtUtCte 1&tftH$ © O Plus

Actionful melodrama about conflict between two big
game hunters over a beast and a beauty. Mitchum,
Technicolor add boxoffice values.

This Seven Arts production for Warner Bros., in Techni-
color, shapes up as a fair-plus attraction in the general market.
Devotees of robust, outdoor action fare will be most pleased.
The taut climax, in which a huge, deadly jungle cat terrorizes
a West German city, and some good jungle footage should
hold the interest of the male contingent and particularly delight
the youngsters. Warners' promotion problem is to make "Ram-
page" seem appealing to the fern trade. Robert Mitchum pro-
vides some marquee value, and displays his virility in bare-
handed battles with jungle beasts. He also takes on gun-toting

Jack Hawkins in a fight for the love of Lisa Martinelli. Phil
Karlson's direction gets the most out of the thrill elements, but
the screenplay by Robert I. Holt and Marguerite Roberts,
adapted from Alan Caillou's novel, wastes too much footage
on a trite love triangle that retards the pace, especially in the
early going. Producer William Fadiman found some exciting
locales in Hawaii and San Diego and managed to make them
simulate the places in Malaya and West Germany where the
story takes place. Mitchum, a trapper of wild animals, is hired
by a zoo to capture the elusive, Enchantress", a rare species of
combination tiger-leopard. He is to be accompanied by big-
game hunter Jack Hawkins and the latter's girl friend, Elsa
Martinelli. Before the safari starts, Mitchum and Hawkins spar
over Miss Martinelli's favors. In the jungle, guide Sabu leads
them to the "Enchantress", and Hawkins, to prove his virility,
throws himself into a cave with the beast. Mitchum rescues
Hawkins and traps the animal. On the train enroute to the zoo,
a demented Hawkins frees the beast from its cage, expecting
it to kill Mitchum. Instead, the animal leaps from the train
and rampages a city. Mitchum and Miss Martinelli stalk the
beast, and Hawkins, armed with a high-powered rifle, hunts
Mitchum. In the end, the animal devours Hawkins, Miss Marti-
nelli snags the beast, and Mitchum bags himself a bride.

Warner Bros. 98 minutes. Robert Mitchum, Elsa Martinelli, Jack Hawkins. Pro-
duced by William Fadiman. Directed by Phil Karlson.

"Wall of Noise" i

Lurid, slow-moving meller of illicit romance and race
horses. Strictly for the lower slot and drive-ins.

A turgid melodrama, mixing equal portions of lurid motel
romance and horseracing, this Warner release will elicit little
more than yawns from most audiences. An unpleasant moral
tone, the lack of excitement in the racing scenes and dull black-
and-white photography — not to mention a vague, meaningless
title — are among the adverse factors that will limit its audience
appeal. The cast offers mild marquee value, but not sufficient
to raise its booking prospects above the second-feature level.
"Wall of Noise" will fare best in the drive-in market. Suzanne
Pleshette is saddled with a hopeless other-woman role, while
Ty Hardin, who apparently could love either Miss Pleshette or
Dorothy Provine, loved he not his horses more, is surly and
unconvincing. Miss Provine and Ralph Meeker fare compara-
tively well in their small roles. Richard Wilson's direction is
formless and much too leisurely paced. The repetitious screen-
play by Joseph Landon, who also produced, opens with Hardin
leaving the bed of his fiance (Miss Provine) to ready his horse
for a big race. He tells her to bet their combined savings on
the nag, and after she fails to do so, he berates her (even
though the horse was disqualified), and she walks out on him.
He soon meets sultry Miss Pleshette, the unhappy wife of a
caster), called "the Leopard" after the beast on the family coat
a furtive affair, with each constantly dropping motel keys in
the other's hand. When Miss Pleshette finally tells Hardin that
he must choose between her and his horses, she finds herself
left with her husband. Meanwhile, Miss Provine, who now
regrets having walked out on her lover, tries to help him out
of a financial jam by offering to sleep with lecherous Simon
Oakland if he will mark Hardin's loan paid-in-full. Oakland
becomes so overexcited in his effort to rush his lovely victim
to a motel that he drops dead of a heart attack. Miss Provine
lifts the loan receipt from the dead man's pocket and returns
to Hardin.

Warner Bros. 112 minutes. Suzanne Pleshette, Ty Hardin, Dorothy Provine, Ralph
Meeker. Produced by Joseph Landon. Directed by Richard Wilson.

Page 18 Film BULLETIN August 19, 1963

"The V.I.P.s"
GiaUeM Rati*? © © ® Plus

Taylor- Burton duo give this smash b.o. potential. Story
elements will hold all types of audience engrossed.
Strong campaign assures its vast success.

There can be no question that the "V.I.P.s" has smash,
built-in boxoffice values in the much-heralded names of Eliza-
beth Taylor and Richard Burton. And, as pure escapist enter-
tainment, this M-G-M production is first-rate. It bas nearly
everything that mass audiences clamor for and too seldom get
from the celluloid dream merchants — rich, warm humor, heart-
tugging drama, suspense, and that sophisticated and near-magic
elan at which Hollywood once excelled, and, of course, that
most glamorous cast. Backed by one of the most intensive pro-
motion campaigns of recent years, "The V.I.P.s" is certain
to rank with the big atractions of the year. Exhibitors are
going to need augmented staffs to handle the crowds. The
screenplay by Terence Rattigan, fashioned in the episodic
vein of "Grand Hotel", deals primarily with the conflict be-
tween Miss Taylor, who is about to run off with handsome
playboy Louis Jourdan, and her big business executive hus-
band, Burton, who is determined to hold on to her. In the
fogbound London airport, the plot picks up the varied personal
problems of several other V.I.P.s awaiting the plane's take-off.
Director Anthony Asquith manuevers his large cast with dex-
terity and keeps the action flowing at a fast pace from start
to finish. Producer Anatole de Grunwald has provided a color-
ful production setting in Metrocolor and Panavision. Miklos
Rozsa's background score is lush and romantic. Miss Taylor,
while still a most striking beauty, shows some tell-tale signs of
personal neglect. In some scenes she looks a bit plump and
dissipated. Burton displays his strong talent to good advantage
as the distraught husband, and Jourdan is effective as the
suave lover.

One of the major sub-plots concerns the efforts of near-
bankrupt industrialist Rod Taylor and his loyal secretary,
Maggie Smith, to cover a bad check. Margaret Rutherford, as
an impoverished duchess, is given her best material to date
and may well be heard from at Academy Awards time for
this scene-stealing portrayal. Orson Welles, in a boisterous
caricature of a movie tycoon, and Elsa Martinelli, his "pro-
tege", supply some broad humor, and Linda Christian appears
in a bit role. Rattigan's story is remindful, in its wit, of
vintage Nole Coward.

Taylor fears that her multi-millionaire husband, Burton,
will kill her when he learns that she has left him for playboy
Jourdan. Most of the other passengers also have valid reasons
for wanting to leave England in a hurry, but all find solutions
to their problems when they are forced to spend the night at
the airport's International Hotel. Burton accosts Miss Taylor
at the hotel, but she repels his advances. The next morning,
as she is about to board the plane, she decides to return to
Burton because she knows he will destroy himself without her.
He will find strength in her strength, and she will find fulfill-
ment in knowing that she is needed.

M-G-M. 119 minutes. Elizabeth Taylor, Richard Burtort, Louis Jourdan, Elsa
Martinelli, Margaret Rutherford, Maggie Smith, Rod Taylor, Orson Welles. Pro-
duced by Anatole De Grunwald. Directed by Anthony Asquith.

"The Caretakers"

Sutitew &<ztt*v O O Plus

Interesting treatment of mental therapy depicted
against melodramatic background of conflict in hospital.
Crawford, Stack provide name values, OK grosser.

Mental illness, its causes and cures, is the theme of this
strong emotional melodrama. Producer-director Hall Bartlett
focuses this screen version of Daniel Telfer's best-selling novel

to good effect on the the conflict between psychiatrist Robert
Stack and director of nurses Joan Crawford. In the presence
of these two principals — Stack, famed for his long-run role
in TV's "The Untouchables", and Miss Crawford, whose
popularity has surged up again as a result of "What Ever
Happened to Baby Jane?" — should give "The Caretakers" an
added boxoffice zip. In his practice of modern methods of
treating "borderline" mental cases, Stack is opposed by the
Crawford insistence that the old rules of force and confine-
ment should prevail. Bartlett's direction is straightforward,
urgent and, at times, almost documentary in approach. None-
theless, he develops full-dimensioned characters in all the key
roles. Stack makes the most of his steely-eyed, single-minded
doctor who advocates group and at-home therapy. Miss Craw-
ford, while some may find her too sophisticated and mannered
for the role of the old-fashioned, strong-armed nurse, still
projects a fascinating characterization. Polly Bergen gives a
flamboyantly striking portrayal of the young woman who can-
not adjust to the accidental death (for which she was respon-
sible) of her young son. Janis Paige and Barbara Barrie lend
force to their roles as other "borderline" cases undergoing
treatment at the hospital. The screnplay by Henry F. Green-
berg, from a screen story by Bartlett and Jerry Paris, concen-
trates alternately on the problems of the patients and on Stack's
fight to introduce modern clinical methods to a backward
state hospital. Among his projects is the establishment of a day
clinic so that "borderline" cases may live at home. Miss Craw-
ford fights him every step of the way, and Herbert Marshall,
as the hospital director, tries unsuccessfully to compromise the
two viewpoints. Before Stack wins out, he has sent Miss Bergen
and the others well on the road to recovery, and has found
time to fall in love with Diane McBain, an understanding
nurse.

United Artists. 97 minutes. Robert Stack, Polly Bergen, Joan Crawford. Janis
Paige, Diane McBain. Produced and directed by Hall Bartlett.

"Run With the Devil"

Minor Italian import has some sequences to please art
film fans. Mild grosser.

Bohemians, as seen by film makers, are pretty much the same
whether they "pad out" in Greenwich Village, North Beach, or,
as in "Run with the Devil", Rome's Via Margutta. They're all
here — the bearded sculptor, the dedicated artist with no talent,
the messy-haired girls, assorted homosexuals and lesbians. The
best this subtitled Italian-made production, which Richard L.
Rosenfeld is presenting here, can hope for is a fair return at
second-rate art houses. Director Mario Camerini has included
some wryly humorous vignettes, but the main story, another
variation on "La Boheme", has just about had it with audiences.
The screenplay by Camerini, Franco Brusati, and Ennio De Con-
cini tends toward the episodic and varies from the trite, which
it is most often, to the imaginative. Antonella Lualdi and Ger-
ard Blain have the major roles and are attractive performers, but
the only unexpected twist in their bitter-sweet romance comes
at the end when it is the boy, rather than the girl, who dies.
Levity is furnished, sporadically, by Franco Fabrizi, a callow
gigolo who takes up with an aging, but wealthy, fraulein, and
by Yvonne Furneaux, the over-sexed, overly-romantic girl next
door. The brightest moments, however, feature Cristina Gaioni
and Spiros Focas in a satiric episode about a simple-minded
house maid who unwittingly becomes the rage of the art world
after she signs her name to her boyfriend's mediocre paintings.
None of the art critics will admit to being deceived by the
works, so the couple continues to prosper. Alex Nicol and
Claudio Gora, in minor roles, round out the cast.

Jillo Films. 93 minutes. Antonella Lualdi. Gerard Blain, Franco Fabrizi, Yvonne
Furneaux, Alex Nicol. Directed by Mario Camerini.

Film BULLETIN August 19, 1963 Page 19

"The Burning Court"

Poor dubbing hampers this weird, off-beat French hor-
ror film. Has some good shock effects.

One of the most inept jobs of dubbing in years destroys
much of the value of this otherwise interesting French import.
An off-beat horror story and plenty of shock surprises would
have made the stylish, bizarre film from famed French director
Julien Duvivier a good attraction for both the art and general
markets, if not for the poor English synchronization. The
Trans-Lux release suffers from such gimmicks as extending the
pronunciation of words or having the characters stammer. The
effect is often ridiculous and does disservice to Yvon Guezel's
atmospheric production. There are some chilling scenes in the
International UFA-Comaico co-production, and ironically, the
best are those without dialogue. A grotesque funeral, at which
the mourners waltz about an open casket, followed by an eerie
graveyard parade led by a brassy oompah band, jauntily tooting
"The Stars And Stripes Forever", show Duvivier's talents at
their best. Two taut and wildly contrasting murder scenes also
provide suspense. In one, presented surrealistically, the assassin
apparently vanishes through a wall, while in the other, the
victim is graphically and horrifyingly disposed of in a shallow
stream. For sheer edge-of-the-seat thrills, the opening scene, a
headling sportscar whirl through the Black Forest is hard to
beat. The screenplay by Duvivier and Charles Spaak, loosely
adapted from John Dickson Carr's celebrated novel, places an
odd assortment of characters in an old castle, waiting for an
ancient Marquise (Duvalles) to die. Somebody hastens his
demise with arsenic. Was it the nurse (Nadja Tiller), her lover
(Jean-Claude Brialy), the lover's wife (Perrette Pradier), or
the strange, perhaps insane, granddaughter (Edith Scob) of a
witch burned by the dead man's ancestors? After the funeral,
the corpse reappears and leads to an enigmatic ending.

Trans Lux. 102 minutes. Nadja Tiller, Jean-Claude Brialy, Perrette Pradier Pro-
duced by Yvon Guezel. Directed by Julien Duvivier.

"The Greenwich Village Story"

Interesting low-budget excursion among New York's
Village and its people. Story needs tightening.

The "hip" generation, successor to the "beat,' comes in for a sort
of self-analysis in this Greenwich Village adaptation of the
Italian naturalist style of filmmaking. It looms as a fair bet for
selective art theatres and, with judicious pruning, possibly
could be an asset as a lower-slot booking in metropolitan mar-
kets. It represents the maiden effort of writer-producer-director
Jack O'Connell, whose only previous film experience was as
an "observor" on the set of Fellini's "La Dolce Vita" and as
assistant director of Antonioni's "L'Aventurra." That he profited
by this training is evident in his use of the Village's abundant
resources. He has filmed in the streets, coffee houses, and decay-
ing tenements, and his stars are the residents themselves — the
folksingers and chess players of Washington Square, the fruit
vendors, revivalists, cafe crowds, sidewalk shoppers, and espe-
cially the troubled-looking young people who have come, often
from afar, to make the Village their home. It is only when
O'Connell tries to tell his story, a variation on "La Boheme,"
that he loses his grip on the Village and its people. It could
stand some sharp pruning. The leads, Robert Hogan and
Melinda Plank, young lovers — a writer and a ballerina — who
long for security and marriage but are unwilling to compromise
their devotion to their arts by taking on conventional responsi-
bilities, play with sincerity when not limited by trite dialogue.
Miss Plank is particularly effective in a touching encounter, just
after she has learned that she is pregnant, with a little girl who

wonders why she looks sad. Not wanting to trap her lover into
marriage, she does not tell him of her condition and dies after
a cheap "butcher's" abortion.

Shawn International. 95 minutes. Robert Hogan. Melinda Plank. Produced and
directed by Jack O'Connell.

"My Name is Ivan"

Attractively filmed Russian anti-war film for art spots.

This Soviet anti-war film won three major awards at the
Venice Film Festival, but there is little in the subtitled version
to attract U. S. audiences, except in special art houses. Russian-
speaking patrons and those familiar with Vladimir Bogomolov's
story "Ivan", from which Bogomolov and Mikhail Papava pre-
pared this screenplay, might find it a rewarding film. Direc-
tor of photography Vadin Yusov has achieved startling effects
in an episode envisioned from the bottom of a well and else-
where by the discreet use of shadows. Andrei Tarkovsky, whose
first directorial assignment this is, has elicited a beautiful per-
formance from Kolya Burlaiev, the 12 year old Ivan. The child,
after seeing his mother and sister killed by the Germans, enlists
as an intelligence scout in the Russian army. After each mission
the boy is sent beyond the lines to a village school where it is
hoped he can rid himself of his pent-up emotions. He is obsessed
both by idyllic reveries and by hellish visions of his family's
death. Seeking vengeance against those who destroyed his child-
hood he keeps returning, against orders, to the front lines. He
is finally given an assignment to penetrate the Pripet Marshes
and report on the strength, equipment, and movements of the
Nazi troops there. The child is captured and executed.

Mosfilm Production. 94 minutes. Kolya Burlaiev. Directed by Andrei Tarkovsky.

"Siege of The Saxons"

Su4i*ed4 TRatcKf O Plus

Juvenile adventure for the 12 year-old-and-under ele-
ment. Directed and played in comic book style.

"King Arthur's Daughter Meets Robin Hood" would be a
more apt title for this juvenile actioner. The absurd plot of the
Charles H. Schneer production, which Columbia is releasing,
dashes pell-mell in all directions, like an old serial, creating
obstacles for the noble-minded hero and his fair princess that
would make even Superman blanch. Mark it down as an item
for Saturday matinee bookings only. Jud Kinberg produced
and aho co-authored, with John Kohn, the screenplay, a comic
book adventure for the 12-year-olds, and under, and director
Nathan Juran proceeds headlong with the story, allowing no
room for character development or subtleties. Eastman color
idds scenic value to the low-budget production. Janette Scott
is an appealing and tomboyish princess. Ronald Lewis, bow
in hand, swings from the trees with the agility of a "veddy
British" Tarzan, while Ronald Howard is villainous enough to
hiss right off the screen. The dastardly Howard succeeds in
sending an arrow through good King Arthur's heart and
blaming the murder on renegade bowsman Lewis. To avoid
marrying Howard, Arthur's daughter (Miss Scott) joins Lewis
in his flight across England. Lewis is captured by Howard's
men, but escapes, only to learn that Miss Scott is now a pris-
oner. Back he goes, pitting himself against the whole Saxon
army. The couple escape and, after several more skirmishes,
reach Camelot where Howard is about to ascend to the throne.
Lewis demands that the usurper draw Arthur's sword, Excali-
bur, from its scabbard. He is unable to do so. Miss Scott, dis-
guised as a peasant boy, and looking about as regal as Oliver
guised as a peasant boy, withdraws the weapon from its shield
and takes her rightful place on the thronew ith Lewis her prince.

Columbia. 85 minutes. Janette Scott, Ronald Lewis. Produced by Jud Kinberg.
Directed by Nathan Juran.

Page 20 Film BULLETIN August 19, 1963

PAY TV SURVEY

Infrequent Users Chased by $15 Annual Fee

(Continued from Page 16)
old movies — was in step with the de-
fects expounded by dissident Subscribers
earlier. And it should be noted that the
interest in film entertainment appeared
substantially greater than interest in
sports among the ex-Subscriber element.

The 70% who stated they prefer to
go out for entertainment was composed
in part of some who wanted wider vari-
ety and others who referred to the in-
creased cost of Pay TV. A smaller group
admitted the equipment was removed
by Telemeter. A few cited flaws in the
mechanical performance of the meter
itself, several saying they lost coins be-
cause of technical difficulties. The qual-
ity of the tube picture was an issue to a
minor count.

While many respondents could not
disentangle price from programming in
accounting for their disenchantment
with Telemeter, programming, per se,
must be recognized as the primal cause
for a major part of the exodus. A strict
reading of the system's press agentry;
the expectation of an abundance of first
run movies, the staging of important
plays and special attractions,a greater
variety of sports events — these were
cited, in some cases chapter and verse,
by former patrons as causes for their
disillusionment.

This is borne out by the hegira of
numerous higher-bracket respondents.
Here critical discernment seems to have
played a role. Some stated they were
the medium's earliest champions, but
their anticipations were never met.

Among the middle income group
who cancelled the service, a substantial
number said they had no objection to
paying within reasonable limits, but
had difficulty in finding desirable at-
tractions. This group of Former Sub-
scribers, the so-called "infrequent"
user, appears in some ways to be less
a tightwad than imagined, more a dis-
criminating buyer who will pay for
the kind of entertainment he wants.
$ $ $

To what extent would the departed,
the Former Subscriber, return to the
fold? Would he even consider, and on
what grounds? Or is his position in-
tractable?

Former Subscribers were asked:

What Are Your Inten-
tions Regarding Pay TV?

The interviewers reported that the
initial, almost instinctive, response of
the great majority was an instant "never
again!" A total of 68% expressly re-
vealed further that their sentiment had
hardened into permanent abstention.

However, close to one-third of the
Former Subscribers offered some quali-
fying comments indicating a willing-
ness to reconsider their cancellations.
Of this group 16% stated that elimina-
tion of the fixed yearly charge would
lead them to reconsider, while 11%
said better programming (the familiar
call for more new movies, more sports,
better specials, etc.) might entice them
back into the Pay TV ranks. The bal-
ance simply hadn't thought about it.

Let it be noted here that in inter-
preting the interviewers' notes, Au-
dienscope reached the conclusion that
some of the 68% who voiced positive
rejection did so in the anger of dis-
appointment, and could be persuaded
to re-subscribe if proper inducements
were offered.

FORMER SUBSCRIBERS SAID:

"Too expensive. Used it little. We
like free TV better."

"Felt fooled. We expected better
programs, and the reception was bad.
Movies were older than expected."

"When the man from Telemeter
told us tthe rate was going up to $15
we told him to take it out. It wasn't
worth it for what we got."

"Programs were lousy. When they
raised the rate, we had it taken out.
There's nothing wrong with regular
TV."

"The programs were good the first
year or so, and then started to go
down. We felt bad about the collec-
tor getting so little money out of the
box."

"No used often enough. Liked the
hockey, nothing else. It wasn't worth
the extra money they wanted."

"Didn't spend $10 in a year and
it wasn't my fault. The programing
was no good for the price. The
theatre gives you color and wide
vision, and you see a new movie. You
can go downtown a few times and not
pay as much."

"Free TV offers enough. There are
six channels to get shows from. We
hardly spent any money on it, and
it cost $5 to install, then they wanted
$15 every year on top of it."

"The movies were too adult." From
a 35 year old respondent.)

NON-SUBSCRIBER
ATTITUDES

The largest segment of the Audien-
scope sample by far was the group
(58%) that had never taken Telemeter
into its home.

It was established that all but a
handful of this class had television sets,
and residing within wire transmission
range of the Pay TV service, could
have subscribed if they had so elected.

The question thus arose: Did any
statistically definable trend of an atti-
tudinal nature militate against metered
viewing ?

The answer is no. No single factor
may be held as most accountable for
abstinence. However, a range of several
leading response are worthy of examin-
ation.

To define Non-Subscriber attitudes
more precisely, Audienscope began by
searching for a basic reaction to the
broad principle of Pay TV. It was
hypothesized that, because of the wide
publicity attendant upon Telemeter's
selection of the Etobicoke community
as the test tube of a major experiment,
a certain awareness must exist. And
hence, that opinion had been formed
in most households there.

Accordingly, Non-Subscribers were
asked the academic question:

Do You Approve or
Oppose Pay TV?

Approve

23%

Oppose
45%

Undecided

32%

The Undecided answer proved the
awareness hypothesis not entirely valid,
since more than half of these respond-
ents professed a complete lack of know-
ledge, or at best, a fuzzy recollection
of hearing something about it, and as
such could not make a judgment. About
one out of three said they would like
to know more about it. The balance
were expressions of indifference or out-
right disinterest, but not opposition.
An informed few told of hearing of
certain difficulties in regard to the ex-
periment, but of not really knowing
( Continued on Puge 2 i )

Film BULLETIN August 19, 1 963 Page 21

Bttll9s~E,ye Circulation!

□

517

BANKERS & BROKERS

The Industry9s ""Money Men"

read

BULLETIN

GUARANTEE

(Zostcetttnated ^ww^e o£ t&z ^tc&e&t Tftovie 'Tftan.Act

Film Bulletin Reaches the Policy- Makers,
The Buyers, The Bookers of over 12,000 of
The Most Important Theatres in U.S. &) Canada!

PAY TV SURVEY

Many Satisfied with Free

(Continued from Page 21 )

enough to take sides for or against the

idea.

Those in opposition (45%) made
up a plurality of the gross sentiment
about Pay TV. Here was found a full
measure of awareness and a hardness
of opinion. The resistance to the pay
device was based chiefly on the ability
of free TV to satisfy their needs. The
typical interviewee rejoinder was: What
for? We have TV.

Beyond finding free TV adequate,
opposition ran to several other im-
portant lines. A notable number
thought all TV should be free, that it
costs enough to purchase a television
set, that "advertisers are supposed to
pay the cost of shows", and the idea
is basically unfair to the public, be-
cause, "when you buy a set you are
supposed to see all the programs that
are put on." A lesser heard opinion, but
one nonetheless repeated by a sur-
prising number, dealt with the fear that
Pay TV might threaten the existence of
free television.

It is interesting that 23% find Pay
TV a good idea, yet manage to do
without the service. This group was
canvassed for the reasons underlying
its position. Respondents were asked,
in effect:

Why Have You Not Subscribed?

Satisfied with Free TV 44%

Want more new movies 23%

Want more sports 20%

Dubious of cost factor 11%

Other reasons 2%

It was clear that even among those
who look upon the principle of Pay
TV approvingly, the adequacy of free
TV is decisive as a ground for non-
subscribing. The point of view is one

of tolerance toward a vehicle which
petitions acceptance. The feeling was:
it is fine for those who want it; we are
content with what we have.

It was also clear that a great portion
of the response was offered by those
who had had detailed conversations
with friends, neighbors and relatives
with Telemeter experience. These re-
spondents appeared intimate with var-
ious deficiencies which had come to
their attention. The significant expres-
sions "want more new movies," or
"want more sports," totaling 43% of
the overall vote, attests to an apparent
withholding of the meter service for
word-of-mouth reasons that seem to
have been well circulated in the Etobi-
coke test sector.

The cost factor as a deterrent (to
11%) may likewise be attributed to
word-of-mouth. However, cost is al-
ways implicit in references to specific
programming flaws. Subscriber candi-
dates, such as these, who believe the
medium offers less than promised, take
the clear position that an installation
is just not worth the expense.

How many Non-Subscribing "ap-
provers" might be expected to take
the Pay plunge? And on what terms?

They were asked:

What Are Your Inten-
tions Regarding Pay TV?

A shade under two-thirds felt certain
they would not subscribe. This segment
seems amply satisfied by free TV's
offerings. A number who appeared to
be interested if certain attractions were
more frequent, did not believe such
would be the case, based on what they
had heard from Subscribers.

However, 14% indicated positive

TV Fare

consideration if more shows not avail-
able on free TV were to be offered on
Pay TV, principally new motion pic-
tures and broader coverage of major
sports events.

At the same time, 10% said a re-
duction in the charges associated with
Telemeter would cause them to con-
sider a subscription.

NON-SUBSCRIBERS SAID:

"We're satisfied with free TV.
Others can have it if they want."

"Free TV is all right even with
the commercials. They are useful and
necessary. They pay for the shows,
and that's good enough for us.

"We don't think we need it. My
husband likes some of the sports on
Pay television, but sees them some-
times at a friend's house."

"If it wasn't so expensive, would
have gotten it for the hockey."

"Once you get it, you have the
temptation to spend too much on it."

"It's unfair to have to pay to see
something good. We can't afford it.
It's good for bachelors, career girls
who have money and time. Most
families with kids can't spend so
much on entertainment."

"If you're going to pay, you may
as well go out and see a movie. If
you want TV, you can watch free
TV."

"Was interested at first, but when
I heard the price was going up,
changed mind."

"Sounds like a very good idea for
certain shows. I don't know any-
thing about the rates."

"We were thinking about it, but
my father-in law said they promised
new movies but showed old ones."

"Don't know much about it but it
might be a very good thing. I'd like
to know more."

Showmen . . . HVhat Are You Doing ?

Send us your advertising, publicity and exploitation
campaigns — with photos — for inclusion in our

What the £fou>nteh fa briny!

Film BULLETIN August 19, 1963 Page 23

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

April

DAY OF THE TRIFFIDS. THE CinemaScope. Color.
Howard Keel, Nicole Maurey, Janette Scott, Keiron
Moore. Producer Philip Yordan. Director Steve Sekely.
Science-fiction thriller. 93 min. 5/13/43.

May

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Lauren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.
88 min. 5/13/63.

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
Producer David Deutsch. Director Michael Winner.
Musical, 74 min. 7/8/63.

June

55 DAYS AT PEKING Technirama, Technicolor.
Charlton Heston, David Niven, Ava Gardner, Flora
Robson, Harry Andrews, John Ireland. Producer Samuel
Bronston. Director Nicholas Ray. Story of the Boxer
uprising. 150 min. 4/29/63.

August

GUN HAWK, THE Rory Calhoun, Rod Cameron, Ruta
Lee, Rod Lauren. Producer Richard Bernstein. Direc-
tor Edward Ludwig. Outlaws govern peaceful town of
Sanctuary.

September

CRY OF BATTLE Van Heflin, Rita Moreno, James Mac-
Arthur. Producer Joe Steinberg. Director Irving Lerner.
Guerilla Warfare in the Phillipines at the start of World
War II.

SHOCK CORRIDOR (Formerly The Long Corridorl
Peter Breck, Constance Towers, Gene Evans, James
Best, Hari Rhodes. Producer-director Samuel Fuller. A
Leon Fromkess Production. A suspense drama. 101 min.
7/22/63.

November

GUNFIGHT AT COMANCHE CREEK Color. Cinema-
scope. Audie Murphy, Colleen Miller, Susan Seaforth.
Producer Ben Schwalb. Director Frank McDonald. Pri-
vate detective breaks up outlaw gang.

Coming

BOSTON STRANGLER, THE Victor Buono. Producers
Samuel Bischoff, David Diamond.

IRON KISS, THE Producer-director Samuel Fuller.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen, Tuesday Weld, Tony Bill, Tom Poston, Chris
Noel, Ed Nelson. Producer Martin Jurow. Director

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

April

FREE, WHITE AND 21 (Formerly Question of Consent)

Frederick O'Neal, Annalena Lund. Drama. 102 min.

OPERATION BIKINI (Formerly Seafighfers) Tab Hunter,
Frankie Avalon, Eva Six. Producer-director Anthony
Carras. War action drama. 84 min. 4/29/63.

May

MIND BENDERS, THE Dirk Bogarde, Mary Ure, John
Clement. Producer Michael Relph. Director Basil Dear-
den. Science fiction. 99 min. 4/15/63.

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama. 84 mm.

June

DEMENTIA ^13 (Filmgroupl William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK, THE CONQUEROR (Formerly Miracle of the
Viking). Color, CinemaScope. Cameron Mitchell,
Kessler Twins. Action drama. 90 min.

July

TERROR, THE (Filmgroup) Color, Vistascope. Boris Kar-
loff. Sandra Knight. Horror. 81 min.

August

BEACH PARTY Color, Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funicello.
Producer James H. Nicholson. Director William Asher.
Teenage comedy. 100 min. 7/22/63.

September

HAUNTED PALACE, THE Color, Panavision. Vincent
Price, Debra Paget, Lon Chaney. Edgar Allan Poe

classic.

SUMMER AFFAIR. A (Formerly Summer Holiday! Tech-
nicolor, Technirama. Cliff Richard, Lauri Peters. Teen-
age musical comedy. 100 min.

October

FLIGHT INTO FRIGHT (Formerly Schizo) Leticia
Roman, John Saxon. Producer-director Mario Dava. Sus-
pense horror.

"X"— THE MAN WITH THE X-RAY EYES Ray Milland,
Diana Van Der Vlis, John Hoyt, Don Rickles. Science
fiction. 80 min.

November

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester, Harvey
Lembeck. Horror comedy.

UNDER AGE Teenage drama.

December

GOLIATH & THE GLADIATORS Color. Scope. Mark
Forrest, Jose Greco, Erno Crisa.

GOLIATH AND THE VIRGINS OF BABYLON, (formerly
SAMSON AND THE SINS OF BABYLON) Color, Scope.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.

BLACK SABBATH Color. Boris Karloff, Mark Damon.
Horror.

COMEDY OF TERRORS. A Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff, Basil Rathbone, Joyce
Jameson. Horror, comedy.

DUNWICH HORROR Color. Panavision. Science Fiction.

GENGHIS KHAN 70mm roadshow.

MAGNIFICENT LEONARDO, THE Color, Cinemascope.
Ray Milland.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

MUSCLE BEACH Color, Panavision. Frankie Avalon,
Annette Funicello. Teenage musical.

PYRO Color. Barry Sullivan, Martha Myer. Suspense
melodrama.

RUMBLE Color. Frankie Avalon, Annette Funicello. Teen-
age drama.

TIARA TAHITI Color. James Mason, John Mills. Action.

WAR OF THE PLANETS Color. Science Fiction.

WHEN THE SLEEPER AWAKES Color. Vincent Price.
Producers Julian Wintle, Leslie Parkyn. H. G. Wells
classic.

June

SAVAGE SAM Brian Keith, Tommy_ Kirk, Kevin Cor-
coran. Marta Kristen. Dewev Martin. Jeff York. Pro-
ducer Walt Disney. Director Norman Tokar. Tale of the
pursuit of renegade Indians who kidnap two boys and
a girl. I 10 min. 6/10 /63.

July

SUMMER MAGIC Hayley Mills, Burl Ives, Dorothy Mc-
Guire, Deborah Walley, Peter Brown, Eddie Hodges.
Director James Neilson. Comedy musical. 109 min.
7/8/63.

October

20.0000 LEAGUES UNDER THE SEA Re-release.
FANTASIA Re-release.

April

MAN FROM THE DINER'S CLUB, THE Danny Kaye, Cara
Williams, Martha Hyer. Producer William Bloom. Di-
rector Frank Tashlin. Comedy. 96 min. 4/15/63.

May

FURY OF THE PAGANS Edmund Purdom, Rosanna
Podesta.

June

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical. 112 min. 4/15/63.

JASON AND THE ARGONAUTS (Formerly Th« Argo-
nauts). Color. Todd Armstrong, Nancy Kovak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic. 104 min. 6/10/63.

JUST FOR FUN Bobby Vee, The Crickets, Freddie
Cannon, Johnny Tillotson, Kerry Lester, The Tornadoes.
72 min.

July

13 FRIGHTENED GIRLS Murray Hamilton, Joyce Tay-
lor, Hugh Marlowe. Producer-director William Castle.
Mystery. 89 min.

August

GIDGET GOES TO ROME James Darren, Cindy Carol,
Jobv Baker. Producer Jerrv Bresler. Director Paul
Wendkos. Teenage romantic comedy. 101 min. 8/5/63.

September

IN THE FRENCH STYLE Jean Seberg. Producer Irwin
Shaw. Director Robert Parrish.

Coming

BEHOLD A PALE HORSE Gregory Peck, Anthony Quinn.

CARDINAL, THE Tom Tryon, Romy Schneider, Carol
Lynley, John Saxon. Producer-director Otto Preminger.

CONGO VIVO Jean Seberg, Gabriele Ferzetti.

DR STRANGE LOVE: OR HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers,
Sterling Hayden, George C. Scott, Keenan Wynn. Pro-
ducer-director Stanley Kubrick. Comedy.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins. Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

L-SHAPED ROOM, THE Leslie Caron, Tom Bell. Pro-
ducer James Woolf, Richard Attenborough. Director
Bryan Forbes. Drama. 125 min. 7/22/63.

MANIAC Kerwin Mathews, Nadia Gray.

OLD DARK HOUSE, THE Tom Poston, Joyce Greenfell.

RUNNING MAN. THE Laurence Harvey, Lee Remick.

SWINGIN' MAIDEN, THE (Formerly The Iron Maiden)
Michael Craig, Anne Helm, Jeff Donnell.

UNDER THE YUM YUM TREE Jack Lemmon, Carol Lyn-
ley.

VICTORS, THE Vincent Edwards, Melina Mercouri,
Jeanne Moreau, Romy Schneider. Producer-director
Carl Forman.

March

BALCONY, THE Shelley Winters, Peter Falk. Producers
Joseph Strick, Ben Maddow. Director Strick. Unusual
version of Genet's fantasy play. 85 min. 4/1/63.

April

WRONG ARM OF THE LAW, THE Peter Sellers.
Lionel Jeffries. Sellers uses Scotland Yard in pulling off
the laugh crime of the century. 91 min.

June

DAVID AND LISA Keir Dullea, Janet Margolin, How-
ard Da Silva. Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed young-
sters. 94 min. 1/7/63.

Film BULLETIN — THIS IS YOUR PRODUCT

AUGUST SUMMARY

An early review of the September
release chart shows a total of 15 films
available for the month. M-G-M, War-
ner Brothers, Embassy, Allied Artists
and American International each have
two listings. Five companies — 20th-
Fox, United Artists, Universal, Colum-
bia and Continental — list one film for
the month. Neither Buena Vista nor
Paramount have any new product for
the month to date.

YOUR SHADOW IS MINE Jill Haworth, Michael Ruhl.
A European girl, raised by an Indo-Chinese family, has
to choose between her native sweetheart and the
society of her own people. 90 min.

July

THIS SPORTING LIFE Richard Harris, Rachel Roberts.
Producer Karel Reisi. Director Lindsay Anderson. Dra-
ma. 129 min. 7/22/43.

August

LORD OF THE FLIES Director Peter Brooks. Dramatiza-
tion of William Golden's best selling novel. 90 min.
NEVER LET GO Richard Todd, Peter Sellers, Elizabeth
Sellers. Producer Peter de Sarigny. Director John
Guillevmin. Crime melodrama. 90 min. A/24/63.

September

HANDS OF ORLAC, THE Mel Ferrer, Christopher Lee,
Dany Carrel, Lucille Saint Simon. Producers Steven
Pallos, Donald Taylor. Director Edmond Greville.
Mystery. 86 min.

Coming

MEDITERRANEAN HOLIDAY 70 mm color. Travelogue
narrated by Burl Ives.

April

BLUEBEARD (Formerly Landru) Charles Denner, Mi-
chele Morgan, Danielle Darrieux. Producers Carlo
Ponti, Georges de Beauregard, Director Claude Cha-
brol. Tongue-in-cheek drama of the infamous ladykiller.
1 14 min. 4/16/63.

LAW, THE Marcello Mastroianni, Melina Mercouri, Yves
Montand, Gina Lollobrigida. Producer, Jacques Bar.
Director, Jules Dassin. Romantic drama. 114 min.

May

BEAR, THE (English-dubbed I Renato Rascel, Francis
Blanche, Gocha.

July

FREDERICO FELLINI'S "8V2" Marcello Mastroianni,
Claudia Cardinale, Anouk Aimee, Sandra Milo. Pro-
ducer Angelo Rizzoli. Director Federico Fellini. Drama.
135 min. 7/8/63.

GENTLE ART OF MURDER, THE (Formerly Crime Does
Not Pay) Edwige Feuillere, Michele Morgan, Pierre
Brasseur, Richard Todd, Danielle Darrieux. Director
Gerard Oury. Drama. 159 min.

LIGHT FANTASTIC Dolores McDougal, Barry Bartle.
Producer Robert Gaffney. Director Robert McCarty.
Drama.

PASSIONATE THIEF THE Anna Magnani, Ben Gazzara,
Toto. Producer Silvio Clementelli. Director Mario
Monicelli. Comedy. 95 min.

WOMEN OF THE WORLD Technicolor. Narrated by
Peter Ustinov. Director Gualtiero Jacopetti. Women as
they are in every part of the world. 107 min. 7/8/63.

August

ONLY ONE NEW YORK Director Pierre-Dominique
Gaisseau. Documentary.

September

CONJUGAL BED, THE (Formerly Queen Bee) Marina
Vlady, Ugo Tognazzi. Director Marco Ferreri. Comedy
drama.

THREEPENNY OPERA Sammy Davis, Jr., Curt Jurgens,
Hildegarde Neff. Director Wolfgang Staudte. Screen
version of Bertolt Brecht and Kurt Weill classic.

Current Releases

ARMS AMD THE MAN ICasino Films) Lilo Pulver,
O. W. Fischer, Ellen Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
96 min.

BERNADETTE OF LOURDES (Janus Films) Daniele Ajoret
Nadine Alari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY. THE ILopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLACK FOX, THE (Capri Films) Produced, directed
and written by Louis Clyde Stoumen. 89 min. 4/29/63.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 68 min.

BLOODY BROOD, THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR. A I Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

CLEOPATRA'S DAUGHTER (Medallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

DANGEROUS CHARTER Technicolor. Panavision Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

DAY THE SKY EXPLODED, THE (Excelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR, THE (Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL MADE A WOMAN, THE (Medallion) Color, To-
talscope. Sarita Montiel. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE (Ultra Picturesl Anthony Quinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

FEAR NO MORE ISutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS (Crown International)
Technicolor, Totalvision. Yoko Tani, Oldrick Lukes. 81
min.

FIVE DAY LOVER, THE IKinqsley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FORCE OF IMPULSE ISutton Pictures) Tony Anthony,
J. Carrol Nash, Robert Alda, Jeff Donned, Lionel
Hampton. 82 min.

GIRL HUNTERS, THE IColorama). Mickey Spillane,
Shirley Eaton, Lloyd Nolan. Producer Robert Fellows.
Director Roy Rowland. Mickey Spillane mystery. 103
min. 6/10/63.

HAND IN THE TRAP lAngel Films) Elsa Daniel, Fran-
cisco Rabal. Director Leopoldo Torre Nilsson. Horror.
90 min. 7/22/63.

HEAD, THE ITrans-Lux) Horst Frank, Michael Simon.
Director Victor Trivas. Horror. 95 mm. 7/8/63.

HORROR HOTEL (Trans-Lux) Denis Lotis, Christopher
Lee, Betta St. John, Patricia Jessel. Producer Donald
Taylor. Director John Moxey. 76 min. 7/8/63.

IMPORTANT MAN, THE (Lopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

LAFAYETTE IMaco Film Corp.) Jack Hawkins, Orson
Welles, Vittorio De Sica. Producer Maurice Jacquin.
Director Jean Oreville. 110 min. 4/1/63.

LA NOTTE BRAVA IMi'ler Producing Co.) Elsa Mar-
tinelll. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LAST OF THE VIKINGS I Medallion) Color, Totalscope.
Cameron Mitchell. Edmond Purdom. 102 min.

LAZARILLO (Union Films) Marco PaolettI, Juan Jose
Menendez. An Hesperia Films Production. Director
Cesar Ardavin. Tale of a 12-year-old rogue-hero's
efforts to survive in 16th century Spain. 100 min.
5/13/63.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

MAGNIFICIENT SINNER (Film-Mart, Inc.) Romy
Schneider, Curt Jergens. Director Robert Siodmak. 91
min. 4/29/63.

MARRIAGE OF FIGARO, THE (Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin. Director Jean Meyer. French import.
105 min. 2/18/63.

MONDO CANE (Times Filml Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/63.

MOUSE ON THE MOON. THE Eastmancolor ILopert
Pictures) Margaret Rutherford, Bernard Cribbins. Terry
Thomas. Satirical comedy. 84 min. 6/24/63.
MY HOBO ITohol Keiji Kobayashi, Hideko Takamine.
Producer Tokyo Eiga Company. Director Zenzo Matsu-
yama. 98 min. 8/5/63.

NIGHT OF EVIL ISutton) Lisa Gaye, Bill Campbell.
88 min.

NO EXIT IZenith-lnternational) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.

ORDERED TO LOVE (M. C. Distributor Release) Maria
Perschy. Producer Wolf Brauner. Director Werner
Klinger. Drama. 82 min. 7/22/63.

PARADISE ALLEY ISutton) Hugo Haas. Corinne Griffith.
PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
115 min.

RAIDERS OF LEYTE GULF (Hemisphere Pictures) Mich-
ael Parsons, Leopold Salcedo, Jennings Sturgeon. Pro-
ducer-director Eddie Romero. War melodrama. 80 min.
7/22/63.

ROMMEL'S TREASURE I Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

SLIMfc PEOPLE, THE I Hutton-Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

SON OF SAMSON (Medallion) Color, Totalscope. Mark
Forest, Chelo Alonso. 89 min.

STAKEOUT Bing Russell. Bill Hale, Eve Brent. 81 min.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THREE FABLES OF LOVE (Janus) Leslie Caron, Ros-
sano Brazi, Monica Vitti, Sylva Koscina, Charles
Aznavour, Jean Poiret, Michel Serrault, Ann Karina.
Producer Gilbert de Goldschmidt. Director Alessandro
Blasetti, Heave Bromberger, Rene Clair. 8/5/63.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Victoria) Narration by Thomas
L. Row and Pauline Girard. Producer-director Marion
Gering. 67 min. 7/8/63.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FOR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

M ETRO-GO LP WYN -MAYER

March

COURTSHIP OF EDDIE'S FATHER, THE Glenn Ford,
Shirley Jones. Producer Joe Pasternak. Director Vin-

cente Minnelli. Romantic comedy revolving about a
young widower and his small son. 117 min. 3/18/63.

FOLLOW THE BOYS Paula Prentiss, Connie Francis, Ron
Randell, Russ Tamblyn, Janis Paiqe. Producer Lawrence
P. Bachmann. Director Richard Thorpe. Romantic com-
edy. 95 min. 3/4/63.

SEVEN SEAS TO CALAIS Rod Taylor, Hedy Vessel,
Irene Worth. Producer Paolo Moffa. Director Rudy
Mate. Based on the life of Sir Francis Drake. 95 min.
3/18/63.

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatole de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.
109 min. 5/13/63.

IT HAPPENED AT THE WORLD'S FAIR Panavision.
Color. Elvis Presley. Producer Ted Richmond. Director
Norman Taurog. Romantic comedy. 105 min. 5/13/63.

RIFIFI IN TOKYO Karl Boehm, Barbara Lass, Charles
Vanel. Producer Jacques Bar. Director Jacques Deray.
Drama of a foreign gang plotting a bank vault rob-
bery in Tokyo. 89 min. 4/1/63.

May

DIME WITH A HALO Barbara Luna. Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris
Sagal. Race track comedy. 94 min. 4/1/63.

DRUMS OF AFRICA Frankie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.
92 min. 4/29/63.

IN THE COOL OF THE DAY CinemaScope. Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz. 90 min. 5/13/63.

SLAVE, THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites the slaves to
revolt against the Romans.

June

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West. 89 min.

Film BULLETIN — THIS IS YOUR PRODUCT

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.

90 min.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small

European circus. 85 min. 6/24/63.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GrifffTh. Pro-
ducer Aaron Rosenberg. Director Lewis Milestone.
Sea-adventure drama based on trlology by Charles

Noroff and James Norman Hall. 179 min. 11/12/63.

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode. Producer Sy Weintraub. Director Robert Day.
Day. Adventure. 92 min. 7/8/63.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendarii,

Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy. 85 min. 6/24/63.

DAY AND THE HOUR, THE I Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

TICKLISH AFFAIR, A I Formerly Moon Walk) Shirley

Jones, Gig Young. Producer Joe Pasternak. Director
George Sidney. Romantic comedy based on a story in
the Ladies Home Journal. 87 min. 7/8/63.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

August

HOOTENANNY HOOT Brothers Four, Sheb Wooley,
Johnny Cash.

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy. 84 min.
5/13/63.

September

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

V.I.P.s, The Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama.

October

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

TIKO AND THE SHARK Producer Goffredo Lombardo.
Director F. Ouilici. Filmed entirely in French Poly-
nesia with a Tahitian cast.

TWILIGHT OF HONOR Richard Chamberlain, Nick
Adams, Joan Blackman, Joey Heatherton. A Pearlberg-
Seaton Production. Director Boris Sagal. A young
lawyer falls victim to the bigoted wrath of a small
town when he defends a man accused of murdering
the town's leading citizen.

November

GLADIATORS SEVEN Richard Harrison, Loredana Nus-

ciak. Producers Cleo Fontini, Italo Zingarelli. Director
Pedro Lazaga. Seven gladiators aid in overthrowing
a tyrant of ancient Sparta.

MGM'S BIG PARADE OF COMEDY Great stars of the
past.

WHEELER DEALERS. THE James Garner, Lee Remick.
Producer Martin Ransohoff. Director Arthur Hiller.
Story of a Texan who takes Wall Street r-v storm.

December

THE PRIZE Paul Newman, Edward G. Robinson, Elke
Sommer. Producer Pandro Berman. Director ' Mark
Robson. Based on the Irving Wallace bestseller.

January

SUNDAY IN NEW YORK (MGM-Seven Arts) Cliff
Robertson, Jane Fonda, Rod Taylor. Producer Everett
Freeman. Director Peter Tewksbury. The eternal ques-
tion: should a qirl or shouldn't she, prior to the
nuptials?

Coming

CORRIDORS OF BLOOD Boris Karloff, Betta St. John,
Finlay Currie. Producer John Croydon. Director Robert
Day. Drama. 84 min. 6/10/63.

COUNTERFEITERS OF PARIS Jean Gabin, Martine
Carol. Producer Jacques Bar. Director Gilles Grangier.
99 min.

FOUR DAYS OF NAPLES. THE Jean Sorel, Lea Messari,
Producer Goffredo Lombardo. Director Nanni Loy.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HOW THE WEST WAS WON Cinerama. Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/63.

MURDER AT THE GALLOP Margaret Rutherford, Flora
Robson. Producer George Brown. Director George Pol-
lock. Agatha Christie mystery. 81 min. 7/22/63.

OF HUMAN BONDAGE (MGM-Seven Arts) Laurence
Harvey, Kim Novak. Producer James Woolf. Director
Henry Hathaway. Film version of classic novel.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

WEREWOLF IN A GIRL'S DORMITORY Barbara Lass,
Carl Schell. Producer Jack Forrest. Director Richard
Benson. Horror show. 84 min. 6/10/63.

WEBSUSEEESJB

March

PAPA'S DELICATE CONDITION Color. Jackie Gleason,
Glynis Johns. Producer Jack Rose. Director George
Marshall. Comedy-drama based on childhood of silent
screen star Corinne Griffith. 98 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cliff
Robertson, David Jannsen. Producer Garet Gaither.

Director Gower Champion. Broadway star adopts six
abandoned children. 105 min. 3/18/63.

May

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director Ritt.
Drama set in modern Texas. 122 min. 3/4/63.

June

DUEL OF THE TITANS CinemaScope, Eastman color.
Steve Reeves, Gordon ScoH. Producer Alessandro
Jacovoni. Director Sergio Corbucci. The story of
Romulus and Remus, the twin brothers who founded
the city of Rome.

NUTTY PROFESSOR, THE Technicolor. Jerry Lewis,
Stella Stevens. Producer Ernest D. Glucksman. Direc-
tor Jerry Lewis. A professor discovers a youth-
restoring secret formula. 105 min. 6/10/63.

July

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in

the South Pacific. 108 min. 8/5/63.

August

COME BLOW YOUR HORN Technicolor. Frank Sinatra,
Barbara Ruth, Lee J. Cobb. Producer Howard Koch. Di-
rector Bud Yorkin. A confirmed bachelor introduces his
young brother to the playboy's world. 112 min.
6/24/63.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmons,
Pat Hingle. Producer David Susskind. Director Alex
Segol. Film version of play and novel.

BECKET Technicolor. Richard Burton, Peter O'Toole.
Producer Hal B. Wallis. Director Peter Glenville. Film
version of Jean Anouilh's play.

CARPETBAGGERS, THE Technicolor. Panavision 70.
George Peppard. Producer Joseph E. Levine. Director
Edward Dmytryk. Drama based on the best-seller by
Harold Robbins.

FUN IN ACAPULCO Technicolor. Elvis Presley, Ur-
sula Andress. Producer Hal B. Wallis. Director Rich-
ard Thorpe. Musical-comedy.

LADY IN A CAGE Olivia de Havilland, Ann Southern.
Producer Luther Davis. Director Walter Grauman.
Drama.

LOVE WITH THE PROPER STRANGER Natalie Wood,
Steve McQueen. Producer Alan J. Pakula. Director
Robert Mulligan. A young musician falls in love with
a Macy's sales clerk.

NEW KIND OF LOVE, A Technicolor. Paul Newman,
Joanne Woodward, Thelma Ritter, Maurice Chevalier.
Producer-director Melville Shavelson. Romantic drama.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Douglas,
Fredric March. Producer Edward Lewis. Director John
Frankenheimer. A Marine colonel uncovers a military
plot to seize control of the U.S. government.

WHO'S BEEN SLEEPING IN MY BED? Panavision,
Technicolor. Dean Martin, Elizabeth Montgomery, Carol
Burnett. Producer Jack Rose. Director Daniel Mann.
Comedy.

WHO'S MINDING THE STORE? Technicolor. Jerry
Lewis, Jill St. John, Agnes Moorehead. Producer Paul
Jones. Director Frank Tashlin. Comedy.

WIVES AND LOVERS Janet Leigh, Van Johnson, Shelley
Winters, Martha Hyer. Producer Hal B. Wallis. Direc-
tor John Rich. Romantic comedy.

20TH CENTURY-FOX

March

HOUSE OF THE DAMNED CinemaScope. Ronald Foster,
Merry Anders. Producer-Director Maury Dexter. Archi-
tect inspects haunted house and runs across circus of
freaks. 62 min.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

April

NINE HOURS TO RAMA CinemaScope, DeLuxe Cokr.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63.

May

YELLOW CANARY. THE CinemaScope. Pat Boone, Bar-
bara Eden. Producer Maury Dexter. Director Buzz Kulik.
Suspense drama. 93 min. 4/15/63.

June

STRIPPER, THE (Formerly A Woman in July) Cinema-
Scope. Joanne Woodward, Richard Beymer, Gypsy Rose
Lee, Claire Trevor. Producer Jerry Wald. Director
Franklin Schaffner. Unsuccessful actress seeks happi-
ness. 95 min. 4/29/63.

July

LONGEST DAY, THE CinemaScope. John Wayne. Rich-
ard Todd, Peter Lawford, Robert Wagner, Tommy
Sands, Fabian, Paul Anka, Curt Jurgens, Red Buttons,
Irina Demich, Robert Mitchum, Jeffrey Hunter, Eddie
Albert, Ray Danton, Henry Fonda, Edmond O'Brien,
Robert Ryan. Producer Darryl Zanuck. Directors Gerd
Oswald, Andrew Marton, Elmo Williams, Bernhard
Wicki, Ken Annakin. 180 min.

August

LASSIE'S GREAT ADVENTURE DeLuxe Color. June Lock-
hart, Jon Provost. Producer Robert A. Golden. Director
William Beaudine. Lassie and his master get lost in
Canadian Rockies. 103 min.

OF LOVE AND DESIRE DeLuxe Color. Merle Oberon,
Steve Cochran, Curt Jurgens. Producer Victor Stoloff.
Director Richard Bush. Brother tries to break up sister's
romance. 97 min.

September

CONDEMNED OF ALTONA, THE CinemaScope. Sophia
Loren, Maximilian Schell, Fredric March, Robert Wag-
ner. Producer Carlo Ponti. Director Vittorio De Sica.
Adapted from Jean-Paul Sartre's stage success.

A FAREWELL TO ARMS. Re-release.

October

THE LEOPARD CinemaScope, DeLuxe Color. Burt Lan-
caster, Alain Delon, Claudia Cardinale. Producer Gof-
fredo Lombardo. Director Luchino Visconti. Based on
famous best-seller detailing disintegration of Italian
nobility.

THUNDER ISLAND Cinemascope. Gene Nelson. Fay
Spain. Producer-director Jack Leewood. 65 min.

MARILYN CinemaScope, DeLuxe Color. Screen clips
from Marilyn Monroe's films with narration by Rock
Hudson. 83 min.

November

TAKE HER, SHE'S MINE CinemaScope, DeLuxe Color.
James Stewart, Sandra Dee. Producer-Director Henry
Koster. Daughter's escapades at college cause comic
disturbance to father.

December

HARBOR LIGHTS CinemaScope. Kent Taylor, Jeff Mor-
row. Producer-Director Maury Dexter. Thieves commit
murder for possession of fabulous diamond. 68 min.
8/5/63.

Coming

CLEOPATRA Todd-AO Color. Elizabeth Taylor, Richard

Burton, Rex Harrison. Producer Walter Wanger.
Director Joseph Mankiewicz. Story of famous queen.
221 min. 6/24/63.

MOVE OVER, DARLING CinemaScope, DeLuxe Color.
Doris Day, James Garner, Polly Bergen. Producers
Aaron Rosenberg, Martin Melecher. Director Michael
Gordon. Romantic comedy.

QUEEN'S GUARDS, THE CinemaScope, DeLuxe Color.
Daniel Massey, Raymond Massey, Robert Stephens.
Producer-Director Michael Powelr. A tale of the
tradition and importance of being a Guard.

UNITED ARTISTS

March

FIVE MILES TO MIDNIGHT Sophia Loren, Anthony
Perkins, Gig Young, Jean-Pierre Aumont. Producer-
director Anatole Litvak. Suspense drama about an
American in Europe who schemes to defraud an insur-
ance company. 110 min. 3/4/63.

Film BULLETIN — THIS IS YOUR PRODUCT

LOVE S A BALL Technicolor, Panavision. Glenn Ford
Hope Lange, Charles Boyer. Producer Martin H Poll'
Director David Swift. Romantic comedy of the interna-
tional set. 1 1 1 min. 3/4/63

May

April

I COULD GO ON SINGING Eastmancolor, Panavision.
Judy Garland, Dick Bogarde, Jack Klugman. Producers
Stuart Millar, Lawrence Turman. Director Ronald
m?nam3/l8/43y retUr"S 3 dramatic sin9in9 role. 99

May

DR' *JO Technicolor. Sean Connery, Ursula Andres*
Joseph Wiseman, Jack Lord. Producers Harry Saltz-
man, Albert R. Broccoli. Director Terence Young. Action
3/f 8/63 °" "OVel bv la" Flem!n9- 111 rnln.

June

AMAZONS OF ROME Louis Jourdan. Sylvia Syms.
BUDDHA Technicolor, Technirama. Kojiro, Hongo
Chanto Sol.s. Producer Masaichi Nagata. Director
Kenii M.sumi. Drama dealing with the life of one of
7/22/63 ' m°St mfluential religious leaders. 134 min.

CALL ME BWANA Bob Hope, Anita Ekberg, Edie
Adams. Producers Albert R. Broccoli, Harrv Saltzman
Director Gordon Douglas. Comedy. 103 min. 6/10/63.

°Fd Au MArDMAN Vincent Price, Nancy Kovak
Producer Robert E. Kent. Director Reginald Le Borg
Horror mystery of a man possessed by a horla. 96 min.

July

GREAT ESCAPE, THE Deluxe Color. Panavision. Steve
McQueen, James Garner, Richard Attenborough Pro-
ducer-director John Sturaes. Based on true prisoner of
war escape. 168 min. 4/15/63.

IRMA LA DOUCE Technicolor, Panavision. Jack Lem-
mon, Shirley Madame. Producer-director Billy Wilder
Comedy about the '.'poules" of Paris, from the hit
Broadway play. 142 mm. 6/10/63.

August

CARETAKERS THE Robert Stack Poll* R.rgen Joan
Crawford. Producer-director Hall Bartlett. Drama
dealing with group therapy in a mental institution 97
mm ,

TOYS IN THE ATTIC Panavision. Dean Martin. Geral-
dine Page, Yvette Mimieux. Gene Tierney. Producer
Walter Mirisch. Director George Roy Hill. Screen
version of Broadway play. 90 min. 7/8/63

September

LILIES OF THE F ELD Sidney Poitier, Litia Skala. Pro-
ducer-director Ralph Nelson. Story of ex-GI and Ger-
man refugee nuns who build a chapel in Hie Arizona
desert. 94 mm.

October

P?nHNNV0?L tif.?,rV Sllva' Elizabeth Montgomery.
Producer-d, rector William Asher. Chrislaw Productions
i u I mm.

JhildE^°MD TA.L!S C2'°:- V'ncent Price' Mar' Blan-
chard. Producer Robert E. Kent. Director Sidney Salkow
Based on famous stories of Nathaniel Hawthrone. 119

November

TTerShnA MAD< MAD' TMAD' MAD WORLD. Cinerama.
Technicolor Spencer Tracy, Milton Berle, Sid Caesar

ihawn Hphi|kevi EfHelT MerTuan' MIckev RooneV. Dick
i„Z ' 5- Silvers, Terry-Thomas. Jonathan Winters
Producer-director Stanley Kramer. Spectacular comedy.
MCLINTOCK! Color. John Wayne, Maureen O'Hara
Yvonne De Carlo, Patrick Wayne Chill Wills Jack

V.rUMcLanglenr°dUCer MiCHae' W'yn«- *™tT Andrew

December

KING OF THE SUN Color. Yul Brynner, George Cha-

s0r„'S-APM-U-Ce[ ^ewis RachmiL Erector J. Lee Thomp-
son. A Mirisch Company Presentation.

Co "7 ins

frtRW ?LNYt Laurence Harvey, Sarah Miles, Rob-

ert Walker, John Ireland. Producer-director Laurence
Harvey .

March

TO KILL A MOCKINGBIRD Gregory Peck, Mary Bad-
ham. Producer Alan Pakula. Director Robert Mulligan
Based on Harper Lee's novel. 129 min. 1/7/63.

April

BIRDS, THE Technicolor Rod Taylor, Jessica Tandy
Suzanne Pleshette, Tippi Hedren. Producer-Director All
»?7v .»™,ci; Suspense drama. 120 min. 4/1/63.
UGLY AMERICAN. THE Color. Marlon Brando, Sandra
Church Yee Tak Yip. Producer-Director George Eng-
4/15/63 rama 0n D<»t-selling novel. 120 min.

PARANOIC Janette Scott, Oliver Reed, Sheilah Burrell.
Producer Anthony Hinds. Director Freddie Francis.
Horror. 80 min. 4/15/63.

SHOWDOWN I Formerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen. Western. 79 min. 4/15/63.

June

LANCELOT AND GUINEVERE Technicolor. Panavision.
Cornel Wilde, Jean Wallace, Brian Aherne. Producers
Cornel Wilde, Bernard Luber. Director Wilde. Legend-
ary tale of love and betrayal. 115 min. 5/13/63.

LIST OF ADRIAN MESSENGER, THE George C. Scott,
Dana Wynter, Clive Brook, Herbert Marshall. Producer
Edward Lewis. Director John Huston. Mystery. 98
min. 6/10/63.

TAMMY AND THE DOCTOR Color. Sandra Dee, Peter
Fonda, Macdonaid Carey. Producer Ross Hunter. Direc-
tor Harry Keller. Romantic comedy. 88 min. 5/13/63.

July

GATHERING OF EAGLES, A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann. 116 min.

KING KONG VS. GODZILLA Color. Michael Keith,
Harry Holcomb, James Yagi. Producer John Beck.
Director Thomas Montgomery. Thriller. 91 min. 6/10/63.

August

SECRET PASSION (Formerly Freud) Montgomery Clift,
Susannah York. 120 min.

THRILL OF IT ALL. THE Color. Doris Day, James Gar-
ner, Arlene Francis. Producers Ross Hunter, Martin

Melecher. Director Norman Jewison. Romantic comedy.
108 min. 6/10/63.

TRAITORS. THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson. 71 min.

September

KISS OF THE VAMPIRE Eastman Color. Clifford Evans,
Jennifer Daniels. Edward De Souza. Producer Anthony
Hinds. Director Don Sharpe. 88 min. 8/5/63.

October

FOR LOVE OR MONEY (Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon. 108
min. 8/5/63.

Comins

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN, M.D. Gregory Peck, Tony Curtis,
Angie Dickinson, Bobby Darin, Eddie Albert. Producer
Robert Arthur. Director David Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Haylev Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

CHARADE Technicolor, Panavision. Cary Grant, Audrey
Hepburn, Walter Matthau, James Coburn. Producer-
Director Stanley Donen.

DARK PURPOSE Color. Shirley Jones, Rossano Brazzi,
George Sanders, Micheline Presle, Georgia Moll. Pro-
ducer Steve Barclay. Director George Marshall.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven, Shirley Jones. Producer Stanley Shapiro]
Director Ralph Levy.

MAN'S FAVORITE SPORT Color. Rock Hudson, Paula
Prentiss, Maria Perschy. Producer-director Howard
Hawks.

WILD AND WONDERFUL (Formerly Monsieur Cognac)
Color. Tony Curtis. Christine Kaufman, Larry Storch.
Producer Harold Hecht. Director Michael Anderson.

WARNER BROTHERS

GIANT Re-release.

March

A pril

CRITIC'S CHOICE Technicolor, Panavision. Bob Hope,
Lucille Ball. Producer Frank P. Rosenberg. Director
Don Weis. From Ira Levin's Broadway comedy hit.
100 min. 4/1/63.

May

AUNTIE MAME Re-release.

ISLAND OF LOVE I Formerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece. 101 min. 5/13/63.
SUMMER PLACE, A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family. 119 min. 3/4/63.

September

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama. 112 min.

October

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Director Phil Karlson. Adventure
drama. 98 min.

November

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens, Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis GiaMelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

DEAD RINGER Bette Davis, Karl Maiden. Producer
William H. Wright. Director Paul Henreid. Miss Davis
plays a dual role of twin sisters in this shocker.

DISTANT TRUMPET, A Technicolor. Panavision. Troy
Donahue, Suzanne Pleshette. Producer William H.
Wright. Director Raoul Walsh. Epic adventure of
Southwest.

ENSIGN PU'VER (formerly Mister Pulver and the
Captain) Technicolor. Robert Walker, Burl Ives. Pro-
ducer-director Joshua Logan. Comedy sequel to "Mis-
ter Roberts".

FBI CODE 98 Jack Kelly, Ray Denton. Producer Stanley
Niss. Director Leslie H. Martinson. Dramatic action
story.

4 FOR TEXAS Technicolor. Frank Sinatra, Dean
Mertin, Anita Ekberg, Ursula Andress. Producer-direc-
tor Robert Aldrich. Big-scale western with big star
cast.

GREAT RACE, THE Technicolor. Burt Lancaster, Jack
Lemmon. Producer Martin Jurow. Director Blake Ed-
wards. Story of greatest around-the-world automobile
race of all time.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

KISSES FOR MY PRESIDENT Fred MacMurray, Polly
Bergen. Producer-director Curtis Bernhardt. Original
comedy by Robert G. Kane.

LONG FLIGHT, THE Spencer Tracy James Stewart,
Richard Widmark, Carroll Baker, Jeffrey Hunter. Pro-
ducer Bernard Smith. Director John Ford. Super-adven-
ture drama of struggle by 300 Indians against U.S.
Army.

OUT OF TOWNERS, THE Color. Glenn Ford, Geraldine
Page. Producer Martin Manulis. Director Delbert
Mann. Comedy-drama about a small-town "postmis-
tress".

ROBIN AND THE 7 HOODS Technicolor-Panavision.
Frank Sinatra, Dean Martin, Sammy Davis Jr., Joey
Bishop. Producer Gene Kelly. Director Gordon Douglas.
Based on adventures of Robin Hood set against back-
ground of Chicago in the "roaring 20's.1'

YOUNGELOOD HAWKE Suzanne Pleshette, James Fran-
ciscus. Producer-director Delmer Daves. From Herman
Wouk's best-selling novel.

DEPENDABLE SERVICE!

CLARK
TRANSFER

Member National Film Carriers

New York, N. Y: .Circle 6-08IS
Philadelphia, Pa.: CEnter 2-3100
Washington, D. C: DUpont 7-7200

Film

BULLETIN — THIS IS YOUR PRODUCT

34th Annual Convention
of Motion Picture Theatre Owners

October 21-22-23-24, 1963
THP AMERICANA HOTEL NEW YORK CITY

FROM: Irving Bollinger* 50: Jack Armstrong, 'President

Convention Chairman Allied States Associatioa

This year, we're giving special attention to the ladies.-

An exciting function will be "a Preview of the World's Pair front 1
the "Top Of The Pair," a glass-enclosed restaurant on top of the.
Port Authority Building, highest point at the Pair. Hostesses
will be Barkerettes of the New York Variety Club and our distaff
conventioneers will get a behind-the-scenes glimpse of the Pair
as it nears completion. Weather permitting, some lucky ladie3
will fly to the "Top Of The Fair" by helicopter from the heart
of New York City, along with show business stars. We have many
other thrilling plans .for this affair, including prizes and sur-
prises .

We have also arranged a luncheon for the women in the Delegates*
Dining Room of the United Nations. The group will then be es-
corted to a U.N. conference room, where they will be addressed by
a world-famous statesmzn. Guides will then take them on tour,
after which tickets to official U.N. meetings will be set aside
for those who wish to attend these important sessions.

There is much more to come. We are proceeding with plans for
cocktail receptions, a nightclub party and banquets, all with an
eye to the ladies. We are setting up a Hospitality Room at the
Americana to welcome convention registrants and assist them in
every way possible to enjoy their stay.

P.S. Although our program is ambitious, the registration fee foj*
ladies will be only $25; $50 for men. All communications for
reservations should be addressed to Milton London, Executive Di~
rector, National Allied, 1008 Fox Building, Detroit 1, Michigan.

Take This Home To "Your Fair Lady!"

BULLETIN

Opinion of the Ind.u.stry

SEPTEMBER 2, 1963

How Pay TV Affects
Entertainment Habits

PART TWO

RESEARCH REPORT from ETOBICOKE

by

tenscope

Theatres Need Product
NOW!

Viewpoint

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THE HAUNTED PALACE

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Universai/s Holid

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Co-Starring

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r anything more?

AUDREY HEPBURN

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.. , Screenplay by Produced and Directed by A STANLEY DONEN PRODUCTION

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CHRISTMAS DAY
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BERT ALDRICH •TEDDI SHERMAN • ROBERT ALDRICH • From WARNER BROS.

What They're Talking About

□ □ □ In the Movie Business □ □ □

NEWSPAPERS VS. TV. Our good friend, Joe
Exhibitor, who contributes many constructive
suggestions to these pages, offers another.
"Aren't we long overdue", he inquires, "for a
thorough reappraisal of the relative merits of
newspapers, on the one hand, and television
and radio on the other, as advertising media.
From time to time, I've read Film BULLETIN'S
ideas on this subject, and I share them, but
it seems that the people who run the
film companies are slow to break with
traditional habits in advertising their product.
There is a whole mountain of evidence that
the newspapers are less effective as an
advertising force than TV and radio. We have
seen this demonstrated very decisively this
Summer again in the areas where we operate
theatres, but most of the distributors are too
timid to take the bold step toward full-scale
use of the broadcast media. You might imagine
that they favor the press because it offers a
more graphic method of displaying film ads,
or because the newspapers go out of their
way to give our advertisements the most
advantageous positions to draw the attention
of readers. Or, is it because the papers give
movies a better publicity 'break' than they give
TV, sports or other recreational competition?
Or, could it be that the press is a valuable
public relations ally of movie business?
Hell, no. Most newspapers charge us premium
rates for advertising; they jam all of our ads
together on a crowded page; they give TV and
sports much more free space than movies;
and, as for public relations, they print
every crackpot accusation ever uttered against
movies as a "wicked" social force, while
they fill their front pages with all kind of
circulation-building stories about sex crimes,
dope addiction, gangsterism, etc. What of
the comparative effectiveness of newspapers
and TV in selling movies?

Can there be doubt in any showman's mind
that scenes on television have a far stronger
impact than the printed advertisement?

Every theatreman knows that the trailer on his
screen is the greatest single medium
available to promote a film. We only wish
that we could have a captive audience of many
more thousands than our theatre
accommodates to see each trailer. And
television makes that possible. Why, then,
don't we us TV more? Disney is the one film
producer who uses TV consistently to promote
his pictures, and it's no accident that his
company has been the most consistently
successful one since television became a
national means of communication. Radio, too,
is more valuable to us than the newspapers,
because the young people of this country,
when they're not watching TV, are listening to
portable, car and bedside radios. We had
several saturation campaigns for films in our
territory this Summer, and they were
enormously successful, mostly, I'm sure,
because they made intensive use of the
broadcasting media.

We checked the youngsters who came to our
theatres and learned that most of them saw
and heard the ads on TV and radio. I feel
that our business would be much healthier if
we cut expenditures in newspapers to the
bone and poured most of our promotion money
into the other media."

AA TROUBLES. There is a strong feeling in
some quarters that a change in management
is impending at Allied Artists. A Wall Street
source informed us several weeks ago
that the company would show a loss in excess
of $2 million for the year ended June 30.
It also is heard that returns on "55 Days at
Peking" have been so disappointing to
producer Samuel Bronston that it is unlikely
AA will get any more of his productions for
distribution. The company's tight financial
condition made it necessary to pass the
regular quarterly dividend on the 5V2%
cumulative preferred stock, which was to be
paid Sept. 15. Some significance is attached,
too, to the recent sale of substantial stock
holdings by executive vice president George D.
Burrows and board member Sherrill C. Corwin.
The SEC report on security transactions for
June revealed that Burrows disposed of
9200 shares of common, retaining 5586, while
Corwin unloaded 5500 of the 6500
shares he held.

u

tewpoints

ER 2. 1963 T VOLUME 31, NO. 18

SEPTEMBER 2, 1963

Exhibitors Need
I* rod u< t A on

Preliminary reports — the full statis-
tics will be published in a subsequent
issue — indicate that the summer of 1963
gave a good boxoffice account of itself.

Both blockbusters and B's rolled up
big grosses throughout the country and
lifted hopes for the future.

The problem now is to maintain the
momentum as we move into the fall
and winter seasons, when the audience
pickin's are not so easy. Television has
lined up some promising attractions and
its competition must be regarded as
stronger than it has been for the past
couple years. Our business must meet
that competition head-on, offering a
steady flow of product and a steady
salvo of showmanship that w ill keep the
public movie-minded.

Some of the distributors appear to be
prematurely concentrating on their
Christmas releases, but December 25 is
a long way off for exhibitors who have
to keep their theatres in operation
through the next four months.

Our report on theatre business for the
first half of this year (July 8 issue)
showed that boxoffice grosses for most
conventional and drive-in operations
were down from the corresponding
period of 1962. In some cases this was
attributed to the extremely bad weather,
but in far more instances shortage of
product was blamed for the slump. Ex-
hibition made up some of the lost
ground through the summer, but if the
comeback is to be carried forward, it is
essential that theatres obtain the neces-
sary supply of product in the months
immediately ahead.

Theatremen can take heart from the
optimistic report issued by Edward L.
Hyman, the indefatigable worker for
"orderly distribution." The American
Broadcasting-Paramount Theatres exe-
cutive recently held his periodic meet-

ings with distribution executives of all
the major film companies, at the con-
clusion of which he expressed the view
that the period ahead "promises to
make history at the boxofHces of thea-
tres throughout the United States and
Canada."

Mr. Hyman said: "The meetings we
have held over the last two weeks have
been the most fruitful of all similar
talks we have had with the distributors
over the past seven years. Each and
every one of the sales managers gave to
me a definite commitment on the re-
lease of attractions which will, with lit-
tle doubt, make the period of September
through Easter, and even beyond, one
of the most highly successful seasons in
the recent annals of our business —
everything being equal."

Mr. Hyman also stated that "it is
not numbers that count, but quality.
Quality pictures can enjoy extended
runs if the exhibitor will exert every
effort of promotion and showmanship."
To this we would like to add that it is
possible to make boxoffice successes of
pictures outside the blockbuster cate-
gory. There has been ample evidence
this past summer, and before, that ener-
getic, collaborative showmanship effort
by distributor and exhibitor can develop
surprising grosses on films of lesser sta-
ture. It is hardly necessary to recount
what was achieved by such cooperation

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 1239 Vine
Street, Philadelphia 7, Pa., LOcust 8-0950, 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Berne
Schneyer, Publication Manager; Max Garelick,
Business Manager; Robert Heath, Circulation
Manager. BUSINESS OFFICE: 550 Fifth Ave-
nue, New York 36, N. Y., Circle 5-0124;
Ernest Shapiro, N Y. Editorial Represen-
tative. Subscription Rates: ONE YEAR,
$3.00 in the U. S.; Canada, $4.00;
Europe, $5.00. TWO YEARS, $5.00 in
the U. S.; Canada, Europe, $9.00.

with relatively minor films like "Cap-
tain Sindbad", "Gidget Goes to Rome",
"Flipper", etc.

Given the product and the promo-
tional guidance, exhibitors can make
this fall and the coming winter good
boxoffice seasons. Let's not let the cool
winds chill our enthusiasm.

Films far the
hid .Market

With the exception of Walt Disney,
no film producing organization gives
any thought to a regular policy of mak-
ing pictures for the vast audience of
children. As a result, theatres not only
are losing this valuable patronage to-
day but they face the prospect of see-
ing future generations alienated from
the idea of going to the movies. Many
kids are growing up conditioned only
to TV entertainment.

This industry has failed to compre-
hend the importance of the children's
market. If film companies would study
what is being done in the publishing
field with books for youngsters, they
would realize that there is gold in
those rompers. Walk into any book
store and you will see countless books,
hard covers and paperbacks, being sold
to parents to take home to their tots.
Once in the store, the adults are likely
to pick up a novel for themselves, too.

Disney likewise operates on the sound
theory that pictures designed basically
for youngsters inevitably bring their
share of parents into the theatres. He-
has no patent on the policy, but no
other film company seems willing to
make a move to adopt the idea and pro-
vide him with some competition for
the children's market. We would really
have something rich cooking if each
studio undertook production of two or
three pictures per season plainly tagged:
"For Children and Their Parents."

Film BULLETIN September 2, 1963 Page 7

The Vieu> frw OuUide

by ROLAND PENDARIS

Disneyland Showmanship

There are all kinds of show business and the various branches
don't necessarily have much in common; but occasionally it is
a good idea for one type of show business to look at another
and get a new prospective on the entertainment industry. Right
now I think the movie branch might take a look at one of its
own byproducts — Disneyland — and pick up a few pointers.

Amusement parks, like movies and movie theatres, come in
all shapes and sizes, and when they are bad they are awful.
When they are good they are interesting. When they are
Disneyland, they must command every showman's attention.

Many of the sales assignments faced by Disneyland compare
closely with those of the theatre operator. There is a traffic —
customer traffic, that is — problem and an impulse buying chal-
lenge and an image-building need, for example, at the local
Bijou as well as in Anaheim, California, where Mr. Disney
set up his establishment.

< ►

Let's consider this question of customer traffic. At Disney-
land, as in any business establishment, the important thing is
to keep the customers moving toward the cash registers. Time
spent in hiking from a mammoth parking lot at Disneyland
or waiting in line for a ride is time when the customer is not
reaching into his pocket. The solution is to get him out of the
parking lot as quickly as possible and up to the ticket window.
Then, when he has bought his ticket for a ride, get him on and
off that ride without undue delay so that he can move on to
the next point of purchase. So far it sounds very simple — and
showmen less sophisticated than Disney make the fatal mistake
of thinking it is simple. For instance, they figure they will speed
up customer traffic by making the rides shorter. This is apt to
anger or at least to disillusion ticket buyers. Disney knows a
better way.

First, he runs tractor trains steadily from the parking lots to
the ticket windows. He charges a nominal 250 parking fee for
your car, but no charge at all for the tractor train. And there
is a gracious spiel aboard the conveyance as you ride tow ard the
box office. You can't help feeling that this is a gracious kind of
operation — only a real cynic stops to think that Mr. Disney has
gotten you to the point of purchase ten minutes sooner than if
you had w alked. You start your visit to Disneyland happy and
already convinced that you are not in a nest of thieves.

And w hen vou reach the box office you find that there are so
many ticket windows open you have practically no wait for
attention. Another plus for the favorable impact of your arrival
at Disneyland.

■< ►

Let's draw the analogy with the motion picture theatre right
here. First as to the parking. No theatre parking facilities are
as huge as those of Disneyland; no need, therefore, to run a
tractor train. But why not — as the drive-ins have done — provide
special ticket windows for the four-wall moviegoers, right at the
parking lot, with no need for them to walk all the way around
the theatre and stand in one single line to buy their tickets?
Why not little efficiencies like clearly numbered markers so the
parker can remember where his car is parked — or an attendant
to give him the information?

And now to the boxoffice. Go to your local supermarket.

Look at its check-out counters — or go to the Radio City Musical
Hall and look at its box offices. Please note the plurals. Neither
Music Hall nor supermarket operates with one cash register.
But lots of movie theatres still do. Aha, says the operator of a
small neighborhood house, he isn't talking about me. The only
time I have a line at the box office is Saturday evening, and
everybody has a line then.

I am talking about him. If he has a long line every Saturday
evening, he should have one or two extra box offices on Satur-
day evening. Yes, he says, but the customers just have to stand
and wait for seats in the lobby anyway. (Let me express the
hope every showman has this kind of problem. I can only say
that I'd rather have customers waiting in the lobby, and leaving
more customers buying tickets at the box office, than to have
a long ticket line discourage latecomers.

►

So far we have used Disneyland only as far as the ticket
windows. The comparison with the motion picture theatre goes
further. Once you get inside Disneyland, you find an ingenious
mixture of free and price-tagged attractions. (Nothing is really
free, since you have paid to get in; what I term free are those
attractions for which no further admission is charged and
which therefore seem to be free). They are laid out in such a
way that if you find a big crowd in front of one attraction you
can always kill time pleasantly in another. How does this com-
pare with the movie business?

If there's a line waiting for seats at the movie theatre, you
w ait. In some theatres there is a lounge where you can get a cup
of coffee free; in others there is a refreshment counter or a soda
or candy machine. But in most instances you lose your place
in line if you retreat to the coffee lounge.

Some theatres don't have much space for stand-by attractions,
I concede. One such theatre that I know sends a coffee girl out
into the street to serve complimentary java to the customers
w aiting in line. It's a small gesture, but it brings a tremendous
amount of good will — and it makes the wait seem shorter.

Taking a leaf from Disney, why can't a theatre have a num-
ber of time-killing attractions till the next show starts? Old-
time movies on rear- view projectors, for example, or television,
or complimentary tic-tac-toe pads or silent bingo games or
what-not. (If readers are interested I'd be glad to do a column
of specific suggestions.)

We come now to what I think is another prime clue to the
success of Disneyland. It is what I call the illusion of choice.
Disney has souvenir stands of every kind in every part of his
park. No two look alike. You wander into three or four, each
with a couple of distinctive items, and then you realize that
basically all are carrying the same wares. But you have so many
different-looking opportunities to buy a souvenir that you are
bound to succumb somewhere along the line. Yet at the movie
theatre there is apt to be only one candy counter, one soda
machine, etc. Wouldn't it be good to have more variety of sales
opportunity and sales location for this by-product activity?

Some may say that Disney can accomplish the commercial
miracle of Disneyland because his customers are all prepared
to spend money and he is far from urban slums, racial unrest
and other civic blights. But the Radio City Music Hall is smack
in the downtown middle of Manhattan Island, where the slums,
the unrest and other civic blights, including the litterbug, are
endemic. It takes two to tango — and the cusomer is only one
of them.

Pago 8 Film BULLETIN September 2, 1963

Effects of Pay TV on Entertainment Habits

RESEARCH REPORT by

VTfJ

ndcop

PART TWO

In the course of conducting
its survey on public response
to Pay Television in Etobi-
coke, Canada, which was re-
ported in the August 19 issue
of Film BULLETIN, Audien-
scope also accumulated a
wealth of interesting informa-
tion bearing on the general
entertainment habits of the
people in that community.
The major findings of this
Part Two of the Etobicoke
study appear below.

Etobicoke, where Telemeters sub-
scription television has been in opera-
tion some three and a half years, makes
a splendid weathervane for measuring
the wind direction of general enter-
tainment habits of residents in a Pay
TV climate.

To what extent, if any, might the
pay system have influenced the broad
entertainment patterns of the commun-
ity in which it operates? How often is
free TV viewed and by whom? How do
the free TV viewing habits of Tele-
meter users compare with non-users.
What type of shows on free TV are
most popular in a Pay TV environment?

One of the great appeals of subscrip-
tion TV is the absence of commercials.
What are the relative attitudes of the
various pollee groups with respect to
this issue? Can it be assumed that Sub-
scribers are least tolerant of free TV's
sales messages?

Theatre interests are greatly dismayed
at the threat Pay TV poses. The damage
wrought by free TV upon theatre at-
tendance is well established. Now, in
a Pay TV situation what precisely are
the going-out habits of its patrons — as
well as of non-subscribing groups? Does
the pay system appear to be a causal fac-
tor in keeping people at home?

Audienscope developed a number of
questions aimed at charting these waters.

Innumerable elements go into the

Pay TV vs. Free TV: Etobicoke
Reveals Interesting Attitudes

formulation of a consumer judgement,
especially one involving so emotional
a subject as entertainment. Accordingly,
there is no suggestion that the follow-
ing disclosures should be viewed in a
cause and effect manner, that is, Pay
TV representing the whole or even the
partial cause for the existence of certain
habits and attitudes. Pay TV may or
may not be considered an influencing
agent, depending on the reader's inter-
pretation.

GOING-OUT HABITS

All that is presented here is an ex-
amination of pollee responses to ques-
tions dealing with their entertainment
customs in a community where Pay TV
has been operating for three years.

Respondents were asked:

How Often Do You Go
Out for Entertainment?

PAY TV SUBSCRIBERS
Once a Week 22%
Occasionally 20%
Seldom 36%
Never 22%

NON-SUBSCRIBERS
Once a Week 14%
Occasionally 25%
Seldom 48%
Never 13%

FORMER SUBSCRIBERS
Once a Week 20%
Occasionally 24%
Seldom 48%
Never 8%

It is interesting that Telemeter Sub-
scribers are both the biggest gadabouts
and stay-at-homes, scoring an equal vote
(22%) at each extreme, "once a week''
and "never." That proportionately more
Subscribers go out more frequently than
Non-Subscribers does not seem related
to economic status. Subscribers were
found in a variety of economic classes,
and those most impressed with Tele-
meter's offerings were, in the main,
nestled in middle and lower middle in-
come brackets.

It appears from pollee comments that
a certain portion of Subscribers are
vitally interested in particular attrac-
tions, and that thev will see these attrac-
tions one way or another. This, perhaps,
explains why they ordered a Telemeter
installation, as well as why they fre-
quently go out of the home for their
pleasures.

The equal number of Telemeter users
who "never" go out explains a signifi-
cant portion of the pay medium's clientle.
It is notable that proportionately more
Subscribers stay rooted to the home than
is found in other pollee groups. The
enticement of attractions unavailable
on free TV is a compelling one to this
class.

It is noteworthy that Former Sub-
scribers score relatively high (20%) in
"once a week" habit. In common with
Non-Subscribers, they share a lack of
Pay TV. Yet their proportionate out-
of-the-home sojourns are more frequent.
At the same time. Former Subscribers
scored lowest (8%) in the "never" go
out categorj .

Another interesting disclosure is that
all three respondent classes reserved
(Continued on Page 19)

Film BULLETIN September 2. 1943 Page 9

YOUNGSTEIN

Youngstein Adds Big
Gun To UA's Arsenal

With the return of Max Youngstein
to his alma mater United Artists has
added a big gun to its production
arsenal for the next three years.

The enterprising, indefatigable execu-
tive, who contributed so much to UA's
signal success for a decade as a member
of the "whiz kids" management team
that acquired control of the company in
1951, now brings his own independent
production unit into the UA fold.

The deal, a non-exclusive one, is for
an indeterminate number of features,
but it is quite likely that Youngstein
will prove to be the most prolific pro-
ducer in UA's ranks within a short
time. He has displayed a mercurial flair
for getting projects organized and com-
pleted. In little more than six months,
he managed to complete the first two
of three films which comprise the initial
program of the defunct Entertainment
Corp. of America, which Youngstein
had organized in late 1962. Only 33
days of shooting time was required to
deliver "Fail-Safe" to Columbia. Within
some 12 weeks he wound up "The Win-
stone Affair" for 20th-Fox, and has
"The Third Secret" well under way in
London for the same company.

The first Youngstein project for UA
release will be "The Well at Ras Dega"
from an original story by Robert Ruark
and Sy Bartlett. He has a raft of other
deals pending. The confidence Young-

CAST &
CREDITS
■

Report on the Industry's
PEOPLE and EVENTS

stein enjoys from a wide range of tal-
ents in moviemaking, and his aggressive
productivity are a combination bound
to make Max E. Youngstein Enterprises
a formidable force on the industry
scene in the years ahead.

Matty Fox Back in
The Pay TV Picture

Matthew M. (Matty) Fox is a hard
man to keep down. For years he has
been trying to get his Skiatron pay TV
system off the ground, hoping to use
the two big league baseball teams in
California as a wedge. Several years
ago he had a firm deal with the San
Francisco Giants, but could not deliver
the wired homes to which pay TV sub-
scriptions were to be sold. In 1959 the
Securities & Exchange Commission in-
vestigated Skiatron and found its opera-
tions so muddled that the firm's stock
trading privileges were suspended.

But Matty Fox's dream of harnessing
the airwaves has not been suppressed,
and he is back again with a new pay
TV plan.

Holding fresh contracts with the
Giants and the Los Angeles Dodgers,
Fox and several substantial backers, in-
cluding Reuben H. Donnelley Corp.
and Lear Siegler, Inc., an electronics
firm, are seeking approval by the SEC
of a $23 million public stock issue to
help finance establishment of a wired
pay TV system in the two big West
Coast cities.

The new firm, Subscription Televi-
sion, Inc., is committed by its deal with
the two ball clubs to have a minimum
of 20,000 paying customers in each city
by July 1, 1964. Subscribers will have
to pay $10 for installation and a weekly
base fee of $1, plus, of course, the cost
of each attraction they rune in. The
prospectus filed with the SEC did not
specify the price tags to be assessed for
the offerings. Promised, in addition to

the ball games, are new movies, ballets,
opera, etc.

Tribute to Johnston

Tribute was paid to Eric Johnston in
the House of Representatives last week
by Rep. Wright Patman of Texas, who
said the late MPAA president "made
America a better place, and America a
better place in the world." Johnston,
who died Aug. 22, was described as one
of "those whose vision, courage and
regard for their fellow man make the
path easier for all of us."

Speaking of People—

Harold Rand appointed director of
advertising and publicity for The Lan-
dau Company. He recently resigned as
director of world publicity for 20th-Fox
. . . Irving Coo per smith new head buyer
for Stanley Warner theatres in Phila-
delphia-Washington, it was announced
by zone manager Frank Damis. He re-
places Henry Goldman, who switched
to Fabian Theatres. . . . jerry Berger,
who has been in charge of advertising
and publicity for all 20th-Fox opera-
tions in South Africa, reassigned to
New York, where he will handle special
events . . . Samuel Schneider, former
vice president of Warner Bros., acquired
a substantial stock interest in Medal-
lion Pictures and becomes a board
member. Medallion president Benjamin
R. Schrift also announced that Arthur
Sachson has been named v. p. and gen-
eral sales manager of the firm . . . David
Golding will handle special assignments
for Universal.

A STAR IS BORN!

Cary Grant and Rock Hudson
may have nothing to fear, but a
notable new personality flashed
across the movie heavens last
week. Adlai Stevenson, American
Ambassador to the UN, made his
film debut in the MGM-Seven
Arts production, "A Global Af-
fair". Bob Hope persuaded Ste-
venson to make an appearance in
the film while location shots were
being taken at the United Nations.
The Ambassador is seen above
preparing for Take One.

Page 10 Film BULLETIN September 2, 1943

SophiaLoren MaximhianSchell
FredricMarch Robert Wagner

1

SEPTEMBER

TH

"THE CONDEMNED OF ALTONA

The hilarious Broadway play
about a father trying to keep pace
with his dish-of a daughter!

JAMES
STEWART

SANDRA
DEE

TAKE HER,
SHE'S MINE

WEI ram mm jokn
Meadows • Morley 1 Forouet ■ Mcgiver

H£n5VTI OStTR*" - NO NNAirTToMMSO N

w!

TAKE HER, SHE'S MINE!"

DORIS JAMES

DAY GARNER

POLLY

BERGEN
MOVE
OVER,
IDA R L I IMG I

THELMA RITTER • FRED CLARK ~S?}}$£r*n~
DON KNOTTS ■ ELLIOTT REID CONNORS

mmmiimmmm •mimm miiiiii'iiaw

GO!

"MOVE OVER, DARLING"

RIGHT NOW WITH

"MARILYN"... "OF LOVE AMD DESIRE".
"A FAREWELL TO AREAS".. .
"LASSIES GREAT ADVENTURE ".. .
HARBOR LIGHTS ...
THE YOURB SWIHBERS'MO "THUNDER ISLAND'

THE WINSTONE AFFAIR s.amng robert mitchum,

FRANCE NUYEN, BARRY SULLIVAN. Guest appearance by TREVOR HOWARD. Also starring |

Keenan Wynn and Sam Wanamaker. Produced by Walter Seltzer. Directed by Guy Hamilton
Screenplay by Keith Waterhouse and Willis Hall. A Talbot Pennebaker Production. CinemaScope.

WHAT A WAY TO GO! Starring SHIRLEY MacLAINE in love with
PAUL NEWMAN. ROBERT MITCHUM, DEAN MARTIN, GENE KELLY and
DICK VAN DYKE. A J. Lee Thompson production. Produced by Arthur P. Jacobs. Directed by
J. Lee Thompson. Screenplay by Betty Comden and Adolph Green. Based on a story by Gwen Davis

An Apjac Orchard Picture. CinemaScope. Color by DeLuxe.

SHOCK TREATMENTstarnng STUART WHITMAN, CAROL LYNLEY.

Produced by Aaron Rosenberg. Directed by Denis Sanders. Screenplay by Sydney Boehm. CinemaScope

THE THIRD SECRET Starring STEPHEN BOYD and as the leading suspectq

Jack Hawkins, Richard Attenborough. Patricia Neal and Diane Cilento. Also starring Pamela Franklin.
Produced from his screenplay by Robert L. Joseph. Directed by Charles Crichton.

A Hubris Production. CinemaScope.

THE SOUND OF MUSIC. Rodgers and Hammerstein's
celebrated musical to be produced and directed by William Wyler.

THE SAND PEBBLES. Richard McKenna's current best seller

to be produced and directed by Robert Wise.

THE AGONY AND THE ECSTASY. Irving Stone's monumental best seller

Screenplay by Philip Dunne.

HIGH WIND IN JAMAICA. Screenplay by Nunnally Johnson.

FATE IS THE HUNTER. Ernest K. Gann's best seller
Screenplay by Harold Medford.

MORITURI. To be produced by Aaron Rosenberg with Martin Ritt directing.
THE LAST TWENTY-FOUR HOURS. Script by Pursell and Seddon.
TRAP FOR A MAN. To be produced by David Weisbart.
ILLICIT. To be produced by Fred Kohlmar.

PAY TV S. ENTERTAINMENT HABITS

Ex-Pay Patrons Most Avid Free TV Fans

( Continued from Page 9 )

their highest vote for "seldom" go out.
It is a finding from which theatre ex-
hibitors, play houses and sports pro-
moters can take small comfort. The
overriding reason is free TV.

FREE TV VIEWING

This leads to a closer inspection of
what has happened to free TV in Etobi-
coke during a Pay TV reign.

Respondents were asked:

How Often Do You
Watch Free TV?

PAY TV SUBSCRIBERS

Everyday 65%
Few Times Weekly 25%
Seldom 9%
Never 1%

NON-SUBSCRIBERS

Everyday 70%
Few Times Weekly 19%
Seldom 8%
Never 3%

FORMER SUBSCRIBERS

Everyday 81%
Few Times Weekly 16%
Seldom 3%
Never 0%

A surprising degree of similarity is
found as between Non-Subscribers and
Subscribers in free TV viewing fre-
quency. Telemeter users apparently
hover between the pay medium and the
free medium, as Non-Subscribers do be-
tween the various channels — and with
free TV accorded a very decided edge.

Based on these figures, it would be
difficult to argue that Telemeter has,
overall, cut drastically into the size of
free TV audiences in Etobicoke. Except
for special sports attractions, an oc-
casional new movie and rare other
events carried over the wires, it has
been demonstrated that Telemeter view-
ing, from a promising beginning, has
become, at best, erratic.

The unusually high (81%) "every-
day" free TV viewing by Former Sub-
scribers is worthy of pause. In Part One
of the Etobicoke study (Film BULLE-
TIN issue Aug. 19), it was revealed by
Audienscope that a very high percentage
of the Non-Subscribers gave satisfac-
tion with free TV as their main reason
for not subscribing to Telemeter. Now,
it is found that Former Subscribers, hav-
ing tested, and rejected, the pay system,
return to free TV with a vengeance.

With the cancellation of their Tele-
meter subscriptions, the vast majority
of Former Subscribers became omniver-
ous viewers of commercial television.
They came back to it with a much more
amenable attitude; more appreciative
of its offerings, more tolerant of the
commercials many sought to escape
when they went over to Pay TV.

In general, it might be noted, interest
in television runs quite high in the
Etobicoke Pay TV sector. A valid con-
clusion might be that the public's at-
tention to the medium was stimulated
by the publicity attendant upon the
Pay TV test, as well as by the compe-
tition between free TV stations and
Telemeter. Some respondents said they
could detect an improvement in free
TV, and attributed it to the competitive
factor. Only an insignificant 3% from
the Non-Subscriber class voiced objec-

tions to TV in all forms, most of these
asserting a preference for reading as a
leisure-time pursuit.

TYPES OF SHOWS

Much controversy has attached to
program ratings and popular program
preferences. In Etobicoke, under Pay
TV sway, public reaction to types of
free TV shows takes on an additional
dimension of interest. Telemeter has
strived to provide the best possible
entertainment for its patrons, the most
popular of which, by far, have been
sports events and movies. Audienscope
sought to ascertain what type of shows
are most highly regarded on Etobicokes
free TV channels. Additionally, what
kind of entertainment Telemeter users
turn to when they dial free TV.

Respondents were asked: What Types
of Programs Do You Watch Most Often
on Free TV? The responses are tabu-
lated at the bottom of this page.

Most respondents checked off a num-
ber of program types, classifying their
ratings on a scale basis. The foregoing
figures are thus weighed in terms of
relative gradings.

The greatest proportionate vote for
any program category fell to sports
shows (23%), as registered by the Sub-
scriber group. The finding strongly re-
affirms evidence brought out in Part
One of the Etobicoke survey dealing
with Subscriber attitudes toward Pay
TV. It was demonstrated that sports
attractions, per se, provide Telemeter
users with substantially greater satis-
faction than any other offering, and
that the exclusive presentation of cer-
( Continued on Page 20 )

What Types of Programs Do You Watch Most Often on Free TV?

News&
News Spec'ls

Sports

Movies

Comedy
Series

Westerns

Dramatic
Series

Panel
Shows

Musicals
& Variety

Others

PAY TV
SUBSCRIBERS

9%

23o/0

16%

13%

7%

15%

7%

8%

2%

NON-
SUBSCRIBERS

11%

13%

11%

14%

5%

21%

11%

9%

5%

FORMER
SUBSCRIBERS

8%

12%

18%

13%

6%

16%

11%

13%

3%

Film BULLETIN September 2, 1943 Page 19

PAY TV S. ENTERTAINMENT HABITS

Commvrviul.s t.vttst Vexing To Put/ Drop-outs

(Continued from Page 19)
tain sports events over the closed circuit
is a main cause in the retention of the
Pay service. The avidness of an ample
Subscriber element for sports broad-
casts is now amplified by virtue of their
high percentage response to sports on
free TV. This body of rooters is eager,
with or without a fee, to get its sporting
events. The durability and persistence
of this sentiment was one of the main
findings in Part One of the Audienscope
report. Whether it is a body large
enough in itself to support home Pay
television, is again another question.

Revealing are the high ratings ac-
corded dramatic series by all pollee
groups, and ranked as the number one
preference (21%) by Non-Subscribers.

It is well to point out here that prac-
tically all respondents were heads of
the home, or their wives. Hence, pro-
gram tastes must be construed as re-
flecting mature views and attitudes. This
may account for possibly surprising
totals in certain categories.

The relationship of various groups
to Telemeter — their standing as Sub-
scribers or Former Subscribers — may
have been instrumental to some degree
in the development of attitudes toward
certain program types. Movies, for in-
stance, proportionately are valued more
highly by both Subscribers (16%) and
Former Subscribers (18%) than by
Non-Subscribers (11%). This condition
may be traceable to the complaints
voiced by those with Pay TV experience
about the age and quality of films found
on Telemeter. Obviously, the relation-
ship is inferential, but interesting. Like-
wise of interest are the comparative
votes for sports on free TV by Former
Subscribers (12%) and Subscribers
(23%), a finding which supports the
conclusion in Part One that those who
cancelled out their Pay TV subscriptions
have less taste for sports than those who
continue to subscribe.

While the program tastes of the
younger set were not sampled directly,
it may be enlightening to add that a
good many respondents with teen-age
children indicated that program selec-
tions are to a wide extent dictated by
the latter.

In Part One of the Audio/scope
study, Telemeter customers were asked

to provide their primary reason for tak-
ing on the service. Interestingly, only
3% cited annoyance with commercials
as a main ground for their acceptance
of the pay system.

This is a valuable disclosure in view
of the emphasis placed upon the un-
interrupted nature of Pay TV viewing
by its promoters. Telemeter's early pub-
licity made much of the fact that motion
pictures and certain other presentations
require continuous viewer absorbtion
for optimum enjoyment.

Notwithstanding, a significantly small
number accepted it as a foremost induce-
ment for installing Telemeter. The ab-
sence of commercials, clearly, is not,
in and of itself, one of Pay TV's more
telling sales appeals. Neither, however,
is it one of its least.

ATTITUDES ON
COMMERCIALS

The advertising blackout plays a not
unimportant role in the construction of
Subscriber attitude, as the figures ahead
will reveal. Audienscope deemed it use-
ful to step into Etobicoke's uniquely
controlled television situation — one in
which most all viewers see sponsored
shows, and some see unsponsored shows
— to evaluate reaction among all viewers
with respect to the controversial subject
of commercials. What are the compara-
tive feelings as regards advertising on
TV among viewers of free and Pay TV
in Etobicoke?

If sharp distinctions in attitudes could
be found to exist, certain inferences
might be drawn concerning the relative
tolerance toward commercials among
the denned viewer segments.

Hence, all pollees were asked: What
Is Your Reaction To TV Commercials?

The response chart appears below.

Telemeter Subscribers, as might be
expected, show a lower acceptance of
commercials than the two other groups.
A greater percentage of Subscribers
"ignore them," or find them "annoying".
This leads to the assumption that Sub-
scribers, as a class, look upon the ab-
sence of advertising as a significant
secondary factor in their decision to
accept pay television.

Conversely, a plurality of the Non-
Subscribers classified commercials as
"useful" — a revealing and confirming
sentiment, one which underscores their
acceptance of free TV and all its parts
as sufficient to their needs. In general,
Non-Subscribers feel that commercials
keep TV free, and are generally infor-
mative. While specific complaints were
voiced regarding excessive interruptions,
undue repetition and loudness, the over-
all level of tolerance, as the figures
show, is notably above that of Sub-
scribers.

Far and away the most dramatic dis-
covery regarding commercials comes
from the vote of Former Subscribers.
Close to half (47%) of these one-time
Pay TV patrons termed commercials
"useful", while those on the negative
side of the question were relatively
smaller than the other two categories of
respondents.

Just why this is so is both a puzzling
and engaging question. Might it be
conjectured that a period of television
sans commercials produced in these
people a later response condition under
which sales messages were received more
appreciatively and regarded more con-
structively? Whether the reaction flows
from a sense of gratitude, because com-
mercial TV is free, or because the in-
formative value of commercials was
discerned more clearly than before,
the finding is one to be pondered.

What Is Your Reaction to TV Commercials'''

Find Them Useful Annoying Ignore Them

SUBSCRIBERS 29% 42% 29%

NON-SUBSCRIBERS 38% 34% 28%

FORMER SUBSCRIBERS 47% 30% 23%

Page 20 Film BULLETIN September 2, 1963

Some Film Stocks Ride Tide of
Bui! Market, but Others Languish

With the Dow-Jones industrial average on the verge of bast-
ing through the roof, how have movie shares been faring in the
midst of this sensational latter 1963 rise? Examination of the
comparative prices between the close of 1962 and Film BULLE-
TIN'S charting date for this issue, Aug. 29, reveals no uniform-
ity of performance in film company stocks. While several have
been lofted far up with the tide of the market, others remain in
the slough, near their lows for the year.

The big gainers have been Disney, MCA, Paramount and
20th-Fox. Touted all over Wall Street, the daddy of Mickey
Mouse climbed 17*4 points since the first of the year. MCA is
up fractionally over 16, Paramount almost 14, and 20th, bul-
warked by "Cleopatra" and "The Longest Day", stands a frac-
tion shy of 13 points above its final quotation on last Dec. 31.

At the other extreme, United Artists on Aug. 29 was 7 points
under its 1962 close, a reflection of the first profit downturn
after a dozen years of steady rise and the dropping of its cash
dividend. Metro-Goldwyn-Mayer, struggling to overcome the
effects of several costly failures in the past year and a half, was
still almost 2 points below.

Columbia, seemingly poised for a strong move, has risen 3^
above its 1962 close-out, while Filmways, the Martin Ransohoff
operation, is 2*4 higher, and Cinerama ll/2.

It is noteworthy that only Disney has been able to achieve
the feat of reaching its '62 high (almost 5 points above it) thus
far, suggesting that there is ample room for further rises in the
shares of the prospering film firms.

In contrast to the sharp rise of some of the production-dis-
tribution outfits, the theatre companies are languishing. The
impact of the present bull market to date has been felt but little
by exhibition. Stanley Warner closed Aug. 29 at 2^/4, up 214.
from its price on Dec. 31, while National General has climbed
almost 2 points and Trans-Lux one. Wometco, over-the-counter,
appears to be the most highly regarded theatre operation cur-
rently. Bid 19 at last year's close, the figure was 281/4 last week,
with a 30% ask price.

Comparative prices of common stocks between Dec. 31 and
Aug. 29:

Film Companies Close 1962 Aug. 29, 1963

Allied Artists 3 2%

Cinerama 13% 151,4

Columbia 23Vs 26%

Decca 45%

Disney 28%

Filmways 5

MCA 48%

M-G-M 31%

Paramount 36

20th Century-Fox 20y4

United Artists 27%

Warner Bros 14

Theatre Companies

AB-PT 34

Loew's 21%

National General 8

Stanley Warner 21

Trans-Lux 11%

45

45%

7V4
64%
293/4
49%
33%
20%
13%

33%
17
9%
231/
12%

20th Net $4,760,593 for Half

The comeback of 20th Century-Fox continues apace. Net
earnings of $4,760,593 were reported for the first half of the
year ended June 29, compared to the huge loss of $12,456,457
for the corresponding 1962 period. This represents a profit of
$1.87 per share against last year's loss of $4.89.

Gross income for the first six months of this year was some
$2 million below the 1962 period, but expenses in the current
first half were approximately $20 million lower. Virtually all
of this reduction was represented in the item titled "amortiza-
tion of film costs and participants' share of rentals". There also
was a cut of $2 million in "selling, general and administrative
expenses."

President Darryl F. Zanuck expressed satisfaction with the
accomplishments of his management regime in its first year,
which was completed July 25, and voiced "full confidence" that
the present management would attain its objective of "restoring
the corporation to prosperity and a position of leadership." He
told stockholders that "The Longest Day" continues to give
promise of being the highest-grossing black-and-white feature
in the industry's history, as well as 20th's biggest grosser to
date. "Cleopatra", in its first 46 engagements, Zanuck declared,
is "running well ahead of the highest grossing motion picture
ever made."

& THEATRE STOCKS

Close Close

Film Companies 8/ 7 5/63 8/29/63 Change

ALLIED ARTISTS 23/4 2% - %

ALLIED ARTISTS (Pfd.) .... 8% 8% -

CINERAMA 133/4 i5i/4 +\y2

COLUMBIA 263/4 263/g - %

COLUMBIA (Pfd.) 82 82% + Y2

DECCA 45% 451/2 - %

DISNEY 441/2 45% + %

FILMWAYS 6% 7y4 + %

MCA 60y2 64% +4%

MCA (Pfd.) 37 38y4 + 1%

M-G-M 30% 293/4 - %

PARAMOUNT 47% 49% + 2%

SCREEN GEMS 24% 24 - %

20TH-FOX 31% 33% + 1%

UNITED ARTISTS 19 20% + %

WARNER BROS 14% 13% - %

Theatre Companies

AB-PT 31% 33% +2%

LOEW'S 16% 17 + %

NATIONAL GENERAL 10% 9% - 1/4

STANLEY WARNER 21% 23% +2

TRANS-LUX 12 12% + %

(Allied Artists, Cinerama, Screen Gems, Trans-Lux. American

Exchange; all others on New York Stock Exchange.)
* * *

8/15/63 8/29/63

Over-the-counter Bid Asked Bid Asked

COMMONWEALTH OF P. R.. .. 6 63/4 6 63/4

GENERAL DRIVE-IN 10% 11% 9% 10%

MAGNA PICTURES 2 2% 1% 2%

MEDALLION PICTURES 9% 10% 10% ll3/4

SEVEN ARTS 8 9% 8 9%

UA THEATRES 14% 16 14% 15

UNIVERSAL 64 69% 64 69%

WALTER READE STERLING ... 2% 3 2% 3

WOMETCO 253/4 27% 28% 30%

(Quotations courtesy National Assn. Securities Dealers. Inc.)

Film BULLETIN September 2, 1963 Page 23

:

Coming this CHRIStMASM for all the world to enjoy !

You'll meet the newest

and most fabulously
funny characters
ever to come to life

MORE DISNEY MAGIC FROM BUENA VISTA!

WHAT A BEAUTIFUL CAPER! ... THE CENSORSHIP THREAT MUST BE MET

Although I feel that it would be a
disservice to law and order for anyone
to applaud the artistry of a crime, I
cannot resist admiring the ingenuity of
the lads who pulled off the $7,000,000
train robbery in dear old England.

I could not help recalling the good
English scripts that Sir Michael Balcon
use to do with Alec Guinness and the
enjoyment found in pictures like "Lav-
ender Hill Mob" . . . and here we have
the real thing, executed with a sophis-
tication that would make Alfred Hitch-
cock look to his laurels.

In this era of automation and regi-
mentation, our faith in the creative
sense of the individual certainly must
rally when we observe the finesse mani-
fested in this greatest robbery of them
all. At this writing, the craftsmen (a
shame to call them highwaymen) are
still at large, but Scotland Yard is hope-
ful that small clues may lead to big
arrests.

We know, of course, that if this
caper were depicted in the movies — re-
gardless of the meticulous planning,
blueprinting and even rehearsal — one
of the crime organization would drop
a unique handkerchief or Balkan ciga-
rette and this tenuous item would even-
tually lead to the apprehension of one
and all who perpetrated this beautiful
theft.

In 1954 Universal made a film titled
"Six Bridges to Cross" which had some
propinquity to the Brink's robbery in
Boston. But neither the movie nor the
actual case had the charm or nuance of
the British job. It would be a shame,
really, if the $7,000,000 robbery were to
be put in scenario form. I, for one, feel
the real thing could not be matched in
excitement and daring by the most im-
aginative writer or director.

Of course, somebody either here or
in London will attribute to such movies
as "League of Gentlemen" the inspira-
tion for the great train robbery. But no
matter what, this magnificent felony
was the product of genius which still
separates the true artist in crime from
the journeyman.

For the $7,000,000 magnus opus is a
masterpiece in the best tradition of the
crime story. And may well stand as ex-
ample to refute the theory that com-
puters will eventually replace the human
mind. And no doubt the manipulators,
when placed in the dock, may still find
as much pride in authorship or in their
skills as architects. It may develop in a
future Guinness film that these artisans
were members of an exclusive London
club who pulled the job just for the
hell of it and had no interest at all in
the emoluments.

ADAM WEILER

The zeal for censorship found in the
intellects of some of our custodians of
morals sometimes evoke our sense of
humor. A good example is the excite-
ment created in our largest state, Cali-
fornia, where attempts have been made
to remove the "Dictionary of American
Slang" from the county libraries. As a
prelude to formal action, certain words
were extracted from the volume and
printed for the purpose of circulating
(by youths) to the citizenry. It was a
strategem designed to arouse the public
to arms.

At about the same time the board of
regents of the state of New York (now
second largest) started another cam-
paign to change the laws so that films
would be classified to protect children
of school age against objectionable and
obscene material in films and other
media.

What the regents desire is authority
to curb whatever they believe to be
"prurient". The board believes "the
regulation of motion picture exhibition
on the present basis does not provide
adequate protection for children and
young people of our community who
are being increasingly exposed in pub-
lic motion picture theatres to films un-
suitable for their level of social and
emotional maturity."

But why center these attitudes on
films? What does the board think of
certain headlines in the newspapers?
For example, were newspapers hidden
from the children so they could not
see a picture of Christine Keeler with
vividly identifying captions? Should
newspapers, as we once suggested, be
compelled to classify its news by stat-
ing that this edition should not be seen
by children under sixteen?

In California, the county supervisors
were ridiculed in their attempt to re-
move the "Dictionary of American
Slang" from the libraries and the libra-
rians asserted their rights to place what
books they thought proper on the
library shelves.

The time has come for the motion

picture industry to join with all other
media — newspapers, magazines, hooks,
television, radio — to form a compre-
hensive agency to fight censorship in
all forms.

Compo should take the lead in such
a movement because it is the one all-
industry instrument of movie business.
And certainly Compo should receive
complete cooperation in its forthcom-
ing campaign to bring the "Bill of
Rights" into the arena where censor-
ship is being fought. Executive vice-
president Charles McCarthy was right
in declaring at the recent New York
State Allied meeting "that disregard
for the Bill of Rights is the fertile
breeding-ground for the censorship
troubles."

At the same meeting a special plea
was made by the president of New
York Allied for exhibitors to pay their
Compo dues. Isn't it too bad that pleas
have to be made for exhibitors to pay a
modest sum that will give them so
much in return?

There was a time, in the days when
pictures could be made in two weeks at
a cost that could be retrieved in a
limited play-off, that "poverty row"
producers turned out pieces of enter-
tainment inspired by trends in the
American culture. If a nutty song be-
came a hit, there was a rush to buy it,
register the title for a movie, and be-
fore you knew it the picture was play-
ing thousands of theatres. This was
showmanship in the fullest sense, and
not only were creditable pictures pro-
duced, but out of this milieu there were
graduated some esteemed talents. It is
a rare occurrence in this day of the
spectacular.

However, once in a whiie some smart
fellow like Sam Katzman gets a whop-
ping idea, and before you can say
"Hootenanny" he has a picture with the
title of "Hootenanny Hoot" on the
stages. To those who don't follow
trends among the younger generation
"hootenanny" is a big thing commonly
known as folk singing. If you check
record sales, you will find that there is
a whole new business in this kind of
music. "Hootenanny" festivals pop up
in colleges, county fairs, churches and
night clubs. Stars are born overnight
and taken to heart by the "Hootenanny"
fans.

Mr. Katzman has a ready-made audi-
ence for his "Hootenanny Hoot", and
it is my hope that it will be so success-
ful that many other producers will be
convinced to get on the trend wagon.

Page 24 Film BULLETIN September 2, 1963

?///» Off b/Jt/HCtiCH

"Lilies of the Field" Warm with Human Qualities

Su4tHe44 "Rati*? Q © ©

A "sleeper" . Deeply moving, engrossing story of
Negro's collaboration with group of refugee nuns to
build a chapel in wasteland. Poitier gives superb por-
trayal. Special selling required, which UA is giving it.

A glowing joie de litre bursts from "Lilies Of The Field"'
and engulfs its audience in a rare and wondrous warmth. Not
since "Marty" has there been a movie so full of human values
and so blessedly bereft of maudlin goo and preachiness. Already
a triple-award winner (including best actor honors for Sidney
Poitier) at the Berlin Film Festival, this Rainbow Production,
for United Artists releases, is undoubtedly destined for addi-
tional laurels, and will be a strong contender when the 1963
Oscars are handed out.

Producer-director Ralph Nelson has fashioned a sparkling,
perfectly-wrought gem out of material that most producers
would consider boxofnce poison. Poitier is the only "name"'
performer, and the deceptively simple, almost anectodal, story
concerns a Negro ex-GI and five refugee nuns, who, unable to
speak English, gabble incoherently in German. To cap it all,
this low-budget family film was made at what may well be the
most unscenic locale in America — a barren stretch of wasteland
in Arizona.

United Artists, fully recognizing the problems involved in
selling a film of this nature, is giving it special handling and
art house showcasing before general release. Critical approval
and, more important, enthusiastic word-of-mouth will help
build public interest. In the hinterlands, endorsements by reli-
gious groups will be a plus factor, and UA will develop special
programs for these areas. All in all, "Lilies" shapes up as the
"sleeper" of the year!

Everything about the film seems inspired, but most of all,
Poitier's casting in the sort of role that, under other production
reins, might well have gone to a Marlon Brando or, even an
Elvis Presley. He is a drifter, a carefree responsibility-evading
lad, who accepts the universe and wants only to "be free."
Happiness, to him, is his station wagon, guitar, transistor radio,
and the open sky. When he comes upon five strangely dressed
women in a barren stretch of the Southwest, a drama of brother-
hood, more vital than the color of skin, evolves.

He wants only a canteen of water, but he is bullied and
goaded by the gruff leader of the group into repairing a leaky
roof. Afterwards, he presents her a bill which is ignored, but
he is asked to share with them a humble meal. At their table,
they appear in their order's vestments, and he learns that they
are refugee nuns from East Germany, to whose order this plot
of land had been bequeathed. He tells them his name is Homer
Smith — but to the Sisters he is "Schmidt", a man sent by God
to build them a chapel.

On this flimsy framework, rests the film, the balance of
which concerns the interplay of personalities between the
strong-willed Mother Superior, played by Lilia Skala, and
the easy-going Poitier. Miss Skala's wonderfully expressive
face seems to mirror the troubles of our times. She is over-
bearing, intolerant, and insensitive, and in her brusqueness
there is cruelty — but shining above it all is the faith born of
these faults. To make the audience unterstand this — and not

Sidney Poitier Follows the Mother Superior, Lilia Skaht

take offense — is a tribute both to Miss Skala, to director Nelson,
and to James Poe, who sensitively adapted the screenplay from
a short novel by William E. Barrett.

As her nemesis, Poitier is perfect. Kind, humble, obedient —
he seems the very prototype of the Boy Scout code, but, at times,
this over eagerness to please and to serve, without reward,
becomes suspect. Through subtle implication, Poitier gradually
develops into a stereotype of the put-upon, but ever-loyal, slave
until, in a brilliantly played scene, we realize that his behavior
is guided by vanity and an image of himself as a worker of
miracles.

Throughout this conflict of personalities, other figures emerge
with the same understanding of the human spirit. The four
Sisters, Lisa Mann, Isa Crino, Francesca Jarvis, and Pamela
Branch, all delightful, balance the dominance of the Mother
Superior. Dan Frazer is the nomadic priest who loses faith in
God because he dreamed of a cathedral and found, in its place,
a battered trailer. Finally, there is Stanley Adams, the bullying
apostate, who helps to build the chapel as a form of "insurance"
— just in case there is a hereafter. Rounding out the credits,
Jerry Goldsmith's ethnic-flavored background music will take
its place among the most noteworthy film scores, and Ernest
Haller's photography provides fluid visions that throb with
vitality.

After the chapel is built, we see that Poitier and the Mother
Superior are alike in one respect — their dogged devotion to
what they believe in. They also have learned from one another.
She has made him see his vanity for what it is and, because of
this, he has found a strength and character that might otherwise
have remained buried. Through him, she has come to recognize
her dictatorial ways as Hitler-like posturings, and she has
regained a compassion and sensitivity that seemed fore\er lost.
In the final moments, only she realizes what is happening as
Poitier departs from their lives as unceremoniously as he
entered.

United Artists. 94 minutes. Sidney Poitier Lilia Skala. Produced and directed by
Ralph Nelson.

Film BULLETIN September 2, 1963 Page 25

"A New Kind of Love"

Su4Ue44 1£ctfi«$ O O Plus

Farce lacks the spark of spontaneity. Newman, Wood-
ward, Ritter for marquee. Should be OK grosser in
metropolitan markets.

This misses by a long distance being the gay, carefree
romantic farce it obviously was intended to be. Despite the
presence of two such competent performers as Paul Newman
and Joanne Woodward (or, perhaps, because of them) "A New
Kind of Love" lacks the verve and spontaneity that is the foun-
dation for this kind of plotting. The two stars appear a little
ill at ease rushing frantically through their countless variations
on a one-joke theme. Their ennui is compensated for to some
extent by the spirited playing of Thelma Ritter, George Tobias,
and Eva Gabor — a triumvirate that surely represents the year's
most unorthodox romantic triangle. Returns should be above-
average in metropolitan non-action situations, but not in the
smaller towns or family houses. A gaudy Technicolored Parisian
background, a tour of the city's leading fashion houses, and a
brief appearance by Maurice Chevalier (singing a medley of his
hit tunes) won't fool viewers into mistaking this Paramount
release for sophisticated comedy. Producer-director-writer Mel-
ville Shavelson has introduced a few attempts at mild satire,
but he is most successful when borrowing liberally from Joe
Miller's joke bag. Frank Sinatra sings his lilting interpretation
of the title tune over the credits, and pianist-composer Erroll
Garner has doodled some innocuous background themes. The
story is the one about the girl fashion consultant (Joanne
Woodward) named "Sam" — everyone mistakes her for a boy.
Reporter Paul Newman meets her at the men's room on an
airliner, so his confusion is understandable. Poor "Sam", short
for Samantha, arrives in Paris and is so embarrassed when a
prostitute tries to solicit from her, that she buys a blonde wig
and a tight dress and sets up shop at a sidewalk bistro. New-
man, looking for material for a feature story, mistakes her for a
prostitute, and she leads him on by telling lurid, imaginary
stories about her past. When she runs out of variations on
"Camille ', she borrows a story from woman-of-the-world Eva
Gabor who has been trying to steal "Sam's" boss (George
Tobias) from his long-waiting, ever-patient "business com-
panion ", Thelma Ritter. When "Sam's" version of Miss Gabor's
romance is featured in Newman's article, Tobias gives Miss
Gabor the heave-ho. Miss Ritter jumps into the breach, entices
him with a bowl of onion soup, and receives, in return, a
proposal of marriage. By this time, Newman has discovered his
supposed prostitute's identity, but since she doesn't know that
he knows, he takes her up to his apartment and offers her
money. He gets marriage.

Paramount. 105 minutes. Paul Newman, Joanne Woodward. Produced and directed
by Melville Shavelson.

"Lord of the Flies"

Will get early response in art and class houses, but
word-of -mouth will cut grosses. Amateurish in parts.

The popularity of William Golding's allegorical novel will
win good early response in art houses and theatres in college
towns, but disappointed word-of-mouth will be damaging. Its
potential is very limited in the general market. The Lewis Allen-
Dana Hodgdon production, produced by Allen, was filmed in
Puerto Rico with a cast of 40 schoolboys, recruited mostly from
England. Director Peter Brook worked from a vague outline,
but allowed the children, non-professionals all, to improvise
the dialogue and situations as they went along. The result is
sometimes powerful — especially in the climactic scenes of sav-

agery, but in some parts it is surprisingly amateurish. It is im-
possible to become emotionally involved when, in key dramatic
scenes, boys in the background are seen making faces at the
cameraman. The dialogue sometimes rings true, as when one
youngster tells a story about his home town, but most of it is
rather trite. Much of the acting is atrocious, and the camera
work by Tom Hollyman is too consciously arty and, in its fre-
quent use of stop-motion techniques, cliched. Golding's parable
concerns a group of boys, evacuees from a nuclear war, whose
plane crashes on an uninhabited tropical island. One group, led
by James Aubrey, tries to establish a democratic government,
but another, a gang of choir boys headed by Tom Chapin,
rejects any rules or restrictions. Dubbing themselves "the hun-
ters," they resort to jungle rule and attempt to wrest control
from Aubrey's group. A fat, myopic youngster called "Piggy"
(Hugh Edwards) sees both sides of the dispute and, while
remaining loyal to Aubrey, tires to bring the two forces to-
gether. Becoming increasingly primitive, the boys accidently
kill one youngster, then press others into service as "slaves."
After "Piggy" is deliberately murdered, only Aubrey remains a
threat. They set fire to the island and hunt Aubrey down to
kill him. Rescue arrives in the form of a British naval ship and
the boys once again become "normal" English school children.

Continental Distributing Co. James Aubrey, Tom Chapin, Hugh Edwards. Produced
by Lewis Allen. Directed by Peter Brook.

"Wives and Lovers"

S«4utC44 KcXtiK? © O PIUS

Extra-marital shenanigans in the suburbs should get
some laughs from city audiences. Fair marquee strength.

Good, clean sex in the suburbs is the unlikely theme of this
comedy that will do fair business in metropolitan areas. Not-so
sophisticated suburbanites should get some laughs from the
satiric swipes at their status symbols, their mores, and their
drinking habits, but others, not familiar with upper-strata
folkways, are apt to take it seriously, as a watered-down "Chap-
man Report." Hal Wallis' latest production for Paramount has a
well-balanced cast and boasts some genuinely funny moments,
but it wavers so uncertainly between attempts at sophisticated
comedy, syrupy drama, and situation gags that viewers may feel
they are watching three movies simultaneously. Janet Leigh and
Van Johnson spend so much time screaming at each other that
their performances become jarring, and daughter Claire Wilcox
is enough to drive any man from the family hearth and any
woman to drink. According to the script, though, it is Martha
Hyer, vamping in typical style, and Jeremy Slate, as her male
counterpart, who cause the split. Shelley Winters and Ray
Walston as the couple (not married) next door enliven the
proceedings with some droll, deftly played comedy. John Rich,
recruited from TV, directs each scene as though he was staging
a TV variety show, and Edward Anhalt's screenplay, adapted
from Jay Presson's play, "The First Wife," is occasionally funny,
but more often trite. Johnson, a struggling writer, suddenly
hits it big, moves wife and daughter from a Manhattan slum to
the suburbs. Spouse Leigh finds keeping up with the Joneses
time consuming until she suspects that hubby is making time of
his own with his sultry agent (Miss Hyer). Jeremy Slate, a
movie star and ex-beau of Miss Hyer, turns up and makes a
pass at Miss Leigh. She responds. Miss Winters and Walston
root for both sides from their poolside vantage points and offer
sage counsel. Johnson walks out on his wife when he finds Slate
in his home at 7:00 a.m., but returns to learn that the sobering
influence of alcohol (sic) prevented her from succumbing com-
pletely to another man's charms. The same thing, it seems,
happened to him while under Miss Hyer's spell.

Paramount. 102 minutes. Janet Leigh, Van Johnson, Shelley Winters, Martha Hyer.
Produced by Hal Wallis. Directed by John Rich.

Page 26 Film BULLETIN September 2, 1963

"The Haunting"
1R<zUk$ O O O

Eerie suspense chiller will hold all audiences. Needs
strong selling to overcome mild marquee values.

Audiences longing for an eerie suspense thriller in the classic
tradition have it here. This one — in the "Rebecca" vein — is
properly chilling and could be a boxoffice "sleeper" if M-G-M
and exhibitors collaborate to back it with a strong promotion
campaign. Its steadily mounting tension, bizarre setting, and
spine-tingling special effects should score with audiences every-
where. A supposedly haunted house, said to be "born evil", is
the real enticement of the film, and producer-director Robert
Wise has cast his performers for acting ability more than mar-
quee value. It is difficult to imagine more persuasive thesping
than that by Julie Harris, Claire Bloom and Richard Johnson.
Nelson Gidding's screenplay, adapted from Shirley Jackson's
novel, "The Haunting of Hill House", has enough in the way
of nerve-tightening excitement to hold the attention of even the
most sophisticated audiences. Wise's moodily effective direction
and David Boulton's sinister black and white photography draw
maximum effect from the ghostly yarn. Humphrey Searle has
composed a hauntingly evocative background score for this
Argyle Enterprises Picture, photographed in Panavision. "Hill
House", in a secluded corner of New England, fascinates Rich-
ard Johnson, an anthropologist and researcher, who rents the
gloomy mansion for a summer session of psychic study. To
assist him, he enlists the help of Julie Harris, Claire Bloom,
who, because of past psychic experiences, may be sensitive to
supernatural forces. Russ Tamblyn, a college student who will
someday inherit the house, accompanies them. Everything in the
house is slightly off-center, causing doors to close silently on
maze-like corridors. Countless windows, like eyes, stare male-
volently, and hideous gargoyles obtrude from the walls. The
ievil which seems to permeate the air increases as the quartet
ilearns the grotesque history of the house and its ill-fated inhab-
itants. They see nothing to indicate supernatural forces — but
they feel. An inexplicable cold spot, rumored to be the heart of
the house, freezes the blood of all except Tamblyn — who dis-
misses it as a draft. The girls also hear strange unearthy sounds
in the night. Even a drunken Tamblyn becomes convinced when
an unseen force tries to break down a locked door. Miss Harris
appears on the verge of a breakdown, and her condition
worsens when Johnson's wife (Lois Maxwell) suddently arrives
and scoffs at their stories. Violence erupts, and death claims a
victim before the survivors decide to abandon their research.

M-G-M. 112 minutes. Julie Harris, Claire Bloom, Richard Johnson, Russ Tamblyn.
'roduced and directed by Robert Wise.

"The Three Stooges Go
Around the World in a Daze"

gudueetd &attKQ O O Plus

Amusing, wildly slapstick take-off on "80 Days". Will
throw the kiddies into fits of laughter.

Slapstick, not satire is the object of this Three Stooges attack
:>n Jules Verne which will be greeted with wild laughter by
rheir legions of juvenile fans. The Columbia release shapes up
las a good item for drive-ins and family houses. A somewhat
■pore complex plot than usual doesn't inhibit the trio's zany
knock down, drag-out antics — the screenplay by EKvood Ull-
!nan, from a story by producer-director Norman Maurer, being
I |i fast-moving low-brow version of the "80 Days" yarn. Maurer's
direction is animated, to say the least. The Stooges (Moe
Howard, Larry Eine, Joe De Rita) are in fine form, and Jay
^Sheffield, as Phileas Fogg, III, and Joan Ereeman make an

attractive romantic team. In this version of the familiar story,
Phileas Fogg, III, attempts to duplicate his illustrious ances-
tor's around the world feat, this time without benefit of money.
He is accompanied by his butler, chef and valet — The Three
Stooges. As soon as the trip begins, the quartet find themselves
sought by the police. It seems that villainous Peter Forster chal-
lenged Fogg to the wager so that he could frame him for a
bank robbery he and accomplice Walter Burke committed. The
intrepid Stooges and their master evade the gendarmes of sev-
eral nations and wind up in Calcutta, where they rescue an
American showgirl (Miss Freeman) from kidnappers. At a
Maharajah's palace, they masquerade as women and entertain
visiting dignitaries with a wild knife-throwing act. Next, they
find themselves prisoners in Red China. They escape by brain-
washing their captors and making them supply them with free
transportation to Japan. In Tokyo, Curly unwittingly defeats a
Sumo wrestling champion, and the group is given free transpor-
tation to San Francisco for a world's championship sumo bout.
The fight becomes so hectic that the entire ring collapses before
Curly emerges triumphant. By now Miss Freeman is in love
with Fogg, III, and they eventually end up back in London,
where they prove their innocence, nab Forster and Burke, and
Fogg III, collects on his bet within seconds of the deadline.

Columbia. 94 minutes. The Three Stooges. Produced and directed by Norman
Maurer.

"The Haunted Palace"

&«4uee44 'Rati**? Q O

Another rollicking weirdie from AIP. In color, with
Vincent Price. Will delight horror buffs.

Those demoniac minds at American International have con-
jured up another ghoulish goulash that will be savored by
horror buffs. In "The Haunted Palace" Vincent Price machin-
ates the forces of evil alone, without the aid of the other
partners in horror, and while he doesn't figure to lure as sizable
an audince as the most successful of these James H. Nicholson-
Samuel Z. Arkoff productions, boxoffice results should be above
average, especially in drive-in and action markets. Much will
depend on the promotion effort put behind it. Price has a field
day, playing dual roles and carrying out the fiendish tortures
that emanated from the mind of script writer Charles Beaumont,
who padded out a minor Poe poem into this grisly, but imagina-
tive, shocker. Producer-director Roger Corman once again
utilizes eerie color combinations, atmospheric sets and bizarre
special effects to achieve a constant flow of suspense. The story
opens in New England, in 1765, as angry villagers burn Joseph
Curwen (Price) for his alleged associations with the devil. As
flames consume him, Curwen curses the villagers and their
descendants. More than 100 years pass. Two strangers, Price
(Curwen's grandson) and his bride. Debra Paget, disregard
villagers' warnings against living in Curwen's castle. Whenever
Price looks at a portrait of his ancestor, a strange change comes
over him. Eventually, the evil Curwen takes control of Price's
body and, with the help of caretaker Lon Chanev (who ap-
parently has learned the secret of eternal life), he fulfills the
curse by killing by fire the descendants of the men who burned
him. Miss Paget senses what is happening and tries to bring back
the tender-hearted man she married. To reward her. Price takes
her to a subterranean cave where he intends to mate her with
a creature that seeks to rule the world. He is interrupted by
villagers who storm the castle and set it afire. Price, once again
himself, and Miss Paget are rescued. As they watch flames
destroy the castle, however, a strange transformation takes
plate. In their eyes is an unmistakable glint of evil. Curwen has
triumphed.

AIP. 85 minutes. Vincent Price, Debra Paget, Lon Chaney. Produced and directed
by Roger Corman.

Film BULLETIN September 2, 1963 Page 27

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

May

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Lauren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.
88 min. 5/13/63.

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
Producer David Deutsch. Director Michael Winner.
Musical, 74 min. 7/8/63.

June

55 DAYS AT PEKING Technirama, Technicolor.
Charlton Heston, David Niven, Ava Gardner, Flora
Robson, Harry Andrews, John Ireland. Producer Samuel
Bronston. Director Nicholas Ray. Story of the Boxer
uprising. 150 min. 4/29/63.

August

GUN HAWK. THE Rory Calhoun, Rod Cameron, Ruta
Lee, Rod Lauren. Producer Richard Bernstein. Direc-
tor Edward Ludwig. Outlaws govern peaceful town of
Sanctuary.

September

CRY OF BATTLE Van Heflin, Rita Moreno, James Mac-
Arthur. Producer Joe Steinberg. Director Irving Lerner.
Guerilla Warfare in the Phillipines at the start of World
War II.

SHOCK CORRIDOR (Formerly The Long Corridor)
Peter Breck, Constance Towers, Gene Evans, James
Best, Hari Rhodes. Producer-director Samuel Fuller. A
Leon Fromkess Production. A suspense drama. 101 min.
7/22/63.

November

GUNFIGHT AT COMANCHE CREEK Color. Panavision.
Audie Murphy, Ben Cooper, Colleen Miller, DeForrest
Kelley and Jan Merlin. Producer Ben Schwalb. Director
Frank McDonald. Private detective breaks up outlaw
gang.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen, Tuesday Weld, Tony Bill, Tom Poston, Chris
Noel, Ed Nelson. Producer Martin Jurow. Director
Ralph Nelson.

Coming

STRANGLER, THE Victor Buono. Producers Samuel
Bischoff, David Diamond.

IRON KISS, THE A Leon Fromkess production. Pro-
ducer-director Samuel Fuller.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

WAR MADNESS Tony Russell, Baynes Barron, Judy Dan.

AMERICAN INTERNATIONAL

May

MIND BENDERS. THE Dirk Bogarde, Mary Ure, John
Clement. Producer Michael Relph. Director Basil Dear-
den. Science fiction. 99 min. 4/15/63.

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama. 84 mm.

June

DEMENTIA ~13 (Filmgroup) William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK, THE CONQUEROR (Formerly Miracle of the
Viking). Color, CinemaScope. Cameron Mitchell,
Kessler Twins. Action drama. 90 min.

July

TERROR, THE IFilmgroup) Color, Vistascope. Boris Kar-
loff. Sandra Knight. Horror. 81 min.

August

BEACH PARTY Color. Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funfeello.
Producer James H. Nicholson. Director William Asher.
Teenage comedy. 100 min. 7/22/63.

September

HAUNTED PALACE. THE Color, Panavision. Vincent
Price, Debra Paget, Lon Chaney. Edgar Allan Poe

classic.

October

SUMMER AFFAIR, A I Formerly Summer Holiday) Tech-
nicolor, Technirama. Cliff Richard, Lauri Peters. Teen-
age musical comedy. 100 min.

"X"— THE MAN WITH THE X-RAY EYES Ray Milland,
Diana Van Der Vlis, John Hoyt, Don Rickles. Science
fiction. 80 min.

November

PYRO— THE MAN WITHOUT A FACE Color. Barry
Sullivan, Martha Myer, Suspense melodrama.

December

BLACK SABBATH Color. Boris Karloff, Mark Damon.
Horror.

FLIGHT INTO FRIGHT (Formerly Schizo) Leticia
Roman, John Saxon. Producer-director Mario Dava. Sus-
pense horror.

GOLIATH & THE GLADIATORS Color. Scope. Mark
Forrest, Jose Greco, Erno Crisa.

January

GOLIATH AND THE VIRGINS OF BABYLON, (formerly
SAMSON AND THE SINS OF BABYLON) Color, Scope.

SOME PEOPLE (Color) Kenneth More, Ray Brooks,
Annita Wills.

February

COMEDY OF TERRORS, A Color. Panavision. Vincent
Price, Peter Lorre, Boris Karloff Basil Rathbone, Joyce
Jameson. Horror, comedy.

Coming

BIKINI BEACH Color, Panavision. Teenage comedy.
DUNWICH HORROR Color. Panavision. Science Fiction.
GENGHIS KHAN 70mm roadshow.

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester, Harvey
Lembeck. Horror comedy.

MAGNIFICENT LEONARDO, THE Color, Cinemascope.
Ray Milland.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

MUSCLE BEACH Color, Panavision. Frankie Avalon,
Annette Funicello. Teenage musical.

RUMBLE Color. Frankie Avalon, Annette Funicello. Teen-
age drama.

SAMSON & THE QUEEN OF THE AMAZONS. Color;
Scope. Mark Forrest, Josi Creci, Erno Crisa. Action
comedy.

UNEARTHY, THE John Neville, Philip Stone, Gabriella
Lucudi. Science fiction.
UNDER AGE Teenage drama.

WHEN THE SLEEPER AWAKES Color. Vincent Price.
Producers Julian Wintle, Leslie Parkyn. H. G. Wells

classic.

June

SAVAGE SAM Brian Keith, Tommy Kirk, Kevin Cor-
coran Marta Kristen. Dewev Martin. Jeff York. Pro-
ducer Walt Disney. Director Norman Tokar. Tale of the
pursuit of renegade Indians who kidnap two boys and
a girl. 110 min. 6/10/63.

July

SUMMER MAGIC Hayley Mills, Burl Ives, Dorothy Mc-
Guire, Deborah Walley, Peter Brown, Eddie Hodges.
Director James Neilson. Comedy musical. 109 min.
7/8/63.

October

20,0000 LEAGUES UNDER THE SEA Re-release.
FANTASIA Re-release.

November

INCREDIBLE JOURNEY Emile Genest, John Drainie,
Sandra Scott. Producer Walt Disney. Director Fletcher
Markle. Based on book by Sheila Burnford. Adventure
drama. 90 min.

December

SWORD IN THE STONE, THE. Producer Walt Disney.
Director, Wolfgang Reitherman. Full-length animated
feature. 75 min.

May

FURY OF THE PAGANS Edmund Purdom, Rosanna
Podesta.

June

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke. Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical. I 12 min. 4/1 5/63.

JASON AND THE ARGONAUTS (Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Kovak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic. 104 min. 6/10/63.

JUST FOR FUN Bobby Vee, The Crickets, Freddie
Cannon, Johnny Tillotson, Kerry Lester, The Tornadoes.

72 min.

July

13 FRIGHTENED GIRLS Murray Hamilton, Joyce Tay-
lor, Hugh Marlowe. Producer-director William Castle.
Mystery. 89 min.

August

GIDGET GOES TO ROME James Darren, Cindy Carol,
Joby Baker. Producer Jerrv Bresler. Director Paul
Wendkos. Teenage romantic comedy. 101 min. 8/5/63.

September

IN THE FRENCH STYLE Jean Seberg. Producer Irwin
Shaw. Director Robert Parrish.

October

MANIAC Kerwin Mathews, Nadia Gray.

OLD DARK HOUSE, THE Tom Poston, Joyce Greenfell.

RUNNING MAN, THE Laurence Harvey, Lee Remick.

Coming

BEHOLD A PALE HORSE Gregory Peck, Anthony Quinn.

CARDINAL, THE Tom Tryon, Romy Schneider, Carol
Lynley, John Saxon. Producer-director Otto Preminger.

CONGO VIVO Jean Seberg, Gabriele Ferzetti.

DR STRANGE LOVE: OR HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers,
Sterling Hayden, George C. Scott, Keenan Wynn. Pro-
ducer-director Stanley Kubrick. Comedy.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anttiony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

L-SHAPED ROOM. THE Leslie Caron, Tom Bell. Pro-
ducer James Woolf, Richard Attenborough. Director
Bryan Forbes. Drama. 125 min. 7/22/63.

SIEGE OF THE SAXONS Janette Scott, Ronald Lewis.
Producer Jud Kinberg. Director Nathan Juran. Juvenile
adventure story. 85 min. 8/19/63.

SWINGIN1 MAIDEN, THE (Formerly The Iron Maiden)
Michael Craig, Anne Helm, Jeff Donnell.

UNDER THE YUM YUM TREE Jack Lemmon, Carol Lyn-
ley.

VICTORS, THE Vincent Edwards, Melina Mercouri,
Jeanne Moreau, Romy Schneider. Producer-director
Carl Forman.

June

DAVID AND LISA Keir Dullea, Janet Margolin, How-
ard Da Silva. Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed young-
sters. 94 min. 1/7/63.

Film

BULLETIN — THIS IS YOUR PRODUCT

YOUR SHADOW IS MINE Jill Haworth, Michael Ruhl.
A European girl, raised by an Indo-Chinese family, has
to choose between her native sweetheart and the
i society of her own people. 90 min.

July

THIS SPORTING LIFE Richard Harris, Rachel Roberts.
Producer Karel Reisz. Director Lindsay Anderson. Dra-
ma. 129 min. 7/22/63.

August

LORD OF THE FLIES Director Peter Brooks. Dramatiza-
tion of William Golden's best selling novel. 90 min.

NEVER LET GO Richard Todd, Peter Sellers, Elizabeth
Sellers. Producer Peter de Sarigny. Director John
Guillevmin. Crime melodrama. 90 min. 6/24/63.

September

HANDS OF ORLAC, THE Mel Ferrer, Christopher Lee,
Dany Carrel, Lucille Saint Simon. Producers Steven
Pallos, Donald Taylor. Director Edmond Greville.
Mystery. 86 min.

Coming

MEDITERRANEAN HOLIDAY 70 mm color. Travelogue
narrated by Burl Ives.

LAW, THE Marcello Mastroianni, Melina Mercouri, Yves
Montand, Gina Lollobrigida. Producer, Jacques Bar.
Director, Jules Dassin. Romantic drama. I 14 min.

May

BEAR, THE I English-dubbed 1 Renato Rascel, Francis
Blanche, Gocha.

July

FREDERICO FELLINI'S "BV2" Marcello Mastroianni,
Claudia Cardinale, Anouk Aimee, Sandra Milo. Pro-
ducer Angelo Rizzoli. Director Federico Fellini. Drama.
135 min. 7/8/63.

GENTLE ART OF MURDER, THE (Formerly Crime Does
Not Pay) Edwige Feuillere, Michele Morgan, Pierre
Brasseur, Richard Todd, Danielle Darrieux. Director
Gerard Oury. Drama. 159 min.

LIGHT FANTASTIC Dolores McDougal, Barry Bartle.
Producer Robert Gaffney. Director Robert McCarty.
Drama.

PASSIONATE THIEF THE Anna Magnani, Ben Gazzara,
Toto. Producer Silvio Clementelli. Director Mario
Monicelli. Comedy. 95 min.

WOMEN OF THE WORLD Technicolor. Narrated by
Peter Ustinov. Director Gualtiero Jacopetti. Women as
they are in every part of the world. 107 min. 7/8/63.

September

CONJUGAL BED, THE Marina Vlady, Ugo Tognazzi.
Director Marco Ferreri. Comedy drama.
ONLY ONE NEW YORK Director Pierre-Dominique
Gaisseau. Documentary.

THREEPENNY OPERA Sammy Davis, Jr., Curt Jurgens,
Hildegarde Neff. Director Wolfgang Staudte. Screen
version of Bertolt Brecht and Kurt Weill classic.

Current Releases

ARMS AND THE MAN (Casino Films) Lilo Pulver,
O. W. Fischer, Ellen Schwiers, Jan Hendriks. Producers
H R. Socal, P. Goldbaum. Director Franz Peter Wirth.
96 min.

BERN ADE7TE OF LOURDES (Janus Films) Daniele Ajoret
Nadine Atari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE (Lopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLACK FOX, THE (Capri Films) Produced, directed
and written by Louis Clyde Stoumen. 89 min. 4/29/63.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 68 min.

BLOODY BROOD. THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR, A (Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

BURNING COURT, THE (Trans-Lux) Nadja Tiller, Jean-
Claude Brialy, Perrette Pradier. Producer Yvon
Guezel. Director Julien Duvivier.

CLEOPATRA'S DAUGHTER (Medallion) Color. Total-
scope. Debra Paget, Robert Alda. 93 min.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

DAY THE SKY EXPLODED, THE lExcelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR, THE (Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

I DEVIL MADE A WOMAN. THE (Medallion) Color, To-
ftalscope. Sarita Montiel. 87 min.

Film

DEVIL'S HAND. THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE (Ultra Pictures) Anthony Quinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS (Crown International)
Technicolor, Totalvision. Yoko Tani, Oldrick Lukes. 81
min.

FIVE DAY LOVER, THE (Kingsley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FORCE OF IMPULSE (Sutton Pictures) Tony Anthony,
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

GIRL HUNTERS, THE IColorama). Mickey Spillane,
Shirley Eaton, Lloyd Nolan. Producer Robert Fellows.
Director Roy Rowland. Mickey Spillane mystery. 103
min. 6/10/63.

GREENWICH VILLAGE STORY. THE (Shawn-Interna-
tional) Robert Hogan, Melinda Prank. Producer-direc-
tor Jack O'Connell. Drama. 95 min. 8/19/63.

HAND IN THE TRAP (Angel Films) Elsa Daniel, Fran-
cisco Rabal. Director Leopoldo Torre Nilsson. Horror.
90 min. 7/22/63.

HEAD, THE (Trans-Lux) Horst Frank, Michael Simon.
Director Victor Trivas. Horror. 95 mm. 7/8/63.

HORROR HOTEL (Trans-Lux) Denis Lotis, Christopher
Lee, Betta St. John, Patricia Jessel. Producer Donald
Taylor. Director John Moxey. 76 min. 7/8/63.

IMPORTANT MAN, THE (Lopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

LAFAYETTE IMaco Film Corp.) Jack Hawkins, Orson
Welles, Vittorio De Sica. Producer Maurice Jacquin.
Director Jean Oreville. 110 min. 4/1/63.

LA NOTTE BRAVA IMiHer Producing Co.) Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LAST OF THE VIKINGS (Medallion) Color, Totalscope.
Cameron Mitchell. Edmond Purdom. 102 min.

LAZARILLO (Union Films) Marco Paoletti, Juan Jose
Menendez. An Hesperia Films Production. Director
Cesar Ardavin. Tale of a 12-year-old rogue-hero's
efforts to survive in 16th century Spain. 100 min.
5/13/63.

LES PARISIENNES (Times Films) Dany Saval. Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

MAGNIFICIENT SINNER (Film-Mart, Inc.) Romy
Schneider, Curt Jergens. Director Robert Siodmak. 91
min. 4/29/63.

MARRIAGE OF FIGARO. THE (Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin. D'rector Jean Meyer. French import.
105 min. 2/18/63.

MONDO CANE (Times Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/63.

MOUSE ON THE MOON, THE Eastmancolor (Lopert
Pictures) Margaret Rutherford, Bernard Cribbins. Terry
Thomas. Satirical comedy. 84 min. 6/24/63.

MY HOBO (Toho) Kelji Kobayashi, Hideko Takamine.
Producer Tokyo Eiga Company. Director Zenzo Matsu-
yama. 98 min. 8/5/63.

MY NAME IS IVAN IMosFilm) Kolya Burlaiev. Director
Andrei Tarkovsky. Drama. 94 min. 8/19/63.

NIGHT OF EVIL ISutton) Lisa Gaye. Bill Campbell.
88 min.

NO EXIT (Zenith-International) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.

ORDERED TO LOVE IM. C. Distributor Release) Maria
Perschy. Producer Wolf Brauner. Director Werner
Klinger. Drama. 82 min. 7/22/63.

PARADISE ALLEY (Sutton) Hugo Haas. Corinne Griffith.
PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
1 1 5 min.

RAIDERS OF LEYTE GULF (Hemisphere Pictures) Mich-
ael Parsons, Leopold Salcedo, Jennings Sturgeon. Pro-
ducer-director Eddie Romero. War melodrama. 80 min.
7/22/63.

ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

RUN WITH THE DEVIL IJillo Films) Antonella Lualdi.
Gerard Blain, Franco Fabrizi. Director Mario Camerini.
Drama. 93 min. 8/19/63.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Slat-
ten. 82 min.

SLIME PEOPLE. THE I Hutton-Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

SON OF SAMSON (Medallion) Color, Totalscope. Mark
Forest, Chelo Alonso. 8' min.

BULLETIN — THIS IS YOUR PROD

SEPTEMBER SUMMARY

No change has occurred in the num-
ber of releases available for the month
of September over the past fortnight —
it remains at 15. However, one more
release will be forthcoming from 20th-
Fox and one less from American Inter-
national. Those companies which offer
two listings are 20th-Fox, M-G-M, War-
ner Brothers, Embassy and Allied Art-
ists. Five firms — Universal, Columbia,
United Artists, American-International
and Continental — each have one re-
lease. Neither Buena Vista nor Para-
mount have any product available for
the month.

STAKEOUT Ping Russell, Bill Hale, Eve Brent. 81 min.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THREE FABLES OF LOVE (Janus) Leslie Caron, Ros-
sano Brazi, Monica Vitti, Sylva Koscina, Charles
Aznavour, Jean Poiret, Michel Serrault, Ann Karina.
Producer Gilbert de Goldschmidt. Director Alessandro
Blasetti, Heave Bromberger, Rene Clair. 8/5/63.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Victoria) Narration by Thomas
L. Row and Pauline Girard. Producer-director Marion
Gering. 67 min. 7/8/63.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard HI Ilia rd .

VIRI DIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FOR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

METRO-GOLDWYN -MAYER

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatole de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.
109 min. 5/13/63.

May

DIME WITH A HALO Barbara Luna. Paul Langton.
Producer Laslo Vadnay. Hans Wilhelm. Director Boris

Sagal. Race track comedy. 94 min. 4/1/63.

DRUMS OF AFRICA Frankie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

92 min. 4/29/63.

IN THE COOL OF THE DAY CinemaScope, Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz. 90 min. 5/13/63.

SLAVE, THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites the slaves to
revolt against the Romans.

June

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West. 89 min.
FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.
90 min.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min. 6/24/63.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GrifflTh. Pro-
ducer Aaron Rosenberg. Director Lewis Milestone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/63.

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode. Producer Sy Weintraub. Director Robert Day.
Adventure. 92 min. 7/8/63.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz.

Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy. 85 min. 6/24/63.

U C T

DAY AND THE HOUR, THE I Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

TICKLISH AFFAIR, A I Formerly Moon Walk) Shirley

Jones. Gig Young. Producer Joe Pasternak. Director
George Sidney. Romantic comedy based on a story in
the Ladies Home Journal. 87 min. 7/8/63.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

August

HOOTENANNY HOOT Brothers Four, Sheb Wooley,
Johnny Cash. Folk musical.

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy. 84 min.
5/13/63.

September

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller.

V.I.P.s, The Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama. 119 min. 8/ 1 9/63 .

October

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

TIKO AND THE SHARK Producer Goffredo Lombardo.
Director F. Qui lie i . Filmed entirely in French Poly-
nesia with a Tahitian cast.

TWILIGHT OF HONOR Richard Chamberlain, Nick
Adams, Joan Blackman, Joey Heatherton. A Pearlberg-
Seaton Production. Director Boris Sagal. A young
lawyer falls victim to the bigoted wrath of a small
town when he defends a man accused of murdering
the town's leading citizen.

November

GLADIATORS SEVEN Richard Harrison, Loredana Nus-
ciak. Producers Cleo Fontini, Italo Zingarelii. Director
Pedro Lazaga. Seven gladiators aid in overthrowing
a tyrant of ancient Sparta.

MGM'S BIG PARADE OF COMEDY Great stars of the
past in memorable comedy moments from great MGM
Films of the past.

WHEELER DEALERS, THE James Garner, Lee Remick.
Producer Martin Ransohoff. Director Arthur Hiller.
Story of a Texan who takes Wall Street bv storm.

December

THE PRIZE Paul Newman, Edward G. Robinson, Elke
Sommer. Producer Pandro Berman. Director Mark
Robson. Based on the Irving Wallace bestseller.

January

CHILDREN OF THE DAMNED Ian Hendry, Alan Bader.
(Science fiction).

SUNDAY IN NEW YORK IMGM-Seven Arts) Cliff
Robertson, Jane Fonda, Rod Taylor. Producer Everett
Freeman. Director Peter Tewksbury. The eternal ques-
tion: should a girl or shouldn't she, prior to the
nuptials?

Coming

CORRIDORS OF BLOOD Boris Karloff, Betta St. John,
Finlay Currie. Producer John Croydon. Director Robert
Day. Drama. 84 min. 6/10/63.

COUNTERFEITERS OF PARIS Jean Gabin, Martine
Carol. Producer Jacques Bar. Director Gilles Grangier.
9? min.

FOUR DAYS OF NAPLES, THE Jean Sorel, Lea Messari,
Producer Goffredo Lombardo. Director Nanni Loy.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HOW THE WEST WAS WON Cinerama. Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. I5S min. 11/26/62.
MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/63.

MURDER AT THE GALLOP Margaret Rutherford, Flora
Robson. Producer George Brown. Director George Pol-
lock. Agatha Christie mystery. 81 min. 7/22/63.

OF HUMAN BONDAGE IMGM-Seven Arts) Laurence
Harvey, Kim Novak. Producer James Woolf. Director
Henry Hathaway. Film version of classic novel.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

WEREWOLF IN A GIRL'S DORMITORY Barbara Lass,
Carl Schell. Producer Jack Forrest. Director Richard
Benson. Horror show. 84 min. 6/10/63.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleasoa.
Glynis Johns. Producer Jack Rose. Director George
Marshall. Comedy-drama based on childhood of silent
screen star Corinne Griffith. 98 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cliff
Robertson, David Jannsen. Producer Garet Galther.

Director Gower Champion. Broadway star adopts six
abandoned children. 105 min. 3/18/63.

May

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director Rltt.
Drama set in modern Texas. 122 min. 3/4/63.

June

DUEL OF THE TITANS CinemaScope, Eastman color.
Steve Reeves, Gordon Scott. Producer Alessandro
Jacovoni. Director Sergio Corbucci. The story of
Romulus and Remus, the twin brothers who founded
the city of Rome.

NUTTY PROFESSOR, THE Technicolor. Jerry Lewis,
Stella Stevens. Producer Ernest D. Glucksman. Direc-
tor Jerry Lewis. A professor discovers a youth-
restoring secret formula. 105 min. 6/10/63.

July

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in

the South Pacific. 108 min. 8/5/63.

August

COME BLOW YOUR HORN Technicolor. Frank Sinatra.
Barbara Ruth, Lee J. Cobb. Producer Howard Koch. Di-
rector Bud Yorkin. A confirmed bachelor introduces his

young brother to the playboy's world. 112 min.
6/24/63.

October

NEW KIND OF LOVE, A Technicolor. Paul Newman,
Joanne Woodward, Thelma Ritter, Maurice Chevalier.
Producer-director Melville Shavelson. Romantic drama.

WIVES AND LOVERS Janet Leigh, Van Johnson, Shelley
Winters, Martha Hyer. Producer Hal B. Wallis. Direc-
tor John Rich. Romantic comedy.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmons,
Pat Hingle. Producer David Susskind. Director Alex
Segol. Rim version of play and novel.

BECKET Technicolor. Richard Burton, Peter O'Toole.
Producer Hal B. Wallis. Director Peter Glenville. Film
version of Jean Anouilh's play.

CARPETBAGGERS, THE Technicolor. Panavision 70.
George Peppard. Producer Joseph E. Levine. Director
Edward Dmytryk. Drama based on the best-seller by
Harold Robbins.

FUN IN ACAPULCO Technicolor. Elvis Presley, Ur-
sula Andress. Producer Hal B. Wallis. Director Rich-
ard Thorpe. Musical-comedy.

LADY IN A CAGE Olivia de Havilland, Ann Southern.
Producer Luther Davis. Director Walter Grauman.
Drama.

LOVE WITH THE PROPER STRANGER Natalie Wood,
Steve McQueen. Producer Alan J. Pakula. Director
Robert Mulligan. A young musician falls in love with
a Macy's sales clerk.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Douglas,
Fredric March. Producer Edward Lewis. Director John
Frankenheimer. A Marine colonel uncovers a military
plot to seize control of the U.S. government.

WHO'S BEEN SLEEPING IN MY BED? Panavision,
Technicolor. Dean Martin, Elizabeth Montgomery, Carol
Burnett. Producer Jack Rose. Director Daniel Mann.
Comedy.

WHO'S MINDING THE STORE? Technicolor. Jerry
Lewis, Jill St. John, Agnes Moorehead. Producer Paul
Jones. Director Frank Tashlin. Comedy.

20TH CENTURY-FOX

March

HOUSE OF THE DAMNED CinemaScope. Ronald Foster,
Merry Anders. Producer-Director Maury Dexter. Archi-
tect inspects haunted house and runs across circus of
freaks. 62 min.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

April

NINE HOURS TO RAMA CinemaScope, DeLuxe Color.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63.

May

YELLOW CANARY, THE CinemaScope. Pat Boone, Bar-
bara Eden. Producer Maury Dexter. Director Buzz Kulik.
Suspense drama. 93 min. 4/15/63.

June

STRIPPER, THE (Formerly A Woman in July) Cinema-
Scope. Joanne Woodward, Richard Beymer, Gypsy Rose
Lee, Claire Trevor. Producer Jerry Wald. Director
Franklin Schaffner. Unsuccessful actress seeks happi-
ness. 95 min. 4/29/63.

July

LONGEST DAY. THE CinemaScope. John Wayne, Rich-
ard Todd, Peter Lawford, Robert Wagner, Tommy
Sands, Fabian, Paul Anka, Curt Jurgens, Red Buttons,
Irina Demich, Robert Mitchum, Jeffrey Hunter, Eddie
Albert, Ray Danton, Henry Fonda, Edmond O'Brien,
Robert Ryan. Producer Darryl Zanuck. Directors Gerd
Oswald, Andrew Marton, Elmo Williams, Bernhard
Wicki, Ken Annakin. 180 min.

August

LASSIE'S GREAT ADVENTURE DeLuxe Color. June Lock-
hart, Jon Provost. Producer Robert A. Golden. Director
William Beaudine. Lassie and his master get lost in
Canadian Rockies. 103 min.

OF LOVE AND DESIRE DeLuxe Color. Merle Oberon,
Steve Cochran, Curt Jurgens. Producer Victor Stoloff.
Director Richard Rush. Brother tries to break up sister's
romance. 97 min.

September

CONDEMNED OF ALTONA, THE CinemaScope. Sophia
Loren, Maximilian Schell, Fredric March, Robert Wag-
ner. Producer Carlo Ponti. Director Vittorio De Sica.
Adaped from Jean-Paul Sartre's stage success. 114 min.

A FAREWELL TO ARMS. Re-release.

THE YOUNG SWINGERS CinemaScope. Rod Lauren,
Molly Bee. Producer-Director Maury Dexter.

October

THE LEOPARD CinemaScope, DeLuxe Color. Burt Lan-
caster, Alain Delon, Claudia Cardinale. Producer Gof-
fredo Lombardo. Director Luchino Visconti. Based on
famous best-seller detailing disintegration of Italian
nobility. 165 min. 8/19/63.

THUNDER ISLAND Cinemascope. Gene Nelson. Fay
Spain. Producer-director Jack Leewood. 65 min.

MARILYN CinemaScope, DeLuxe Color. Screen clips
from Marilyn Monroe's films with narration by Rock
Hudson. 83 min.

November

TAKE HER, SHE'S MINE CinemaScope, DeLuxe Color
James Stewart, Sandra Dee. Producer-Director Henry
Koster. Daughter's escapades at college cause comic
disturbance to father.

December

HARBOR LIGHTS CinemaScope. Kent Taylor, Jeff Mor
row. Producer-Director Maury Dexter. Thieves commi
murder for possession of fabulous diamond. 68 min
8/5/63.

Coming

CLEOPATRA Todd-AO Color. Elizabeth Taylor, Richard

Burton, Rex Harrison. Producer Walter Wanger
Director Joseph Mankiewicz. Story of famous queen.
221 min. 6/24/63.

MOVE OVER, DARLING CinemaScope, DeLuxe Color.
Doris Day, James Garner, Polly Bergen. Producers
Aaron Rosenberg, Martin Melecher. Director Michael
Gordon. Romantic comedy.

QUEEN'S GUARDS. THE CinemaScope, DeLuxe Color
Daniel Massey, Raymond Massey, Robert Stephens
Producer-Director Michael Powell". A tale of fhe
tradition and importance of being a Guard.
WINSTONE AFFAIR, THE Robert Mitchum, France
Nuyen .

UNITED ARTISTS

March

FIVE MILES TO MIDNIGHT Sophia Loren, Anthony
Perkins, Gig Young, Jean-Pierre Aumont. Producer-
director Anatole Litvak. Suspense drama about an
American in Europe who schemes to defraud an insur
ance company. 110 min. 3/4/63.

LOVE IS A BALL Technicolor, Panavision. Glenn Ford
Hope Lange, Charles Boyer. Producer Martin H. Poll
Director David Swift. Romantic comedy of the interna
tional set. 1 1 1 min. 3/4/63.

April

I COULD GO ON SINGING Eastmancolor, Panavisios
Judy Garland, Dick Bogarde. Jack Klugman. Producers
Stuart Millar, Lawrence Turman. Director Ronal
Neame. Judy returns in a dramatic singing role. 9
mm. 3/18/63.

Film BULLETIN — THIS IS YOUR PRODUCT

May

July

October

DR. NO Technicolor. Sean Conneiy, Ursula Andress,
Joseph Wiseman, Jack Lord. Producers Harry Saltzl
man, Albert R. Broccoli Director Terence Young. Action
drama based on the novel by Ian Fleming. Ill min.
3/ 18/63.

June

AMAZONS OF ROME Louis Jourdan. Sylvia Syms.

BUDDHA Technicolor, Technirama. Kojiro, Hongo,
Charito Solis. Producer Masaichi Nagata. Director
Kenji Misumi. Drama dealing with the life of one of
the world's most influential religious leaders. 134 min
7/22/63.

CALL ME BWANA Bob Hope, Anita Ekberg Edie
Ada ms. Producers Albert R. Broccoli, Harrv Saltzman.
Director Gordon Douglas. Comedy. 103 min. 6/10/63.

DIARY OF A MADMAN Vincent Price, Nancy Kovak.
Producer Robert E. Kent. Director Reginald Le Borg.
Horror mystery of a man possessed by a horla. 96 min.
3/4/63.

July

GREAT ESCAPE, THE Deluxe Color, Panavision. Steve
McQueen, James Garner, Richard Attenborough. Pro-
ducer-director John Sturges. Based on true prisoner of
war escape. 168 min. 4/15/63.

IRMA LA DOUCE Technicolor, Panavision. Jack Lem-
mon, Shirley MacLaine. Producer-director Billy Wilder.
Comedy about the "poules" of Paris, from the hit
Broadway play. 142 min. 6/10/63.

August

CARETAKERS. THE Robert Stack, Polly Bergen, Joan
Crawford. Producer-director Hall Bartlett. Drama
dealing with group therapy in a mental institution. 97
min. 8/19/63.

TOYS IN THE ATTIC Panavision. Dean Martin, Geral-
dine Page, Yvette Mimieux, Gene Tierney. Producer
Walter Mirisch. Director George Roy Hill. Screen
version of Broadway play. 90 min. 7/8/63.

September

LILIES OF THE FIELD Sidney Poitier, Litia Skala. Pro-
ducer-director Ralph Nelson. Story of ex-GI and Ger-
man refugee nuns who build a chapel in the Arizona
desert. 94 min.

October

JOHNNY COOL Henry Silva, Elizabeth Montgomery.
Producer-director William Asher. Chrislaw Productions.
101 min.

TWICE TOLD TALES Color. Vincent Price, Mari Blan-
chard. Producer Robert E. Kent. Director Sidney Salkow.
Based on famous stories of Nathaniel Hawthrone. 119
min.

November

ITS A MAD, MAD. MAD. MAD WORLD. Cinerama.
Technicolor. Spencer Tracy, Milton Berle, Sid Caesar
Buddy Hackett, Ethel Merman, Mickey Rooney, Dick
Shawn, Phil Silvers, Terry-Thomas, Jonathan Winters.
Producer-director Stanley Kramer. Spectacular comedy.

MCLINTOCK! Color. John Wayne, Maureen O'Hara
Yvonne De Carlo, Patrick Wayne, Chill Wills, Jack
Kruschen. Producer Michael Wayne. Director Andrew
V. McLaglen. 127 min.

December

KINGS OF THE SUN Color. Yul Brynner, George Cha-
kins. Producer Lewis Rachmil. Director J. Lee Thomp-
son. A Mirisch Company Presentation.

Coming

CEREMONY. THE Laurence Harvey, Sarah Miles, Rob-
ert Walker. John Ireland. Producer-director Laurence
Harvey. 108 min.

mmssnm

May

PARANOIC Janette Scott, Oliver Reed, Sheilah Burrell.
Producer Anthony Hinds. Director Freddie Francis.
Horror. 80 min. 4/15/63.

SHOWDOWN I Formerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen. Western. 79 min. 4/15/63.

June

LANCELOT AND GUINEVERE Technicolor. Panavision.
Cornel Wilde, Jean Wallace, Brian Aherne. Producers
Cornel Wilde, Bernard Luber. Director Wilde. Legend-
ary tale of love and betrayal. 115 min. 5/13/63.

LIST OF ADRIAN MESSENGER, THE George C. Scott
Dana Wynter, Clive Brook, Herbert Marshall. Producer
Edward Lewis. Director John Huston. Mystery. 98
mm. 6/10/63.

TAMMY AND THE DOCTOR Color. Sandra Dee, Peter
Fonda, Macdonaid Carey. Producer Ross Hunter. Direc-
tor Harry Keller. Romantic comedy. 88 min. 5/13/63.

GATHERING OF EAGLES, A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann. 116 min.

KING KONG VS. GODZILLA Color. Michael Keith,
Harry Holcomb, James Yagi. Producer John Beck.
Director Ray Montgomery. Thriller. 90 min. 6/10/63.

August

FREUD: SECRET PASSION (Formerly Freud) Mont-
gomery Clift, Susannah York. 120 min.

THRILL OF IT ALL. THE Color. Doris Day, James Gar-
ner, Arlene Francis. Producers Ross Hunter, Martin

Melecher. Director Norman Jewison. Romantic comedy.
108 min. 6/10/63.

TRAITORS, THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson. 71 min.

September

KISS OF THE VAMPIRE Eastman Color. Clifford Evans,
Edward DeSouza, Jennifer Daniels. Producer Anthony
Hinds. Director Don Sharpe. 88 min. 8/5/63.

October

FOR LOVE OR MONEY I Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon. 108
min. 8/5/63.

Coming

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN, M.D. Color. Gregory Peck, Tony
Curtis, Angie Dickinson, Bobby Darin, Eddie Albert.
Prod ucer Robert Arthur. Di rector D8vid Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

CHARADE Technicolor, Panavision. Cary Grant, Audrey
Hepburn, Walter Matthau, James Coburn. Producer-
Director Stanley Donen.

DARK PURPOSE Technicolor. Shirley Jones, Rossano
Brazzi, George Sanders, Micheline Presle, Georgia
Moll. Producer Steve Barclay. Director George Mar-
shall.

GUN HAND, THE Tony Young, Dan Duryea, Jo Mor-
row Madlyn Rhere. Producer Gorden Kay. Director
Paul Sylos.

ISLAND OF THE BLUE DOLPHINS (Color) Producer
Robert B. Radnitz. Director James B. Clark.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven, Shirley Jones. Producer Stanley Shapiro.
Director Ralph Levy.

MAN'S FAVORITE SPORT Color. Rock Hudson, Paula
Prentiss, Maria Perchy. Producer-director Howard
Hawks.

WILD AND WONDERFUL (Formerly Monsieur Cognac)
Color. Tony Curtis, Christine Kaufmann, Larry Storch,
Marty Ingles. Producer Harold Hecht. Director Michael
Anderson.

WARNER BROTHERS

May

AUNTIE MAME Re-release.

ISLAND OF LOVE (Formerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Costa.
Comedy set in Greece. 101 min. 5/13/63.
SUMMER PLACE, A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family. 119 min. 3/4/63.

September

CASTILIAN, THE Panacolor. Cesar Romero, Frankle
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama. 112 min. 8/19/63.

RAMPAGE. Technicolor. Robert Mitchum. Jack Hawk-
ins Elsa Martinelli. Producer William Fadiman. Direc-
tor' Phil Karlson. Adventure drama. 98 min. 8/19/63.

November

MARY. MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.
PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens, Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

DEAD RINGER Bette Davis, Karl Maiden, Peter Law-
ford. Producer William H. Wright. Director Paul Hen-
reid. Miss Davis plays a dual role of twin sisters in
this shocker.

DISTANT TRUMPET, A Technicolor. Panavision. Troy
Donahue, Suzanne Pleshette. Producer William H.
Wright. Director Raoul Walsh. Epic adventure of
Southwest.

ENSIGN PULVER (formerly Mister Pulver and the
Captain) Technicolor. Robert Walker, Burl Ives, Walter
Matthau, Millie Perkins, Tommy Sands. Producer-
director Joshua Logan. Comedy sequel to "Mister
Roberts".

FBI CODE 98 Jack Kelly, Ray Denton. Producer Stanley
Niss. Director Leslie H. Martinson. Dramatic action
story.

4 FOR TEXAS Technicolor. Frank Sinatra, Dean
Martin, Anita Ekberg, Ursula Andress. Producer-direc-
tor Robert Aldrich. Big-scale western with big star
cast.

GREAT RACE, THE Technicolor. Burt Lancaster, Jack
Lemmon. Producer Martin Jurow. Director Blake Ed-
wards. Story of greatest around-the-world automobile
race of all time.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

KISSES FOR MY PRESIDENT Fred MacMurray, Polly
Bergen. Producer-director Curtis Bernhardt. Original
comedy by Robert G. Kane.

LONG FLIGHT. THE Spencer Tracy, James Stewart,
Richard Widmark, Carroll Baker, Dolores Del Rio,
Sal Mineo. Producer Bernard Smith. Director John
Ford, Super-adventure drama of struggle by 300
Indians against U.S. Army.

MARY, MARY Debbie Reynolds, Barry Nelson.

OUT OF TOWNERS, THE Color. Glenn Ford, Geraldine
Page. Producer Martin Manulis. Director Delbert
Mann. Comedy-drama about a small-town "postmis-
tress".

PALM SPRINGS WEEKEND Troy Donahue, Connie
Stevens.

ROBIN AND THE 7 HOODS Technicolor-Panavision.
Frank Sinatra, Bing Crosby, Dean Martin, Sammy
Davis, Jr., Joey Bishop. Producer Gene Kelly. Director
Gordon Douglas. Based on adventures of Robin Hood
set against background of Chicago in the "roaring
20's."

YOUNGBLOOD HAWKE Suzanne Pleshette, James Fran-
ciscus. Producer-director Delmer Daves. From Herman
Wouk's best-selling novel.

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BULLETIN

Opinion of* the Inc3.-u.stry

SEPTEMBER 16, 1963

Can We Afford
The Luxury of
Two Exhibitor
Organizations ?

What Time Slant Id the
Evening Shows Start?

Read PENDARIS' VIEW FROM OUTSIDE

euievus

MARY, MARY
THE RUNNING MAN
THE CONDEMNED OF ALTONA
HOOTENANNY HOOT
OF LOVE AND DESIRE
THE SMALL WORLD OF SAMMY LEE
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LA POUPEE

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eta $50,000
e. And walks
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ihibited love-affair!

I

THE
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IN

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I

Edward c. RDBfNSD

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blonde, beautiful
Elke Sommer. . . is
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around the world!

Tke Vieuf frw OutAtfe

by ROLAND PENDARIS

When Should the Show Start?

In the New York City newspapers, as in those of other cities,
they publish timetables for the movie theatres. I happened to be
reading a couple of the schedules when I noticed something
that surprised me. The more I think about it, the more it seems
to deserve some rather pointed comment.

The timetables are divided into several regional headings,
beginning with the Broadway and mid-town first-runs. Then
there are listings for the neighborhood houses. In virtually every
instance, the starting times are given only for the main attrac-
tion. The short subject on Broadway and the second-half of the
double feature in the subsequent runs are not mentioned in the
charts.

When I looked at the Broadway timetable, I noticed that
practically every show could be seen from the beginning if you
entered between 7:30 and 8:50. There were a couple of excep-
tions, where a film happened to be extra long, but the 7:30
to 8:50 starting time has obviously maintained itself as the
Broadway standard. When you get to the neighborhood houses,
however, you can often kiss that standard starting time good-
bye. For example, I found a batch of houses where the feature
went on at 6:40 and then again at 10 P.M. Of the first 23
theatres listed in the neighborhood show roster of the journal
American, for example, only eight had the feature going on
in the 7:30 to 8:50 span. The others started mostly before 7
PM and then at 10 PM or later. Maybe this has proved to be
smart showmanship, but I rather doubt it. I don't know too
many people who are going to race through dinner to get to
a movie theatre before 7:30 or hang around waiting for the
10 o'clock show; and I know an awful lot of people who hate
to come in at the middle of the feature.

■< ►

Moviegoing in New York — and many other towns, as well,
I'm sure — seems to become harder all the time, on a neighbor-
hood basis. If these schedules that I have cited are deliberate,
I would be very interested to learn what reasoning prompted
the policy of "start them too early or too late." Are the theatre
managers convinced that New Yorkers have become a legion
of late late showgoers outside their homes as well as when
watching on their television sets at home? Are they filling the
house twice a night this way? Or is it something that has just
become inevitable because of long pictures and double features?
I would like to stand outside a few of the neighborhood theatres
to determine the favorite moviegoing hour of their patrons. I
have done this with my own favorite theatre, but it proves
nothing because this theatre has always aimed at the 7:30 to 8:15
starting time for its main feature. Maybe that is why this same
period is the peak time for ticket buyers. It is hard to believe,
under any normal circumstances, that the show which begins
after 10 PM comes even close to peak attendance during the
week (and the timetables I have mentioned were all for a
Wednesday.) Nor can I believe that a 6:50 PM starting time
overloads the boxoffice. If the theatre gets two half full houses,
instead of one full house at 8:30 PM, I still don't think it's
worth either the extra hours of work for the theatre people or
the chance of antagonizing other prospective customers.

►

No doubt many people from smaller towns will wonder what
all my shouting is about. Many is the evening I spent beginning
i about 7: 1 5 or so at the town movie in New England, with one

picture as the attraction. But in my time, those early starts also
meant early closings, because the theatre only had one evening
performance. Its whole timetable was adjusted to an early-to-
bed-early-to-rise community's normal schedule.

What bothers me is that I don't think the New York
neighborhood theatres' schedules as noted above are normal
for New Yorkers — and I suspect that the same unfortunate situa-
tion exists in other cities of these United States. There was a
time when there was a strong call in New York for a "revolu-
tionary" 9 PM starting time for the feature attraction. If 9 PM
was revolutionary, what in the name of intermission is the
proper adjective to apply to a 6:50 PM starting time or the
10:10 PM last show which seems to be fairly commonplace?

Cynics delight in countering criticism of the theatre business
by saying, "If the picture's good, they'll come to see it no
matter where or when; if the picture's bad nothing will help
you." If this were true, theatre people could relax; but the fact
is that good management brings in more money for both the
good picture and the bad one. I think that a good picture with
a good starting time will do better than the very same picture
with an odd-ball schedule.

Nor can the length of pictures be cited as the reason for the
eccentric starting times. One of the theatres on the timetables
in New York had a double bill which ran three hours and fifteen
minutes, starting at 7:15 or 10:30 PM; a Broadway first-run
house had a three-hour single feature program which it started
at 7:40 and 10:40 PM, and another first-run situation with a
2-hour and 50-minute bill had its last two shows beginning at
6:05 and the infinitely more sensible hour of 8:55 PM.

Another element of the time schedules which I find difficult
to understand is why so many double bills approach the four hour
mark. It seems to me that four hours is a bit much. Yet several
sub-runs ran to this length. They can have it. Perhaps the length
of the double bill is less of a factor than the components. I
know some theatre managers who spend a good deal of their
time juggling schedules so that the good picture will be on
during heavy traffic (customer traffic, that is) hours and the
turkey will be a glorified stage wait. On the other hand, pre-
sumably the double bill of "David and Lisa" and "Operation
Bikini" will draw from two separate sets of patrons, and the
combination of "Toys in the Attic" and "Amazons of Rome" is
similarly ambidextrous. "The List of Adrian Messenger" and
"The Nutty Professor" make for another anomalous team. I
could go on. The bills I have cited, incidentally, are all from
the same day's New York listings.

►

When I come home from a hard day at the office and suggest
to my wife that we go to the movies, she checks two things.
The first is whether there is a film we want to see that is con-
veniently available. The second — as you may have gathered
from my phrase "conveniently available" — is what time the
movie starts. And many is the theatre we have passed up because
the starting time was too early or too late. We hate to come
in to the middle of the picture.

Maybe we are not typical. I suspect we are. During the war,
every language guide book that the Army put out contained, a
one of its key sentences, the appropriate translation for th
question, "What times does the movie start?" It was a pertinen
question to ask in 1943 and I think it is pertinent today. We tal
about a performer's timing; maybe we should give a littl
thought to a performance's timing too.

Page 4 Film BULLETIN September 16, 1963

tewpotnts

SEPTEMBER 16, 1963 # VOLUME 31. NO. IS

VOLUME 31, NO. 19

fhv Luxury of Two Exhibitor Orcjuni&utions

Just five years ago, in the Film BUL-
LETIN issue of September 29, 1958, a
statement was made on this page that
"disunity is a luxury exhibition can't
afford." Today, five years later, we are
more convinced than ever of the feasi-
bility, the utility, the profitability, and
the inevitability of one national theatre-
men's organization.

John H. Stembler, president of the
Theatre Owners of America, made the
point most effectively in his message to
the recent convention of New England
theatremen, representing the combined
TOA and Allied units in that area. He
called for the joining together of ex-
hibitors on a national scale because it is
necessary and could be productive for
all exhibition.

Mr. Stembler said: "The problems
that face us are so vast, so potentially
dangerous that they minimize and make
relatively insignificant what ever differ-
ences have existed in the past.

"Large chain or small individual thea-
tre operator — all of us alike are hurt
by the showing of recent pictures on
television during prime moviegoing
hours. All of us feel the pinch of the
product shortage. All of us are harassed
by the same kind of legislation. All of
us are threatened by pay television.
There are no favored few who will es-
cape. The example of the united New
England theatre owners will be fol-
lowed, I am sure, some time in the
future. For the sake of all of us, I
trust it will be soon."

What is the stumbling block that
forestalls the establishment of one na-
tional exhibitor body? It is the fears
of the smaller, individual "independ-
ents"— as they wish to regard them-
selves— that the more powerful theatre
entities in such an organization would
not assist in solving the mounting cost-
of-film problem.

These "independents" refuse to face
the issue squarely. Film rentals cannot
be dealt with as a national problem; it
is a local issue, and must be met on a
local level. How? By organization of
buying groups within compact, compe-
titive areas, or by product-splitting deals
between directly competitive theatres.
Film producers and distributors contend
that they have the privilege of pricing
their product as they see fit. This is so;
there are no laws in the land that deny
them this right. The individual exhibi-
tor can cope with the power of the seller
only by utilizing what ever defenses are
available to him, and the soundest de-
fense has been the kind of local level
collaboration mentioned above.

Why, then, the need for a single na-
tional exhibition unit? Mr. Stembler has
recited the many crucial issues faced by
theatremen, to which a common defense
might bring some solutions. On the
more positive side, cooperation also
could be highly productive for all exhib-
itors through the launching of such
long-overdue projects as the national
business-building campaign and the
stimulation of more movie production.

It is shortsighted and foolhearty to
deny that unity in the ranks of exhibi-
tion would enhance the image of that

BULLETIN

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published every other Monday by Wax Publi-
cations, Inc. Mo Wax. Editor and Publisher.
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in the U. S.; Canada, Europe, $9.00

vital branch of the industry in the eyes
of government and in the estimation of
the film companies. Standing as an
aggregation of factions with seemingly
divided interests and varying aims, the
exhibition body lacks the stature and
respect to which it is entitled. In other
industries, far less affluent, groups of
merchants merge their common interests
in organizations that speak with a
strong voice for the benefit of all. Even
countries of different ethnic stripe and
long-standing boundary conflicts are
learning to combine their individual
sovereignties in a United Nations. Ef-
forts are being made to repair the age-
old schism in Christianity. Throughout
the world men are coming to realize
that the phrase, in unity there is strength,
is much more than a cliche.

Is it too much to expect those en-
gaged in a common industrial enter-
prise to put aside suspicions and day-
by-day competitive differences, and look,
rather, to their broad common interests?
These are parlous times for many exhi-
bitors who are having difficulty going it
alone. Their troubles will not be erased
by any magical formula, but their chances
for survival might very well be enhanced
in a community of mutual interests.

The cures for the problems of theatre
business can only be evolved through
clear thinking and hard labor. Signs of
gradual recovery are appearing, and the
process can be speeded immeasurably if
all the available brainpower and man-
power in the whole exhibition field
work together toward certain basic
goals.

Two separate national theatre organi-
zations is a luxury we cannot afford
today any more than we could five years
ago. The leaders of TOA and Allied
should get down to the serious business
of finding their common ground and
settling on it.

Film BULLETIN September 14, 1963 Page 5

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Pay TV Pot Boils
From Coast to Coast

The Pay-TV pot has been boiling on
east and west coasts in the past week.

Subscription Television, Inc., the new
west coast venture that aims to wire Los
Angeles and San Francisco within the
next year, announced that it had named
Slyvester L. (Pat) Weaver, Jr. as its
president. Weaver, a former stalwart of
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assume the post. STV also revealed that
Tom Galery, NBC sports director, will
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base salary, in addition to a percentage
of the net profits, while Gallery will be
paid $62,500. Both executives are re-
ceiving options to buy STV stock.

Subscription Television is awaiting
SEC approval to offer 1.9 million shares
of its $1 par value common stock to the
public at $12 per share. STV bases its
hope principally on deals with the L. A.
Dodgers and San Francisco Giants.

Also, in California tire mogul Thomas
F. O'Neil, whose RKO General is col-
laborating with Zenith Radio Corp. in
the Hartford over-the-air Pay-TV tests,
told the press that he feels the pay
system is a long way removed from pro-
fitable operation, although it has "a
great chance" for ultimate success.
"Everybody", he said, "has oversold
Pay-TV."

Admitting that the three year Hart-
ford experiment will cost an estimated
$4 million, O'Neil said, "Only 25% of
the homes use the service enough to
help defray our costs," but on a pro-
jection of potential revenue, he ex-
pressed the view that feevee eventually
will draw revenue three time as great
as commercial television on a per-
home basis. This, he claimed, would
mean $75 per year per home against
the $25 per home free TV is supposed
to draw in advertising dollars.

The Hartford test, O'Neil said, has
not revealed enough to label it either a
success or a failure, but, he added, "we
didn't expect much."

CAST &
CREDITS
■

Report on the Industry's
PEOPLE and EVENTS

In New York last week Philip F.
Harling, chairman of the Joint Com-
mittee Against Toll TV, urged theatre-
men to be on the alert to combat moves
for wired feevee franchises. Since lic-
ences for over-the-air transmission of
Pay-TV cannot readily be obtained from
the Federal Communications Commis-
sion, Harling said that feevee promoters
will seek to obtain favorable action on
petitions to wire local communities. He
advised exhibitors to "unite your com-
munity against any attempt to usurp
municipal and state property", and to
"organize local opposition to Pay-TV."

California exhibitors rose to meet the
threat in their area with a "Crusade for
Free TV." A. C. Childhouse, treasurer
of United California Theatres, was
named chairman, and the combined
northern and southern California thea-
tremen planned to raise a large fund
to fight the Pay-TV threat in the state.
Every legal effort, on constitutional
grounds, will be made to halt the use
of public utility lines for subscription
television transmissions. If this fails,
the next move will be to have the
issue put on the ballot for a voters'
referendum in November.

HARLING

Exhibitors Get Voice
In 'Lawrence7 Push

Columbia, not a distributor to let
something good lag for want of promo-
tional push, is readying an all-out, local-
level campaign to keep its roadshow
blockbuster, "Lawrence of Arabia" roll-
ing through general release engage-

FERGUSON

ments. And exhibitors are being asked
to give their own ideas on how the
Sam Spiegel-David Lean spectacle
should be sold.

Robert S. Ferguson, vice president in
charge of promotion, told a meeting of
leading eastern Pennsylvania exhibitors
in Philadelphia last week that his com-
pany "is prepared to invest whatever
time, talent and money is necessary to
give individualized promotional sup-
port to 'Lawrence'." The Sam Spiegel-
David Lean production will go into
general release on Oct. 9.

Ferguson, assisted by Bill Blowitz,
representing Spiegel; John Skouras,
"Lawrence" coordinator, and Milt
Young, eastern Penna. field representa-
tive, laid out a broad campaign for
the spectacle's "break", and asked the
exhibitors to offer their own recommen-
dations to implement it. Several sug-
gestions presented by the theatremen
were added to the promotion program,
and Ferguson won praise for giving ex-
hibitors a voice in the campaign.

Speaking of People...

William J. Heinemann was unani-
mously elected president of Motion Pic-
ture Pioneers and of the Foundation of
Motion Picture Pioneers, succeeding the
late Herman Robbins . . . Burton E.
Robbins, president of National Screen
Service, named chief executive officer of
the company. Norman Robbins, gen-
eral manager of operations, was elected
a v.p. and named to the NSS board . . .
Harry Brandt reelected president of the
I.T.O. of New York . . . William Gold-
man announced plans to construct
another new 2000-seat key-run house in
greater northeast section of Philadel-
phia . . . Ben Berger, fiery North Cen-
tral Allied leader, blasted film compan-
ies in organization bulletin for inor-
dinate film rentals "that are tightening
the noose around our necks" . . .
Robert W. Selig, National General v.p.
in charge of theatre operations, speak-
ing at opening of new NG house in
Northridge, Cal., said population ex-
plosion in certain areas has created "a
tremendous need and opportunity for
new theatres."

Page 8 Film BULLETIN September 14, 1963

FINANCIAL REPORT

Expanding Young Theatre Chains
Makes Some of Industry's Big News

Some of the brightest news in movie business has been ema-
nating from the theatre chains. And most of that news is being
made by some of the relatively smaller and newer operations.
(See Page 11.)

Moving outside the fence of government restrictions that
hamper the activities of the big, old-line national circuits, outfits
like Walter Reade/Sterling and General Drive-In are expanding
at a rapid pace. Keeping a sharp eye peeled for every shift of
population, companies like these move into new housing devel-
opments and shopping centers with modestly constructed, mod-
ern little theatres that fill the needs of such new communities.
In addition, they are engaged in shrewd diversifications that bol-
ster the theatre income.

Walter Reade/Sterling showed net income for the first half of
1963 totalling $223,535 (140 per share) on gross revenue of
$5,500,725. These figures compare with a net of $153,149 (10<i)
on a gross of $4,202,063 in the prior year's first half. WR/S
is engaged in film production and distribution, through its
Continental wing, in syndication of films to TV, as well as
theatre operation.

General Drive-In based in Boston, but spreading down the
east coast in its theatre operations, reported net earnings of
$456,121 (500 per share) for the nine months ending July 31.
This compares with $378,836 (410 ) for the like period in 1962.
Comparative gross revenues were: $10,125,275 this year; $9,124,-
874 for the nine months last year. General Drive-In, like WR/S,
is traded Over the Counter. One of its major diversifications is
bowling alleys.

Commonwealth Theatres of Puerto Rico, Inc. which just
declared a 12l/20 quarterly dividend on its common stock is
engaged in vending and concessions operations, and film dis-
tribution, as well as running the island's largest theatre circuit.
The company is starting construction of a 12-story office build-
ing and two adjoining theatres, with financing being supplied
by Chase Manhattan Bank.

NG Recommended on Talaria Prospects

National General, one of the nation's leading theatre opera-
tions, is the subject of the following analysis by Daniel C.
Maltz, researcher for Bruns, Nordeman & Co. (NYSE, Amex):

"Shares of this company's stock were originally recommended
in March of this year at 10% and have provided a mixed mar-
ket performance to date. Readers will recall that our interest
in this issue stems from a basically improving position in opera-
tions, an aggressive acquisition program and the potentials
inherent from its participation with General Electric's Talaria
projector, on which this company holds exclusive U. S. distri-
bution rights in the entertainment field.

"On an operating basis, NTR completed its thirty nine week
June 30, 1963 period with gross income of $35.0 million, as
compared with $33.5 million, and a net income of $2,156,342 or
$0.65 a share as oposed to $1,570,995 or $0.47 in the previous
year. This increase, however, was below our previous expecta-
tions and was caused by a decline in box office receipts
coupled with expenses incurred with the Talaria program. Ac-
cordingly, earnings for the full year are now projected at about
$1.05 -$1.10 a share vs $1.03 for 1962.

"Recent corporate developments have been plentiful. In
June, the company won a reversal of the 1951 consent decree,
and may not return to the production of motion pictures. In

August the company announced the acquisition of Mission-Pak,
Inc. a packager of fancy fruits for 135,276 common shares and
will expand this subsidiary's operations to company locations
in Denver, Salt Lake City and Phoenix, Arizona. Dividends were
resumed with a 4% stock declaration in July, payable in Sep-
tember to holders of record August 20th.

"Recent price hesitancy in the issue has probably stemmed
from the less than expected earnings improvement, and the lack
of news regarding the Pay-TV venture. Since we regard industry
and investor reception to the Talaria project as the "key" to the
basic appeal of National General common stock, we believe that
speculative commitments are still warranted pending the out-
come of the Talaria demonstration. A target date for this pro-
gram should be announced shortly."

Stock Transactions Reported SEC

The Securities and Exchange Commission reported the fol-
lowing transactions in film industry shares during the period
July 1 1 to August 10: Roger W. Hurlock purchased 900 more
shares of Allied Artists common, bringing his total holdings to
39,100. Emanuel L. Wolf, also a director, sold 900 shares of
AA, retaining only 100 . . . B. G. Kranze purchased 2000 shares
of Cinerama. Nicolas Reisini transferred 195,000 shares of
Cinerama to Robin Intl., Inc., and purchased an additional
40,000 for Robin ... In Loew's Theatres, John F. Murphy
bought 3000, Arthur M. Tolchin 1000, and Archie Weltman 1000.

FILM &

THEATRE

STOCKS

Clo%e

Close

Film Companies

8/29/63

9/12/63

Change

ALLIED ARTISTS

... 2%

21/2

- Vi

ALLIED ARTISTS (Pfd.)

• • • 8%

8I/4

- %

CINERAMA

...I51/4

16

+ 3/4

COLUMBIA

...26%

243/4

-1%

COLUMBIA (Pfd.)

...82V2

82

- %

DECCA

...45i/2

451/g

" %

DISNEY

...45%

441/4

"1%

FILM WAYS

... 71/4

7

- %

MCA

64%

65

+ %

MCA (Pfd.)

...381/4

383/4

+ Vz

M-G-M

...293/4

32

+ 2%

PARAMOUNT

...497/g

51%

+ 1%

SCREEN GEMS

24

23%

- %

20TH-FOX

...33%

311/2

"1%

UNITED ARTISTS

...20%

20%

- %

WARNER BROS

...131/2

14%

+ %

Theatre Companies

* * *

AB-PT

.33%

34%

+ %

LOEW'S

17

16%

- %

NATIONAL GENERAL

• ■ ■ 9%

9%

- Va

STANLEY WARNER

...231/4

24%

+1%

TRANS-LUX

...12%

133/4

+ %

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, American

Exchange; all others

on New York Stock Exchange.)

* * *

8/29/63 9/12/63

Over-the-counter

Bid

Asked Bid

Asked

COMMONWEALTH OF P.R.

....6

6% 53/4

6%

GENERAL DRIVE-IN . .

.... 9%

10% 10%

11%

MAGNA PICTURES

.... 1%

21/4 1%

2%

MEDALLION PICTURES

...103/4

H3/4 10%

11%

SEVEN ARTS

8

9% 7%

8%

UA THEATRES

...I41/4

15 11%

12%

UNIVERSAL

64

69% 65

71%

2%

WALTER READE STERLING

.... 2%

3 2%

WOMETCO

....28V4

30% 27%

29%

( Quotations courtesy National Assn.

Securities Deale

rs. Inc.)

Film BULLETIN September 16. 1963 Page 9

URGES SELLING MOVIE-GOING TO OFFSET PAY-TV THREAT . . . ADMISSION PRICES

This little polemic is devoted to sun-
dry matters, starting with the subject
of bores. I have no clear definition of a
bore but, as someone suggested, he is
the fellow that gets the upper hand and
compels you to listen before you have
a chance to take the initiative and bore
him.

Of all the bores in this industry (there
are many, with you and me as out-
standing exceptions) none can excel
the man w ith a message. This paradigm
of industry wisdom not only dominates
personal intercourse with his solutions
for all the ills that beset us, but he
manages to control the floor at various
conclave and conventions. He is the in-
defatigable type who, if no problems
exist, has the clairvoyance to envision
future ones. He thinks everything will
be alright if he can get an audience of
two or more passive sounding boards
and really is interested more in getting
endorsement than in getting action.

He is the gent who believes he is
entitled to the apothegm attributed to
Max Beerbohm: "I have known no man
of genius who had not to pay in some
affliction or defect either physical or
spiritual for what the Gods have given
him."

The reason we have so many bores in
this business is not hard to understand.
We are faced with so many problems
that can't be solved. But, nevertheless,
there is somebody around who has the
delusion that they are soluble. He there-
fore keeps talking about the same prob-
lem because he fails to understand that
there ain't no answer to everything. As
a result, others pick up where he hasn't
left off and, before you can say crisis,
there is a cacophony of wails and a
beating of breasts that would eclipse
the talents of any first-rate professional
mourner.

Once in a while a Sam Rinzler comes
along who quite aptly reminds us that
our business, like the government of
the U.S.A., always seems to be falling
apart and never does. What is gener-
ally overlooked by all of us is the simple
fact that we have more ups than downs.
To the credit of National Allied, its
recent statement that theatres enjoyed a
very good business these past summer
months was a welcome bit of cheerful
news.

One of the subjects which seems
to have become an obsession with so
many articulate pessimists is none other
than Pay-TV. I don't recall in the past
thirty five years anything that has re-
ceived as much attention from exhibi-
tors. It is my feeling that if the same
amount of attention would be expended

U Jt1 (Q)(CM

ADAM WEI LER

in minding the store as is given to
worrying about Pay-TV movie business
would be greatly assisted.

Nothing can stop Pay-TV except the
unwillingness of the public to spend
money on home entertainment that is
going to be no better than the fare
meted out on free television.

It is my prediction that when the
coin boxes are available in California
(if they ever are) lots of folks are going
to think twice before they plunk down
the installation fees, and if they ever
do they will think thrice before they
put $3 into the box to see the Dodgers
and the Giants on the home screen.

Without deprecating Mr. Philip Har-
ling and his phalanxes, I do feel that
they should adopt some new tactics. The
major attack on Pay-TV is not that it
will usurp the rights of the American
family to enjoy the free privilege of
the God-given either, but that Pay-TV
will only add to their inertia as well as
their budgets.

Have we lost sight of the biological
fact that people and the rest of the
animal kingdom like to move around?
The gregariousness of human nature is
not to be quelled, because folks will
have the opportunity to pay for home
entertainment that will never equal
what they get in the theatres.

The people who now stay home to
watch television also go to a movie
theatre when there is a good show;
otherw ise there would be no more thea-
tres. So, if you want to fight Pay-TV's
advent, start banging the drums about
each new movie show and remind the
folks that it's about as economical to
go out and hold hands in the movie
theatre.

► ►

Some good news arrived from Eng-
land the other day. It seems that "Tailor
and Cutter", a leading British fashion
magazine, set forth the theory that
women inevitably will not be inhibited
from appearing on the beaches in bare
bosoms.

The trend toward this step is being

inspired says "Tailor and Cutter", by
"the rising importance of the Negro
races of African tribes whose traditional
styles may set future fashions."

"Devoid of a bra since she first
needed one, the African miss is firm
and muscular as nature intended."

We have seen proof of this in travel
documentaries and in the pages of the
National Geographic magazine, to say
nothing of some of our mass and sleek
picture publications.

But despite these glimpses into the
mammary and anthropological facts of
the human body, there is always thun-
derous protests heard around the land
if a movie reveals even a profile of the
feminine chest. It is my contention that
we have reachd a state of sophistication
where such matters no longer can be
considered naughty. Do you remember
when the ladies first wore shorts? How
scandalous!

Just how the New York state legis-
lature will approach the subject of
classification in its effort to save the
young of the land is still not clear; but
in the meantime I suggest the solons
take a stroll through the Metropolitan
museum and notice that the children
and adolescents don't seem to be too
stunned by the nude paintings and sta-
tuary that are there for scrutiny.

At a recent meeting of the American
Sociological Association, Professor S.
M. Miller of the University of Syracuse
reported that 45 million Americans
don't have enough food, shelter, medi-
cal care and education. He decried the
myth of an affluent society.

Despite the benefits enjoyed by the
big middle class, he said that these
benefits have not spilled over into the
lowest income groups.

If the professor is correct, the motion
picture industry cannot expect to im-
prove its business to a great extent if
45,000,000 ain't got what to eat.

As to the middle class which prob-
ably includes incomes from $7,000 up-
wards, there is a question how much
they have left for amusement pur-
poses, especially for the movies. When
we look into the half-filled theatres,
we have to give a thought to the pro-
position that admission prices are too
high, not only for the average picture
but for the better-than-average attrac-
tions. Distributors should, along with
exhibitors, give some thought to this.
I don't want to sound like one of those
pessimistic bores mentioned above, but
maybe this is one of the solutions to
the attendance problem.

Page 10 Film BULLETIN September 14, 1963

Theatre Building Spurt in Suburban Centers Points to Modest Boom, says
Business Week — but Long-Battered Exhibitors Hedge with Outside Ventures

Movie Screens
Get Back
Some Silver

The movie industry for the past 15
years has acted out its own version
of a Perils of Pauline cliffhanger —
trying to survive the defection of half
its audience to television and theater-
poor suburbs. Now, the industry thinks
the epic — like all good movie scripts —
is heading toward a happy ending.

Movie attendance is up, and box
office receipts are at a 14-year high —
although that's due in part to higher
ticket prices. Fewer old theaters are
being shut down, while more new ones
— especially conventional houses in
shopping centers — are going up. The
industry has built plenty of drive-ins
since World War II, but now indoor
theater construction, which lagged, is at
the fastest pace in over a decade. More
and more the signs do point to a
renaissance in the movie business.

So far, though, it has been a ren-
aissance of modest measure — "a very
junior-grade boom," one Detroit thea-
ter owner calls it. Indeed, the industry
tacitly concedes that the once-hallowed
ritual of the weekly movie, on which
much of its past growth was built, is
gone beyond resurrection. Even so
large a chain as National General Corp.
(once the exhibition arm of 20th Cen-
tury-Fox), which runs 225 theaters and
is adding more, has stepped up its push
into diversification. Other chains have
done the same.

Still more new theaters will go up;
attendance and box office receipts should

Reprinted from the August 31, 1963, issue
of BUSINESS WEEK by special permission.
Copyrighted 1963 by the McGraw-Hill Pub-
lishing Co., Inc.

show further gains. But the old days
probably will never be recaptured.

I. Up from the bottom

Only 15 years ago, 90-million Ameri-
cans saw a movie a week. They chose
from among the 400-odd films Holly-
wood cranked out each year. Their
dimes and quarters (which added up to
$1.7-billion in 1946) supported 20,000
conventional movie theaters, from small
neighborhood houses to downtown
palaces — both often owned by the same
companies that made the films.

Television and the rush to the sub-
urbs helped prick the bubble. So did
the 1951 consent decree that divorced
film production from exhibition. Since
they no longer owned theaters, film
makers felt no obligation to keep up a
steady flow of new films.

By 1958, average weekly movie at-
tendance was down to 39.6-million and
box office receipts were under SI. 2-
billion. A few thousand key houses —
mostly down town — and many of the
new drive-ins prospered, but far more
theaters became bowling alleys or super-
markets, or simply vanished. By 1958,
there were fewer than 16,000 theaters,
nearly one-third of them drive-ins.

Turnaround. Now the industry is be-
ginning to turn around again, and for
several reasons. Population growth has
given exhibitors a far broader potential
market — especially in the teen-age and
young married groups. More signifi-
cantly, exhibitors are putting up their
theaters where growth has been the
heaviest — in the suburbs.

In all, the industry has added some

300 new theaters in the past two and
a half years, almost half of them con-
ventional, indoor houses. Several thou-
sand more theatres have been remodeled.
There are nearly 17,000 theaters run-
ning today, with a couple of hundred
more on the way.

All kinds. The new theaters are of
all types, although mounting land costs
and growing market saturation in some
areas have slowed down the building
of drive-ins.

There has been a recent spurt in the
number of art houses that show foreign
films. Some new houses even have gone
up in downtown areas. "People are
tired of the monotony of suburbia,"
says David B. Wallerstein, president of
Chicago's 27-theater Balaban & Katz
Corp. chain. "Coming downtown is an
event." In downtown Atlanta, Georgia's
Martin Theaters just opened an off-beat

I, 250-seat theater — which occupies the
top two floors of a three-story building.

Additionally, 66 theaters have been
built, or remodeled, to show Cinerama.

II. Trump card

The industry's trump card, though,
is the shopping center theater. Boston-
based General Drive-In Corp. helped
pioneer the concept 12 years ago at
Framingham, Mass. GDI hasn't opened
a drive-in since 1955, but it has plunged
full tilt into shopping center houses,
with a dozen running, nine more under
construction, and at least another dozen
planned.

The industry is scampering to follow
suit. Of the 180 or so indoor houses
built in 1961 and 1962, a third were in
shopping centers. Box-office magazine
reports that nearly half the 106 indoor
houses built or planned in the first six
months of 1963 are in shopping centers,
against only 40 new drive-ins.

The logic of this is clear. The big,
regional center, with its stores, res-
taurants and — verv important to the
exhibitor — plenty of free parking, is
the most promising base for tapping the
growing suburban audience. The shop-
ping center benefits in turn, since
(Continued on Ptige 12)

Film BULLETIN September 16. 1963 Page 11

MOVIE SCREENS GET BAEK SOME SILVER

Growing Chorus for .SY«»« «//#>#• flow of Product

( Continued jrom Page 11)
movie-goers are likely to spend money
there.

New Style. Shopping center theaters
— like most conventional theaters going
up today — are smaller, more spartan,
but generally more comfortable than
the cavernous palaces of the 1920 s and
1930's.

Today's typical indoor house has 600
to 1,500 seats and costs from $250,000
to $500,000 to build. The new theaters
use plenty of plastics to keep down
maintenance costs; often a turnstile re-
places the doorman, and brighter inter-
ior lighting may eliminate the need for
flashlight-carrying ushers.

Most shopping center theaters are
built by the center's developer and
leased to the exhibitor. As Richard F.
Wolfson, vice-president of Florida's
Wometo Enterprises, Inc., explains:
"We're not in the real estate business
and the landlord isn't in the theater
business."

Equally important, lenders regard
such a single-purpose building as a
movie house as a poor risk. But most
institutions will lend to the shopping
center developer with a fistful of signed
leases.

Typical. Without construction or
land costs to fret about, the exhibitor
can venture into a shopping center for
little money — expecting a fairly high
return on investment. GDI Pres. Richard
A. Smith spells this out in the case of
a typical 1,200-seat shopping center
theater.

Construction may cost the landlord
$300,000. The exhibitor, says Smith,
can then lease the theater shell for 15
years at a flat $40,000 annual rental
against a 10% to 12l/2'% share in the
box office gross — whichever is higher.
(At nine of GDI's 12 shopping center
houses, return is high enough to give
the landlord a share in the gross.)

Smith's investment in the house then
would be about $100,000 for the fur-
nishings.

Smith estimates it takes a new theater

three years or so to come near its full
potential. "By that point," he says "we
can anticipate an annual return on in-
vestment of about 20% after all charges
and taxes. This also represents an ap-
proximately 10% return on sales."

Breakeven point in this typical house,
says Smith, would be an annual volume
of $200,000 — an average weekly attend-
ance of 4,000 or so plus concession in-
come, which can run 80 to 160 per
admission.

Twins. One newish wrinkle that ex-
hibitors are trying is the twin theater.
A typical twin (GDI's first one opened
recently in Peabody, Mass.) has two
auditoriums but just one lobby. Costs
are less than for two separate theaters.
The twin may show a single feature in
both auditoriums — staggering starting
times for audience convenience — or it
may show different films.

III. The quest for profits

All this flurry of theater building
still leaves many industry problems
unsolved. The wrecking process has
slowed, to be sure, but old houses con-
tinue to come down. In Chicago alone,
five theaters have closed in recent
months.

For one thing, exhibitors argue, there
aren't enough good films to support
all existing houses. An appealing thea-
ter in a good location may be a strong
plus — but only if the picture is good.

Yet Hollywood turned out only 138
films last year — about its all-time low —
and it won't turn out many more than
that this year. Most exhibitors com-
plain they have to pay too high a rental
for the better films.

This may change, though, as the
realization grows in Hollywood that the
super-costly blockbuster alone won't
guarantee profits for a studio. Most
sobering, perhaps, is the industry belief
that Cleopatra will never justify 20th
Century-Fox's huge expense. A grow-
ing chorus in Hollywood now argues
that a steady flow of less costly films
might be more profitable, and produc-
tion is expected to jump in 1965.

Chain problems. The theater chains
that were divorced from production
companies face still another problem.
Under the consent decree, they need
court approval to add new theaters — a
procedure that National General Vice-
Pres. Robert W. Selig says can take
about six months. This means that
these chains can't jump into promising
new markets as fast as some competitors.

A federal court ruling last July could
well change the role of some theater
chains and also increase the output of
new films. The court aproved a petition
by National General to produce and
distribute films — a major reversal of the
severing of production and exhibition.

Sidelines for hedging. Few big ex-
hibitors today rely solely on box office
receipts. National General, for instance,
has a program to encourage clubs and
businesses to lease its theaters during
off-hours, and the foyer of one new
Los Angeles house can be used for
catered luncheons.

National General, like most chains,
is moving into some decidedly non-
theater areas. It is in real estate with a
400-home tract north of San Francisco,
and it is involved in a joint venture to
erect a $25-million commercial complex
on land in San Francisco where, until
recently, stood its 5,000-seat Fox Thea-
ter.

In addition, National General has a
popcorn popping plant, five com-
munity antenna television systems, and
has just bought Mission Pak, Inc., a
Los Angeles food packager. It also has
exclusive rights to a General Electric
technique for projecting color TV on
movie screens.

General Drive-In, while committed to
shopping center houses, still derived
20% of its $12.8-million volume last
year from such non-theater enterprises
as bowling. Miami-based Wometco
owns three TV stations, has an interest
in a fourth, bottles soft drinks, and runs
Miami's Seaquarium. Loew's Theaters,
Inc. has become a major operator of
hotels.

Page 12 Film BULLETIN September 16, 1963

"Mary, Mary"

SuUkom IZatUf O O O

Adaptation of stage hit retains most of its fast, funny
pace, despite looking like a filmed play. Should do well
in all, except action, markets.

Warner Bros, version of Jean Kerr's Broadway hit retains its
snappy pace and enough steady laughter to insure solid grosses
in all markets. This, despite the casting of the overly-cute
Debbie Reynolds in the title role, which frequently reduces the
original s brittle sophistication to routine romantic comedy.
Some of the funniest lines of the stage play either fail to come
off or else sound out of character under Miss Reynold's coy
delivery. Otherwise, the fabulously successful comedy, still
delighting audiences on Broadway, has undergone little change
in producer-director Mervyn LeRoy's transfer to the Technicolor
screen. It should give a sound boxoffice performance in all,
except action, markets. Barry Nelson and Michael Rennie, zest-
fully recreating their stage roles, are past masters of the glib
phrase, and they are given able suport by droll Hiram Sherman
and beauteous Diane McBain, who round out the small cast.
The one principal setting, a compact Manhattan apartment, and
the lack of fluid filmic action makes the movie look very much
like a filmed stage play. It could stand some trimming, especially
in the early reels. Richard L. Breen is credited with the screen-
play, but most of the choice lines are from Mrs. Kerr's play.
The lightweight story concerns the financial woes of publisher
Barry Nelson. How will he pay hefty alimony to ex-wife Mary
(Miss Reynolds), support luxury-loving intended spouse Miss
McBain, and still have enough to cough-up back taxes? Finan-
cial expert Sherman calls in Debbie to help straighten out Bob's
check books, but the contrary Miss Reynolds creates more prob-
lems by responding to the advances of playboy movie star
Rennie. Nelson finds the two kissing and realizes that he is
still in love with his ex-wife. They quarrel, and in a rage he
walks out, leaving Debbie alone in the apartment. The next
morning Miss McBain arrives, delighted to find Debbie in
Nelson's bed. Believing the two have spent the night together,
she explains that such sentimental gestures are to be expected
from former mates. When Renie offers to take Miss Reynolds
to New Orleans, she accepts. Nelson, who has accidently mis-
taken sleeping pills for vitamins, locks Debbie in a closet and
throws away the key, thus preventing her departure. After
Rennie leaves to catch his plane and Miss McBain departs to find
a new man, Debbie emerges from her "prison," holding a key
she had all along. The still contrary Debbie leads the sleepy
Nelson to a sofa and curls up happily beside him, telling him
that from now on she will handle his financial affairs.

Warner Bros. I26 minutes. Debbie Reynolds, Barry Nelson, Diane McBain, Hiram
Sherman, Michael Rennie. Produced and directed by Mervyn LeRoy.

"The Running Man"

SutUeM. 'Rating O O

Suspense melodrama misses fire, moves at slow pace.
Further hampered by weak Harvey performance. Only
fair b.o. prospects.

Columbia's strong promotion campaign and the drawing
power of Laurence Harvey and Lee Remick may get this started,
but it won't run very far. Producer-director Carol Reed has
turned out a crawling melodrama based on an all-too-familiar
plot. After a promising beginning, the pace slackens to a walk
and dramatic tension dissipates, leaving only the scenic, but
hardly exciting, Spanish background, photographed in Panavi-
sion and Eastman color. Action picks up again with a climactic
car chase, but the finale to John Mortimer's weak screenplay

(adapted from a novel by Shelley Smith) is so hoked-up that
it becomes unintentionally funny. It figures to be a disappointing
grosser generally. Part of the blame for the picture's failure
must be placed on Harvey who, by listlessly walking through
the potentially colorful title role, supplies jarring contrast to
the subtle emoting of co-star Lee Remick and Alan Bates. The
story weaknesses are partly overcome by Reed's imaginative
direction, which is especially effective in an early dream sequence
and in the sensitively drawn interludes between Bates an insur-
ance agent, and Miss Remick, a supposed widow who fears he
may be investigating the death of her still much-alive husband.
Spouse Harvey had conceived a foolproof plan to defraud an
insurance company by staging an accidental death in a glider
crash. After Miss Remick collects the money, she joins Harvey in
Spain, but is disturbed by the change that has come over him.
Once gentle and kind, he is now obsessed with money and has
assumed the identity of an Australian millionaire, intending to
repeat the scheme under his new name. Then Bates, arrives, ap-
parently on vacation. Miss Remick, trying to steal Bates' diary to
discover how much he has learned, is caught by surprise in his
room. She submits to Bates and learns that he has left the
insurance business. When Harvey forces Bates' car off a
mountain road, his wife leaves him. Harvey, thinking he has
killed Bates, tracks down Miss Remick, attempts to kill her, but
is stopped by the police. He escapes with the monev, is cap-
tured, and escapes again, only to meet an ironic death. Bates,
thinking Harvey's actions were caused by jealousy, consoles the
wiser, but no wealtheir, widow.

Columbia. I03 minutes. Laurence Harvey, Lee Remick, Alan Bates. Produced and
directed by Carol Reed.

"Gone Are the Days"

gu*iH€44 KettCHf © Plus

Tepid Negro satire will fail to satisfy art audiences.
Holds mild appeal for the Negro trade.

This mild lampoon of the civil rights struggle will stir up
only a modicum of art house interest, but the satire and humor
are too bland and broad for wide appeal. Ossie Davis, in adapt-
ing his Broadway comedy, "Purlie Victorious" for the screen,
has made an obvious effort not to tread on Caucasian sensibili-
ties, and this will have an adverse effect on the potentially large
Negro audience. For the most part, producer-directer Nicholas
Webster has simply transplanted the stage play to the screen.
The result is a static, stagey, and obviously low budget film
version. Performances by Rudy Dee, Davis and Godfrey Cam-
bridge are delightful, but the balance of the cast fails to come
up to their high standards. One scene, a wild, slapstick chase
with nickelodeon-style piano accompaniment, indicates how
bright this Hammer Bros, release might have been. The story
tells how Purlie Victorious (Davis), a pompous, self-made
preacher, fress his people from the clutches of Captain Cotchipee
(Sorrell Booke), the Simon Legree-type plantation owner who
keeps his "employees" constantly in his debt. Purlie brings
Lutiebelle Gussie Mae Jenkins (Miss Dee), an illiterate servant
girl, to the plantation to masquerade as his deceased college-
bred cousin, heiress to a $500 endowment that the Captain is
holding in trust. The deception doesn't work, but Purlie gets
his church anyway and, with it, the chance to bury Captain
Cotchipee, whose demise symbolizes the death of the "Old
South." Before this happens, however, the audience is treated to
a swarm of Purlie's overblown and meaningless sermons, all
of which Lutiebelle punctures with her wise, homey philoso-
phies. At the end, it looks as though Purlie and Lutiebelle will
marry, and that she will teach him some of her uneducated
wisdom.

Hammer Bros. I00 minutes. Ruby Dee, Ossie Davis. Produced and directed by
Nicholas Webster.

film BULLETIN September U I963 Page 13

"The Small World of Sammy Lee"

^U4UtC44 IZctfiHQ O O PIUS

Rating is for art market. Good performance by Anthony
Newley gives this British import some value for class
houses.

Anthony Newley gives a fascinating portrayal of a cheap,
conniving — but sentimental and basically decent — little punk in
this off-beat British drama. It will do well in art houses, but
elsewhere it poses selling problems. The story, originally a tele-
play, is too extended in its telling and too indigenous to its
sleazy Soho setting to satisfy general audiences in the U.S.
However, Newley's reputation as the star of the Broadway hit,
"Stop the World, I Want To Get Off" and as a recording artist
may help in getting this Seven Arts production and release
bookings in class theatres. Producer Frank Godwin and execu-
tive producer Kenneth Hyman have captured a remarkably life-
like picture of the vice dens and slum warrens of East End
London, but director-writer Ken Hughes goes overboard in giv-
ing this colorful setting equal footage with the story, so that
the overall effect is overly depressing and the plot often is
forced to a standstill. Sammy Lee (Newley), a small-time
entertainer with a passion for big-time betting, owes a bookie
300 "quid", and has only until nightfall to raise the money.
Between performances at the Peepshow Club, where he is M.C.
of the strip acts, he tries to make deals to raise the necessary
cash. Finally, desperately, he sells the sole possession he takes
pride in, the chair in which his mother died. He doesn't finagle
enough to pay his debt, but succeeds in freeing his naive girl-
friend (Julia Foster) from the sordid hold of Soho life, and
sending her back to her family's home in the country. As her
bus pulls away, the bookie's thugs are waiting. He faces his
beating, knowing that although he is ruining his own life, he
is not dragging her down with him.

Seven Arts. 105 minutes. Anthony Newley. Produced by Frank Godwin. Directed
by Ken Hughes.

"Of Love and Desire"

Sexed-up soap opera has fair marquee strength. Might
get by in mass — but not class — market.

While this turbulent "woman's picture" is rather ridiculous
as drama, it might have enough exploitations value to provide
modest success in the mass market. It will find the going heavy
in better class situations. Merle Oberon, returning to the screen
in the sort of romantic role with which she was once identified,
provides some marquee lure for the matronly set, and she is
supported by Steve Cochran and Curt Jurgens. The 20th Cen-
tury-Fox release, produced by Victor Stoloff for New World
Film Corp., was shot in DeLuxe color at Miss Oberon's two
plush estates in Mexico City. Unfortunately, poor color r ocess-
ing mars the scenic values, and the photography is extremely
unflattering to the performers, due possible to the use of new
fast film and transistorized cameras. Richard Rush's flamboyant
direction suggests plenty of hard-breathing passion, but little
actual fulfillment. The screenplay, which Rush co-authored with
Laslo Gorog, skirts around a touchy theme to become more a
sexed-up soap opera than an adult drama. Ronald Stein's back-
ground score, heavy on violins and celestial choirs, further adds
to the romantic aura, as does the Sammy Davis, Jr. rendering
of "Katherine's Theme" over the credits. Miss Oberon is cast
as a wealthy socialite whose numerous affairs are the talk of
Mexico City. Steve Cochran, an American engineer associated
in business with Miss Oberon's half-brother, Curt Jurgens,

knows about the lady's past, but cannot prevent himself from
falling in love with her. After an ex-suitor (John Agar) forces
himself on an inebriated Miss Oberon, she slashes her wrists.
Cochran finds her in time and offers to take her away with
him so that they can begin a new life. As she is packing, Jurgens
appears and reveals his non-brotherly desires. Shocked, Miss
Oberon flees. Cochran finds her wandering, dazed, in the streets.
He explains that her amoral behavior was due to an unfulfilled
war-time love affair and to the scheming interference of Jurgens
to keep her always for himself. Marriage, he implies, will solve
her sexual problems, and the two leave Mexico together.

20th Century-Fo*. 97 minutes. Merle Oberon, Steve Cochran, Curt Jurgens. Pro-
duced by Victor Stoloff. Directed by Richard Rush.

"Reach for Glory"

IRa&Hf O Plus

Mild entry for art and class houses. Story of youngsters
in wartime is diffuse and dated.

This British-made drama of children in wartime, being re-
leased by Royal Films International, newly formed subsidiary
of Columbia, is a mild entry for the art market and it might be
a servicable co-feature in class houses. Produced by Jud Kinberg
and John Kohn for Blazer Films, it is literate and well-acted, but
the story, told along conventional lines, is too diffuse and dated
to have much emotional impact on general audiences. The
screenplay by Kohn, Kinberg, and John Rae is adapted from
Rae's novel, "The Custard Boys," and bears a thematic resem-
blance to "Lord Of The Flies." Under Philip Leacock's sensitive
direction, children, evacuees from London during the blitz, ape
the manners of their elders and resent the fact that they are old
enough to be taught how to use rifles, yet are too young to
fight people they have been taught to hate. When an Austrian
Jewish refugee (Oliver Grimm) joins the evacuees, they first
accuse him of being a Nazi and, later, after learning his mother's
fate at the hands of the Germans, attack him for being a Jew
and, thus, in their eyes, to blame for the war. One boy, Martin
Tomlinson, more sensitive than the others, befriends the refugee
and eventually gets gang leader Michael Anderson, Jr., to
accept the young Jew as a "probationary" member of their
group. Up to this point, the story is dramatically valid and
often poignant, but, as it switches to Tomlinson and his family
problems, it is reduced to overly familiar and preachy melo-
drama. His mother and father (Kay Walsh, Harry Andrews)
bicker constantly, each blaming the other for the failure of their
older son (Alexis Kenner), a conscientious objector, to take
part in the war. They fabricate a story about his serving with
troops in Africa, but he unexpectedly returns home, joins a
Red Cross unit in London and explains his anti-war beliefs to
his younger brother. Meanwhile, the evacuees are planning a
fight with the village boys. The Jewish lad is reluctantly drawn
into the battle, but he panics and runs. Later, a mock execution
is staged for the "traitor." Blanks are to bo us :d but, by mistake,
one of the rifles has a live round in it. The boys arrange a story
the the refugee was killed while cleaning his rifle, but Tomlin-
son, now understanding his brother's feelings against fighting,
tells the police the truth.

Royal Films International. 8? minutes. Harry Andrew. Kay Walsh, Oliver Grimm,
Michael Anderson, Jr. Produced by Jud Kinberg £:.d John Kohn. Directed by
Philip Leacock.

(Zeiieui fatty*

• POOR • • FAIR

• • • GOCD • • • • TOPS

Page 14 Film BULLETIN September 16. 1 963

"The Condemned of Altona"

3u44kc44 IQatiKQ O 0 Plus

Somber, inconsistent indictment of post-war Germany.
Despite strong marquee lure of good cast, seems best
suited to art, special class markets.

Although it is well acted and, in parts, beautifully directed,
this indictment of post-war Germany is burdened with an
ambiguous, inconsistent screenplay and a bitter self-righteous
tone that most audiences will find too somber and baffling. Cer-
tainly there are strong quality lures in Academy Award per-
formers Sophia Loren, Maximilian Schell and Frederic March,
the producer-director team of "Two Women," Carlo Ponti and
Vittorio De Sica, and French existentialist Jean Paul Sartre,
from whose play Abby Mann ("Judgment At Nuremburg")
adapted the screenplay. 20th Century-Fox has slated this
Titanus production for a regular release pattern, but our guess
is that its best chance for success is in art houses, where the
picture's controversial nature may arouse enough interest to
warrant extended runs. In general release, prospects are best
in the class market. The "condemned" of the title refers spe-
cifically to the Gerlach family, industrial giants of Altona, a
suburb of Hamburg, but more symbolically to the whole
German nation. Patriarch March has no war guilt. When it
suited him, he followed Hitler, but now he goes along with the
highest bidder — usually Russia or the United States. His daugh-
ter, Francoise Prevost, awaits the day when Nazi Germany will
rise again. A son, Robert Wagner, professes to be an idealist,
yet, when the chips are down, he is weak. Into this group comes
Wagner's wife, Miss Loren, an actress, who tries to rise above
the evil surrounding her. There is talk about an older son,
supposedly dead, accused of war crimes — of being "the butcher
of Smolensk" — but to the family he is a hero. Miss Loren finds
him, living a hermit's existence, in an attic room. This role,
played by Schell, constitutes the story's major weakness. Until the
very end, it is not clear whether he is sane or insane, guilty or
innocent, without conscience or obsessed by guilt. Miss Loren
eventually leads him to the truth and, once his guilt is estab-
lished, to his own destruction. Scenes bewteen Miss Loren and
Schell comprise the bulk of the film and both players are
magnificent. They transform long, windy monologues into fas-
cinating vignettes but, unfortunately, the sound dramatic frame-
work on which to build their portrayals is lacking. The same
trouble plagues De Sica's direction. In street scenes and exterior
shots, there is the same raw power that made "Two Women"
memorable. The faces of the pleasure-seeking, guilt-free German
people reveal much — and it is frightening. Most of the story,
however, is confined to the house and here the picture of almost
total evil is unconvincing. Background music from Shostako-
vich's "Symphony No. 11" is aopropriately menacing. The end
result is a propagandish tour-de-force, disturbing in its impli-
cations of re-emerging Nazism, but, because of its excesses,
dramatically empty.

20th Century-Fox. 114 minutes. Sophia Loren, Maximilian Schell. Frederic March
Robert Wagner. Produced by Carlo Ponti. Directed by Vittorio De Sica.

"La Poupee"

Way-out French farce will attract curious in art market.

Even the avant-garde will find this weird French farce a bit
too far out for comfort, but curiosity value will carry it to
moderate boxoffice success in the more adventurous art houses.
Danish actor Sonne Teal plays the dual roles of Marion, mis-
tress of dictators, and La Poupee (the doll), a voluptuous,
sensuous symbol of freedom. From a purely anatomical stand-
point, his impersonation is amazing. His erotic striptease num-
ber, leaving virtually the whole feminine form unadorned, must

represent the zenith of the make-up man's art. Assisting Mr.
Teal is Jacques Dufilho, who also switches sexes to play a
philosophic Indian servant girl. Zbigniew Cybulski ("Ashes and
Diamonds") holds down the leading males roles, two of them,
and Catherine Milinaire, the only genuine female in the cast,
supplies rather sexless ingenue interest. Director Jacques Bara-
tier has combined these ingredients into a wildly imaginative,
sometimes hilarious, often repetitious conglomeration of Dada-
ism, surrealism and just plain looniness. The Gaston Hakim
Productions International Release was filmed at the appropri-
ately named Cafe Erotica, an abandoned night club the Paris,
in gaudy Eastman color. The screenplay by Jacques Audiberri
was adapted from his novel. The story, narrated in falsetto voice
by a prophetic Indian (Dufilho), takes place in a strife-torn
country — apparently equal parts Latin America, Spain, Ger-
many, and the American South. A revolution is brewing. Cybul-
ski appears both as the dictator (mustachioed) and the tyrant's
would-be assassin (clean faced). When the ruler meets an
untimely, undramatic end, the smooth-faced Cybulski agrees to
impersonate the dead man so that his murder can lead to an
uprising. Meanwhile, an effeminate scientist (Jean Aron) has
discovered the secret of duplicating the human form. He encases
his own mind into the body of a sexpot, La Poupee, modeled
after the dictator's buxom mistress. La Poupee spends her
days stirring the masses with Brechtian speeches, and her nights
exhibiting her body in seamy bistros. Eventually, the poor
creature wears herself out and disintegrates. With her, dies the
spirit of the people. By this time, the fake ruler has decided he
does not want to die another man's death and, besides, he likes
the feeling of power. The real power behind the ruler, a small
arms manufacturer (Claudio Gora) is content since nothing has
really changed, and he encourages a liaison between his daughter
(Miss Milinaire) and his new puppet ruler.

Gaston Hakim Productions International. 90 minutes. Zbigniew Cybulski, Sonne
Teal. Directed by Jacques Baratier.

"Hootenanny Hoot"

&«4tH444 tGoO*? O O p|us

Lively, bouncy folk singing musical melange should
score well in saturation play-offs. Will click with teen-
agers, young folks, and elders, too.

Teenagers and college youths will lay down their guitars and
flock to drive-ins and neighborhood theatres where this lively
extension course in folk music plays. And their elders will enjoy
it, too. Fad-conscious Sam Katzman, progenitor of the "Around
the Clock" and "Don't Knock" series, is in typical form in his
latest Four Leaf Production, and that, of course means money at
the boxoffice for this M-G-M release, especially where it is given
the ballyhooed saturation play-off. Ex-hoofer Gene Nelson, mak-
ing his directorial bow, leads a cast of promising newcomers
through a nicely paced, lightweight story, and he has a deft
visual flair, particularly in the bouncy rustic dance finale,
choreographed by Hal Belfer. James B. Gordon's screenplay
is light enough so that it doesn't interfere with the guitar-
strumming acts of The Brothers Four, Johnny Cash, Judy
Henske, Joe and Eddie, Sheb Wooley, The Gateway Trio,
George Hamilton IV, Cathie Taylor, and Chris Crosby. Peter
Breck, a TV director, gets tired of playing second fiddle to his
more successful wife, producer Ruta Lee, and walks out on her
and his New York career. Traveling across country, he comes
upon a Hootenanny troupe in a small midwestern town. Seeing
in the group the possibilities of a big time television show, he
and agent Joby Baker promote their musical style into a nation
wide craze. Breck imagines himself to be in love with pert
Pamela Austin, the troupe's mistress-of-ceremonies, but she lias
a yen for Baker.

M-G-M. 91 minutes. Peter Breck. Ruta Lee. Joby Baker, Pamela Austin. Produced
by Sam Katiman. Directed by Gene Nelson.

Film BULLETIN September 16. 1963 Page 15

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

May

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Lauren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.
88 min. 5/13/63.

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
Producer David Deutsch. Director Michael Winner.
Musical, 74 min. 7/8/63.

June

55 DAYS AT PEKING Technirama, Technicolor.
Charlton Heston, David Niven, Ava Gardner, Flora
Robson, Harry Andrews, John Ireland. Producer Samuel
Bronston. Director Nicholas Ray. Story of the Boxer
uprising. 150 min. 4/29/63.

August

GUN HAWK, THE Rory Calhoun, Rod Cameron, Ruta
Lee, Rod Lauren. Producer Richard Bernstein. Direc-
tor Edward Ludwig. Outlaws govern peaceful town of
Sanctuary.

September

September

CRY OF BATTLE Van Heflin, Rita Moreno, James Mac-
Arthur. Producer Joe Steinberg. Director Irving Lerner.
Guerilla Warfare in the Phi I li pin es at the start of World
War II.

SHOCK CORRIDOR (Formerly The Long Corridor)
Peter Breck, Constance Towers, Gene Evans, James
Best, Hari Rhodes. Producer-director Samuel Fuller. A
Leon Fromkess, Sam Firks Production. A suspense
drama. 101 min. 7/22/63.

November

GUNFIGHT AT COMANCHE CREEK Color. Panavision.
Audie Murphy, Ben Cooper, Colleen Miller, DeForrest
Kelley and Jan Merlin. Producer Ben Schwalb. Director
Frank McDonald. Private detective breaks up outlaw
gang.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen, Tuesday Weld, Tony Bill, Tom Poston, Chris
Noel, Ed Nelson. Producer Martin Jurow. Director
Ralph Nelson. Peacetime Army comedy.

Coming

STR ANGLER. THE Victor Buono. Producers Samuel
Bischoff, David Diamond. Director Burt Topper.

IRON KISS, THE A Leon Fromkess-Sam Firks produc-
tion. Producer-director Samuel Fuller.

MAHARAJAH Color. George Marshall. Polan Banks.
Romantic drama.

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

WAR MADNESS Tony Russell, Baynes Barron, Judy Dan.

AMERICAN INTERNATIONAL

May

MIND BENDERS, THE Dirk Bogarde, Mary Ure, John
Clement. Producer Michael Relph. Director Basil Dear-
den. Science fiction. 99 min. 4/15/63.

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama. 84 mm.

June

DEMENTIA #13 (Filmgroup) William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK, THE CONQUEROR (Formerly Miracle of the
Viking). Color, CinemaScope. Cameron Mitchell,
Kessler Twins. Action drama. 90 min.

July

TERROR, THE IFilmgroup) Color, Vistascope. Boris Kar-
loff. Sandra Knight. Horror. 81 min.

August

BEACH PARTY Color, Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funicello.
Producer James H. Nicholson. Director William Asher.
Teenage comedy. 100 min. 7/22/63.

HAUNTED PALACE, THE Color, Panavision. Vincent
Price, Debra Paget, Lon Chaney. Producer-director
Roger Corman. Edgar Allan Pae classic. 85 min.
9/2/63.

October

SUMMER HOLIDAY Technicolor, Technirama. Cliff
Richard, Lauri Peters. Teenage musical comedy. 100
min .

"X"— THE MAN WITH THE X-RAY EYES Ray Milland,
Diana Van Der Vlis, John Hoyt, Don Rickles. Science
fiction. 80 min.

November

PYRO— THE MAN WITHOUT A FACE Color. Barry
Sullivan, Martha Myer, Suspense melodrama. 93 min.

December

BLACK SABBATH Color. Boris Karloff, Mark Damon.
Horror.

FLIGHT INTO FRIGHT (Formerly Schizo) Leticia
Roman, John Saxon. Producer-director Mario Dava. Sus-
pense horror.

January

GOLIATH AND THE VIRGINS OF BABYLON, (formerly
SAMSON AND THE SINS OF BABYLON) Color, Scope.
Mark Forest, Scilla Gabel, John Chevon. Action
comedy.

SOME PEOPLE (Color) Kenneth More, Ray Brooks,
Annita Wills.

February

COMEDY OF TERRORS, A Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff, Basil Rathbone, Joyce
Jameson. Horror, comedy.

Coming

DUNWICH HORROR Color. Panavision. Science Fiction.
GENGHIS KHAN 70mm roadshow.

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester, Harvey
Lembeck. Horror comedy.

MAGNIFICENT LEONARDI, THE Color, Cinemascope.
Ray Milland.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

MUSCLE BEACH PARTY Color, Panavision. Frankie
Avalon, Annette Funicello. Teenage musical.

RUMBLE Color. Frankie Avalon, Annette Funicello. Teen-
age drama.

SAMSON & THE QUEEN OF THE AMAZONS. Color,
Scope. Mark Forrest, Josi Creci, Erno Crisa. Action
comedy.

UNEARTHLY, THE John Neville. Philip Stone, Gabriella
Lucudi. Science fiction.

UNDER AGE Teenage drama.

WHEN THE SLEEPER AWAKES Color. Vincent Price.
Producers Julian Wintle, Leslie Parkyn. H. G. Wells

classic.

June

SAVAGE SAM Brian Keith, Tommy Kirk, Kevin Cor-
coran. Marta Kristen. Dewev Martin. Jeff York. Pro-
ducer Walt Disney. Director Norman Tokar. Tale of the
pursuit of renegade Indians who kidnap two boys and
a girl. I 10 min. 6/10 /63.

July

SUMMER MAGIC Hayley Mills, Burl Ives, Dorothy Mc-
Guire, Deborah Walley, Peter Brown, Eddie Hodges.
Director James Neilson. Comedy musical. 109 min.
7/8/63.

October

20J00O0 LEAGUES UNDER THE SEA Re-release.
FANTASIA Re-release.

November

INCREDIBLE JOURNEY Emile Genest, John Dralnie.
Sandra Scott. Producer Walt Disney. Director Fletcher
Markle. Based on book by Sheila Burnford. Adventure
drama. 90 min.

December

SWORD IN THE STONE, THE. Producer Walt Disney.
Director, Wolfgang Reitherman. Full-length animated
feature. 80 min.

June

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical. 112 min. 4/15/63.

JASON AND THE ARGONAUTS (Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Kovak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic. 104 min. 6/10/63.

JUST FOR FUN Bobby Vee, The Crickets, Freddie
Cannon, Johnny Tillotson, Kerry Lester, The Tornadoes.
72 min.

July

13 FRIGHTENED GIRLS Murray Hamilton, Joyce Tay-
lor, Hugh Marlowe. Producer-director William Castle.
Mystery. 89 min.

August

GIDGET GOES TO ROME James Darren, Cindy Carol,
Joby Baker. Producer Jerrv Bresler. Director Paul
Wendkos. Teenage romantic comedy. 101 min. 8/5/63.

September

IN THE FRENCH STYLE Jean Seberg. Producer Irwin
Shaw. Director Robert Parrish.

THREE STOOGES GO AROUND THE WORLD IN A
DAZE, THE. The Three Stooges. Producer-director
Norman Maurer. Comedy. 94 min. 9/2/63.

October

MANIAC Kerwin Mathews, Nadia Gray.

OLD DARK HOUSE, THE Tom Poston, Joyce Greenfell.

RUNNING MAN, THE Laurence Harvey, Lee Remick.

Coming

BEHOLD A PALE HORSE Gregory Peck, Anthony Quinn.

CARDINAL, THE Tom Tryon, Romy Schneider, Carol
Lynley, John Saxon. Producer-director Otto Preminger.

CONGO VIVO Jean Seberg, Gabriele Ferzetti.

DR STRANGE LOVE: OR HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers,
Sterling Hayden, George C. Scott, Keenan Wynn. Pro-
ducer-director Stanley Kubrick. Comedy.

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

L-SHAPED ROOM, THE Leslie Caron, Tom Bell. Pro-
ducer James Woolf, Richard Attenborough. Director
Bryan Forbes. Drama. 125 min. 7/22/63.

SIEGE OF THE SAXONS Janette Scott, Ronald Lewis.
Producer Jud Kinberg. Director Nathan Juran. Juvenile
adventure story. 85 min. 8/19/63.

SWINGIN' MAIDEN, THE I Formerly The Iron Maiden)
Michael Craig, Anne Helm, Jeff Donnell.

UNDER THE YUM YUM TREE Jack Lemmon, Carol Lyn-
ley.

VICTORS, THE Vincent Edwards, Melina Mercouri,
Jeanne Moreau, Romy Schneider. Producer-director
Carl Forman.

June

How-
Frank

DAVID AND LISA Keir Dullea, Janet Margolin,
ard Da Silva. Producer Paul M. Heller. Director
Perry. Drama about two emotionally disturbed young
sters. 94 min. 1/7/63.

Film BULLETIN — THIS IS YOUR PRODUCT

I

YOUR SHADOW IS MINE Jill Haworth, Michael Rubl.
A European girl, raited by an Indo-Chinese family, hat
to choose between her native sweetheart and the
society of her own people. 90 min.

July

THIS SPORTING LIFE Richard Harris, Rachel Roberts.
Producer Karel Reisz. Director Lindsay Anderson. Dra-
ma. 12? min. 7/22/63.

August

LORD OF THE FLIES James Aubrey, Tom Chapin,
Hugh Edwards. Producer Lewis Allen. Director Peter
Brooks. Dramatization of William Golden's best selling
novel. 90 min. 9/2/63.

NEVER LET GO Richard Todd, Peter Sellers, Elizabeth
Sellers. Producer Peter de Sarigny. Director John
Guillevmin. Crime melodrama. 90 min. 6/24/63.

September

HANDS OF ORLAC. THE Mel Ferrer, Christopher Lee,
Dany Carrel, Lucille Saint Simon. Producers Steven
Pallos, Donald Taylor. Director Edmond Greville.
Mystery. 86 min.

Coming

MEDITERRANEAN HOLIDAY 70 mm color. Travelogue
narrated by Burl Ives.

April

LAW, THE Marcello Mastroianni, Melina Mercouri, Yves
Montand, Gina Lollobrigida. Producer, Jacques Bar.
Director, Jules Dassin. Romantic drama. 114 min.

May

BEAR. THE I English-dubbed I Renato Rascel, Francis
Blanche, Gocha.

July

FREDERICO FELLINI'S "8V2" Marcello Mastroianni,
Claudia Cardinale, Anouk Aimee, Sandra Milo. Pro-
ducer Angelo Rizzoli. Director Federico Fellini. Drama.
135 min. 7/8/63.

GENTLE ART OF MURDER. THE (Formerly Crime Does
Not Pay) Edwige Feuillere, Michele Morgan, Pierre
Brasseur, Richard Todd, Danielle Darrieux. Director
Gerard Oury. Drama. 122 min.

PASSIONATE THIEF THE Anna Magnani, Ben Gazzara,
Toto. Producer Silvio Clementelli. Director Mario
Monicelli. Comedy. 95 min.

WOMEN OF THE WORLD Technicolor. Narrated by
Peter Ustinov. Director Gualtiero Jacopetti. Women as
they are in every part of the world. 107 min. 7/8/63.

September

CONJUGAL BED, THE Marina Vlady, Ugo Tognazzi.
Director Marco Ferreri. Comedy drama. 90 min.

LIGHT FANTASTIC Dolores McDougal, Barry Bartle.
Producer Robert Gaffney. Director Robert McCarty.
Drama. 84 min.

ONLY ONE NEW YORK Director Pierre-Dominique
Gaisseau. Documentary.

THREEPENNY OPERA Sammy Davis, Jr., Curt Jurgens,
Hildegarde Neff. Director Wolfgang Staudte. Screen
version of Bertolt Brecht and Kurt Weill classic.

October

GHOST AT NOON, A Brigitte Bardot, Jack Palance
Fritz Lang, Georgia Moll.

Current Releases

BERNADETTE OF LOURDES (Janus Films) Daniele Ajoret
Nadine Alari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE (Lopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLACK FOX. THE (Capri Films) Produced, directed
and written by Louis Clyde Stoumen. 89 min. 4/29/63.

BLOOD LUST Wilton Graff, Lylyan Chauvin. 68 min.

BLOODY BROOD. THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR, A (Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

BURNING COURT. THE (Trans-Lux) Nadja Tiller, Jean-
Claude Brialy, Perrette Pradier. Producer Yvon
Guezel. Director Julien Duvivier.

CLEOPATRA'S DAUGHTER (Medallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

DANGEROUS CHARTER Technicolor. Panavision. Chris
Warfield, Sally Fraser, Richard Foote Peter Forster
76 mm.

DAY THE SKY EXPLODED, THE lExcelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
science fiction. 80 min.

DESERT WARRIOR, THE (Medallion) Color, Totalscope
J K|chardo Montalban, Carmen Sevilla. 87 min.

^ Film

DEVIL MADE A WOMAN. THE (Medallion) Color, To-
talscope. Sarita Montiel. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE (Ultra Pictures) Anthony Quinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS (Crown International)
Technicolor, Totalvision. Yoko Tani, Oldrick Lukes. 81
min.

FIVE DAY LOVER. THE (Kinqsley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers,
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay

Forester, Pamela Mason, Donald Woods. 86 min.

FORCE OF IMPULSE [Sutton Pictures) Tony Anthony,
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

GIRL HUNTERS, THE IColorama). Mickey Spillane,
Shirley Eaton, Lloyd Nolan. Producer Robert Fellows.
Director Roy Rowland. Mickey Spillane mystery. 103
min. 6/10/63.

GREENWICH VILLAGE STORY, THE (Shawn-Interna-
tional) Robert Hogan, Mellnda Prank. Producer-direc-
tor Jack O'Connell. Drama. 95 min. 8/19/63.

HAND IN THE TRAP (Angel Films) Elsa Daniel, Fran-
cisco Rabal. Director Leopoldo Torre Nilsson. Horror.
90 min. 7/22/63.

HEAD, THE (Trans-Lux) Horst Frank, Michael Simon.
Director Victor Trivas. Horror. 95 mm. 7/8/63.

HORROR HOTEL (Trans-Lux) Denis Lotis, Christopher
Lee, Betta St. John, Patricia Jessel. Producer Donald
Taylor. Director John Moxey. 76 min. 7/8/63.

IMPORTANT MAN, THE (Lopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

LAFAYETTE (Maco Film Corp.) Jack Hawkins, Orson
Welles, Vittorio De Sica. Producer Maurice Jacquin.
Director Jean Oreville. 110 min. 4/1/63.

LA NOTTE BRAVA IMi'ler Producing Co.) Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LAST OF THE VIKINGS (Medallion) Color. Totalscope.
Cameron Mitchell. Edmond Purdom. 102 min.

LAZARILLO (Union Films) Marco Paoletti, Juan Jose
Menendez. An Hesperia Films Production. Director
Cesar Ardavin. Tale of a 12-year-old rogue-hero's
efforts to survive in 16th century Spain. 100 min.
5/13/63.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

MAGNIFICIENT SINNER (Film-Mart, Inc.) Romy
Schneider, Curt Jergens. Director Robert Siodmak. 91
min. 4/29/63.

MARRIAGE OF FIGARO, THE (Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin. Director Jean Meyer. French import.
105 min. 2/18/63.

MONDO CANE (Times Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/63.

MOUSE ON THE MOON, THE Eastmancolor (Lopert
Pictures) Margaret Rutherford, Bernard Cribbins. Terry
Thomas. Satirical comedy. 84 min. 6/24/63.

MY HOBO IToho) Keiji Kobayashi, Hideko Takamine.
Producer Tokyo Eiga Company. Director Zenzo Matsu-
yama. 98 min. 8/5/63.

MY NAME IS IVAN (MosFilm) Kolya Burlaiev. Director
Andrei Tarkovsky. Drama. 94 min. 8/19/63.

NIGHT OF EVIL (Sutton) Lisa Gaye, Bill Campbell.
88 min.

NO EXIT (Zenith-International) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.

ORDERED TO LOVE IM. C. Distributor Release) Maria
Perschy. Producer Wolf Brauner. Director Werner
Klinger. Drama. 82 min. 7/22/63.

PARADISE ALLEY (Sutton) Hugo Haas. Corinne Griffith.
PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon. Marie Laforet. Director Rene Clement.
I I 5 min.

RAIDERS OF LEYTE GULF (Hemisphere Pictures) Mich-
ael Parsons, Leopold Salcedo, Jennings Sturgeon. Pro-
ducer-director Eddie Romero. War melodrama. 80 min.
7/22/63.

ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

RUN WITH THE DEVIL (Jillo Films) Antonella Lualdi,
Gerard Blain, Franco Fabrizi. Director Mario Camerini.
Drama. 93 min. 8/19/63.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

SLIMfc PEOPLE, THE I Hutton-Robertson Prods ) Robert
Hutton, Les Tremayne, Susan Hart. Producer Joseph
F. Robertson. Director Robert Hutton.

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

BULLETIN — THIS IS YOUR PROD

SEPTEMBER SUMMARY

Several changes have occurred in the
release chart for September bringing the
total of available product for the month
to 19. Embassy has moved out in front
of the group with four releases. 20th-
Fox follows closely listing three. Two
films will be forthcoming from M-G-M,
Columbia, Warner Brothers and Allied
Artists. Four companies — United Art-
ists, Universal, Continental and Ameri-
can International — each offer one re-
lease. Neither Buena Vista nor Para-
mount have announced any new prod-
uct for the month.

SON OF SAMSON (Medallion) Color. Totalscope. Mark
Forest, Chelo Alonso. 89 min.

STAKEOUT Ping Russell, Bill Hale, Eve Brent. 81 min.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Ca hi II , Sid Clute. Producer-
Director Alex Nicol. 82 min.

THREE FABLES OF LOVE (Janus) Leslie Caron, Ros-
sano Brazi, Monica Vitti, Sylva Koscina, Charles
Aznavour, Jean Poiret, Michel Serrault, Ann Karina.
Producer Gilbert de Goldschmidt. Director Alessandro
Blasetti, Heave Bromberger, Rene Clair. 8/5/63.

VARAN THE UNBELIEVABLE Myron Healy. Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Victoria) Narration by Thomas
L. Row and Pauline Girard. Producer-director Marion
Gering. 67 min. 7/8/63.

VIOLENT MIDNIGHT (Times Films Eng. I Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION ITimes Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FCR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

METRO-GOLDWYN -MAYER

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatole de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.
109 min. 5/13/63.

May

DIME WITH A HALO Barbara Luna. Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris

Sagal. Race track comedy. 94 min. 4/1/63.

DRUMS OF AFRICA Frankie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.

92 min. 4/29/63.

IN THE COOL OF THE DAY CinemaScope, Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz. 90 min. 5/13/63.

SLAVE, THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites the slaves to
revolt against the Romans.

June

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West. 89 min.
FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.
90 min.

MAIN ATTRACTION. THE CinemaScope. Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min. 6/24/63.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GriffiTh. Pro-
ducer Aaron Rosenbcq. Director Lewis Mil°«tone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/63.

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode. Producer Sy Weintraub. Director Robert Day.
Adventure. 92 min. 7/8/63.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,
Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy. 85 min. 6/24/63.

U C r

DAY AND THE HOUR, THE [Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

TICKLISH AFFAIR. A I Formerly Moon Walk) Shirley

Jones, Gig Young. Producer Joe Pasternak. Director
George Sidney. Romantic comedy based on a story in
the Ladies Home Journal. 87 min. 7/8/63.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

August

HOOTENANNY HOOT Brothers Four, Sheb Wooley,

Johnny Cash. Folk musical. 90 min.

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy. 84 min.
5/13/63.

September

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller. 112
min. 9/2/63.

V.I.P.s, The Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama. 119 min. 8/19/63.

October

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

TIKO AND THE SHARK Producer Goffredo Lombardo.
Director F. Quilici. Filmed entirely in French Poly-
nesia with a Tahitian cast. 108 min.

TWILIGHT OF HONOR Richard Chamberlain, Nick
Adams, Joan Blackman, Joey Heatherton. A Pearlberg-
Seaton Production. Director Boris Sagal. A young
lawyer falls victim to the bigoted wrath of a small
town when he defends a man accused of murdering
the town's leading citizen.

November

GLADIATORS SEVEN Richard Harrison, Loredana Nus-
ciak. Producers Cleo Fontini, Italo Zingarelli. Director
Pedro Lazaga. Seven gladiators aid in overthrowing
a tyrant of ancient Sparta. 92 min.

MGM'S BIG PARADE OF COMEDY Great stars of the
past in memorable comedy moments from great MGM
Films of the past.

WHEELER DEALERS. THE James Garner, Lee Remick.
Producer Martin Ransohoft Director Arthur Hiller.
Story of a Texan who takes Wall Street by storm. 106
min.

December

THE PRIZE PauJ Newman, Edward G. Robinson, Elke
Sommer. Producer Pandro Berman. Director Mark
Robson. Based on the Irving Wallace bestseller.

January

CHILDREN OF THE DAMNED Ian Hendry, Alan Bader.
I Science fiction ) .

SUNDAY IN NEW YORK IMGM-Seven Arts) Cliff
Robertson, Jane Fonda, Rod Taylor. Producer Everett
Freeman. Director Peter Tewksbury. The eternal ques-
tion: should a qirl or shouldn't she, prior to the
nuptials?

February

OF HUMAN BONDAGE IMGM-Seven Arts) Kim
Novak, Laurence Harvey. Producer James Woolf. Di-
rector Henry Hathaway. Film version of classic novel.

Coming

CORRIDORS OF BLOOD Boris Karloff, Betta St. John,
Finlay Currie. Producer John Croydon. Director Robert
Day. Drama. 84 min. 6/10/63.

COUNTERFEITERS OF PARIS Jean Gabin, Martine
Carol. Producer Jacques Bar. Director Gilles Grangier.
99 min.

FOUR DAYS OF NAPLES, THE Jean Sorel, Lea Messari,
Producer Goffredo Lombardo. Director Nanni Loy.

GLOBAL AFFAIR A Bob Hope, Lilo Pulver. Producer
Hall Bartlett. Director Jack Arnold. Comedy.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HOW THE WEST WAS WON Cinerama. Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/1 8/6 S .

MURDER AT THE GALLOP Margaret Rutherford, Robert
Morley, Flora Robson. Producer George Brown. Direc-
tor George Pollock. Agatha Christie mystery. 81 min.
7/22/63.

NIGHT MUST FALL Albert Finney, Mora Washbourne.
Producer Karl Reise, Albert Finney. Director Karl
Reise. Psychological suspense thriller.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

WEREWOLF IN A GIRL'S DORMITORY Barbara Lass,
Carl Schell. Producer Jack Forrest. Director Richard
Benson. Horror show. 84 min. 6/10/63.

4EZLXZIZZSL!IZQB

March

PAPA'S DELICATE CONDITION Color. Jackie Gleason.
Glynis Johns. Producer Jack Rose. Director George
Marshall. Comedy-drama based on childhood of silent
screen star Corinne Griffith. 98 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cliff

Robertson, David Janssen. Producer Gant Gaither.
Director Gower Champion. Broadway star adopts six
abandoned children. 105 min. 3/18/63.

May

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director Ritt.
Drama set in modern Texas. 122 min. 3/4/63.

June

DUEL OF THE TITANS CinemaScope, Eastman color.
Steve Reeves, Gordon Scott. Producer Alessandro
Jacovoni. Director Sergio Corbucci. The story of
Romulus and Remus, the twin brothers who founded
the city of Rome.

NUTTY PROFESSOR, THE Technicolor. Jerry Lewis,
Stella Stevens. Producer Ernest D. Glucksman. Direc-
tor Jerry Lewis. A professor discovers a youth-
restoring secret formula. 105 min. 6/10/63.

July

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific. 108 min. 8/5/63.

August

COME BLOW YOUR HORN Technicolor. Frank Sinatra.

Barbara Rush, Lee J. Cobb. Producer Howard Koch.
Director Bud Yorkin. A confirmed bachelor introduces
his young brother to the playboy's world. 112 min.
6/24/63.

October

NEW KIND OF LOVE. A Technicolor. Paul Newman,
Joanne Woodward, Thelma Ritter, Maurice Chevalier.
Producer-director Melville Shavelson. Romantic com-
edy. 105 min. 9/2/63.

WIVES AND LOVERS Janet Leigh, Van Johnson, Shelley
Winters, Martha Hyer. Producer Hal B. Wallis. Direc-
tor John Rich. Romantic comedy. 102 min. 9/2/63.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmons.
Pat Hingle. Producer David Susskind. Director Alex

Segal. Film version of play and novel.

BECKET Technicolor. Richard Burton, Peter O'Toole.
Producer Hal B. Wallis. Director Peter Glenville. Film
version of Jean Anouilh's play.

CARPETBAGGERS, THE Technicolor. Panavision 70.
George Peppard. Producer Joseph E. Levine. Director
Edward Dmytryk. Drama based on the best-seller by
Harold Robbins.

FUN IN ACAPULCO Technicolor. Elvis Presley, Ur-
sula Andress. Producer Hal B. Wallis. Director Rich-
ard Thorpe. Musical-comedy.

LADY IN A CAGE Olivia de Havilland, Ann Southern.
Producer Luther Davis. Director Walter Grauman.
Drama.

LOVE WITH THE PROPER STRANGER Natalie Wood,
Steve McQueen. Producer Alan J. Pakula. Director
Robert Mulligan. A young musician falls in love with
a Macy's sales clerk.

PARIS WHEN IT SIZZLES Panavision. Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Douglas,
Fredric March. Producer Edward Lewis. Director John
Frankenheimer. A Marine colonel uncovers a military
plot to seize control of the U.S. government.

WHO'S BEEN SLEEPING IN MY BED? Panavision,
Technicolor. Dean Martin, Elizabeth Montgomery, Carol
Burnett. Producer Jack Rose. Director Daniel Mann.
Comedy.

WHO'S MINDING THE STORE? Technicolor. Jerry
Lewis, Jill St. John, Agnes Moorehead. Producer Paul
Jones. Director Frank Tashlin. Comedy.

20TH CENTURY-FOX

March

HOUSE OF THE DAMNED CinemaScope. Ronald Foster,
Merry Anders. Producer-Director Maury Dexter. Archi-
tect inspects haunted house and runs across circus of
freaks. 62 min.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

April

NINE HOURS TO RAMA CinemaScope, DeLuxe Coler.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63.

May

YELLOW CANARY, THE CinemaScope. Pat Boone. Bar-
bara Eden. Producer Maury Dexter. Director Buzz Kulik.
Suspense drama. 93 min. 4/15/63.

June

STRIPPER, THE (Formerly A Woman in July) Cinema-
Scope. Joanne Woodward, Richard Beymer, Gypsy Rose
Lee, Claire Trevor. Producer Jerry Wald. Director
Franklin Schaffner. Unsuccessful actress seeks happi-
ness. 95 min. 4/29/63.

July

LONGEST DAY. THE CinemaScope. John Wayne. Rich-
ard Todd, Peter Lawford, Robert Wagner, Tommy
Sands, Fabian, Paul Anka, Curt Jurgens, Red Buttons,
Irina Demich, Robert Mitchum, Jeffrey Hunter, Eddie
Albert, Ray Danton, Henry Fonda, Edmond O'Brien,
Robert Ryan. Producer Darryl Zanuck. Directors Gerd J
Oswald, Andrew Marton, Elmo Williams, Bernhard
Wicki, Ken Annakin. 180 min.

August

LASSIE'S GREAT ADVENTURE DeLuxe Color. June Lock-
hart, Jon Provost. Producer Robert A. Golden. Director
William Beaudine. Lassie and his master get lost in I
Canadian Rockies. 103 min.

OF LOVE AND DESIRE DeLuxe Color. Merle Oberon. It
Steve Cochran, Curt Jurgens. Producer Victor Stoloff.
director Richard Rush. Brother tries to break up sister's |l

romance. 97 min.

September

CONDEMNED OF ALTONA. THE CinemaScope. Sophia!
Loren, Maximilian Schell, Fredric March, Robert Wag-
ner. Producer Carlo Ponti. Director Vittorio De Sica.
Adaped from Jean-Paul Sartre's stage success. 114 min. ,1

A FAREWELL TO ARMS. Re-release.

THE YOUNG SWINGERS CinemaScope. Rod Lauren,
Molly Bee. Producer-Director Maury Dexter.

October

LEOPARD THE CinemaScope, DeLuxe Color. Burt Lan-
caster, Alain Delon, Claudia Cardinale. Producer Gof-
fredo Lombardo. Director Luchino Visconti. Based oni
famous best-seller detailing disintegration of Italian'
nobility. 165 min. 8/19/63.

MARILYN CinemaScope, DeLuxe Color. Screen clips1
from Marilyn Monroe's films with narration by Rock
Hudson. 83 min.

THUNDER ISLAND Cinemascope. Gene Nelson. Fay'
Spain. Producer-director Jack Leewood. 65 min.

November

TAKE HER. SHE'S MINE CinemaScope, DeLuxe Color.I

James Stewart, Sandra Dee. Producer-Director Henry

Koster. Daughter's escapades at college cause comic
disturbance to father.

December

HARBOR LIGHTS CinemaScope. Kent Taylor, Jeff Mor-|
row. Producer-Director Maury Dexter. Thieves commit
murder for possession of fabulous diamond. 68 min J*
8/5/63.

Coming

CLEOPATRA Todd-AO Color. Elizabeth Taylor, Richard

Burton, Rex Harrison. Producer Walter Wanger
Director Joseph Mankiewicz. Story of famous queen.
221 min. 6/24/63.

MOVE OVER. DARLING CinemaScope, DeLuxe Color.
Doris Day, James Garner, Polly Bergen. Producer;
Aaron Rosenberg, Martin Melecher. Director Michael
Gordon. Romantic comedy.

QUEEN'S GUARDS, THE CinemaScope, DeLuxe Color
Daniel Massey, Raymond Massey, Robert Stephens
Producer-Director Michael Powell. A tale of fin
tradition and importance of being a Guard.
WINSTONE AFFAIR, THE Robert Mitchum, France
Nuyen.

UNITED ARTISTS

March

FIVE MILES TO MIDNIGHT Sophia Loren, Anthony
Perkins, Gig Young, Jean-Pierre Aumont. Producer
director Anatole Litvak. Suspense drama about ail
American in Europe who schemes to defraud an insur
ance company. 110 min. 3/4/63.

Film BULLETIN — THIS IS YOUR PRODUCT

i

LOVE IS A BALL Technicolor, Panavision. Glenn Ford,
Hope Lange, Charles Boyer. Producer Martin H. Poll.
Director David Swift Romantic comedy of the interna-
tional set. 1 1 1 min. 3/4/63.

April

I COULD GO ON SINGING Eastmancolor, Panavisioe.
Judy Garland, Dick Bogarde, Jack Klugman. Producers
Stuart Millar, Lawrence Turman. Director Ronald
Neame. Judy returns in a dramatic singing role. 99
min. 3/18/63.

May

DR. NO Technicolor. Sean Conneiy, Ursula Andress,
Joseph Wiseman, Jack Lord. Producers Harry Saltz-
man, Albert R. Broccoli. Director Terence Young. Action
drama based on the novel by Ian Fleming. Ill min.
3/18/63.

June

AMAZONS OF ROME Louis Jourdan. Sylvia Syms.

BUDDHA Technicolor, Technirama. Kojiro, Hongo,
Charito Solis. Producer Masaichi Nagata. Director
Kenji Misumi. Drama dealing with the life of one of
the world's most influential religious leaders. 134 min.
7/22/63.

CALL ME BWANA Bob Hope, Anita Ekberg, Edie
Adams. Producers Albert R. Broccoli, Harry Saltzman.
Director Gordon Douglas. Comedy. 103 min. 6/10/63.

DIARY OF A MADMAN Vincent Price, Nancy Kovalc.
Producer Robert E. Kent. Director Reginald Le Borg.
Horror mystery of a man possessed by a horla. 96 min.
3/4/63.

July

GREAT ESCAPE, THE Deluxe Color, Panavision. Steve
McQueen, James Garner, Richard Attenborough. Pro-
ducer-director John Sturges. Based on true prisoner of
war escape. 168 min. 4/15/63.

IRMA LA DOUCE Technicolor, Panavision. Jack Lem-
mon, Shirley MacLaine. Producer-director Billy Wilder.
Comedy about the "poules" of Paris, from the hit
Broadway play. 142 min. 6/10/63.

August

CARETAKERS, THE Rcbert Stack. Polly Bergen, Joan
Crawford. Producer-director Hall Bartlett. Drama
dealing with group therapy in a mental institution. 97
min. 8/19/63.

TOYS IN THE ATTIC Panavision. Dean Martin, Geral-
dine Page, Yvette Mimieux, Gene Tierney. Producer
Walter Mirisch. Director George Roy Hill. Screen
version of Broadway play. 90 min. 7/8/63.

September

LILIES OF THE FIELD Sidney Poitier, Litia Skala. Pro-
ducer-director Ralph Nelson. Story of ex-GI and Ger-
man refugee nuns who build a chapel in the Arizona
desert. 94 min. 9/2/63.

October

JOHNNY COOL Henry Silva, Elizabeth Montgomery.
Producer-director William Asher. Chrislaw Productions.
101 min.

STOLEN HOURS Color. Susan Hayward, Michael Craig,
Diane Baker. Mirisch-Barbican film presentation. Di-
rected by Daniel Petrie. 100 min.

TWICE TOLD TALES Color. Vincent Price, Mari Blan-
chard. Producer Robert E. Kent. Director Sidney Salkow.
Based on famous stories of Nathaniel Hawthrone. 119
min.

November

IT-S A MAD, MAD. MAD. MAD WORLD. Cinerama.
Technicolor. Spencer Tracy, Milton Berle, Sid Caesar,
Buddy Hackett, Ethel Merman, Mickey Rooney, Dick
Shawn, Phil Silvers, Terry-Thomas, Jonathan Winters.
Producer-director Stanley Kramer. Spectacular comedy.

MCLINTOCK! Color. John Wayne, Maureen O'Hara,
Yvonne De Carlo, Patrick Wayne, Chill Wills, Jack
Kruschen. Producer Michael Wayne. Director Andrew
V. McLaglen. 127 min.

December

KINGS OF THE SUN Color. Yul Brynner, George Cha-
kiris. Producer Lewis Rachmil. Director J. Lee Thomp-
son. A Mirisch Company Presentation.

Coming

CEREMONY, THE Laurence Harvey, Sarah Miles, Rob-
ert Walker, John Ireland. Producer director Laurence
;Harvey. 108 min.

mnnsnm

May

PARANOIC Janette Scott, Oliver Reed, Sheilah Burrell.
Producer Anthony Hinds. Director Freddie Francis.
Horror. 80 min. 4/15/63.

SHOWDOWN (Formerly The Iron Collar) Audie Mur-
ohy Kathleen Crowley. Producer Gordon Kay. Director
W. G. Springsteen. Western. 79 min. 4/15/63.

Film

June

LANCELOT AND GUINEVERE Technicolor. Panavision.
Cornel Wilde, Jean Wallace, Brian Aherne. Producers
Cornel Wilde, Bernard Luber. Director Wilde. Legend-
ary tale of love and betrayal. 115 min. 5/13/63.

LIST OF ADRIAN MESSENGER. THE George C. Scott,
Dana Wynter, Clive Brook, Herbert Marshall. Producer
Edward Lewis. Director John Huston. Mystery. 98
min. 6/10/63.

TAMMY AND THE DOCTOR Color. Sandra Dee, Peter
Fonda, Macdonald Carey. Producer Ross Hunter. Direc-
tor Harry Keller. Romantic comedy. 88 min. 5/13/63.

July

GATHERING OF EAGLES. A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann. 116 min.

KING KONG VS. GODZILLA Color. Michael Keith,
Harry Holcomb, James Yagi. Producer John Beck.
Director Ray Montgomery. Thriller. 90 min. 6/10/63.

August

FREUD: SECRET PASSION (Formerly Freud I Mont-
gomery Cliff, Susannah York. 120 min.

THRILL OF IT ALL. THE Color. Doris Day, James Gar-
ner, Arlene Francis. Producers Ross Hunter, Martin

Melecher. Director Norman Jewison. Romantic comedy.
108 min. 6/10/63.

TRAITORS. THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson. 71 min.

September

KISS OF THE VAMPIRE Eastman Color. Clifford Evans,
Edward DeSouza, Jennifer Daniels. Producer Anthony
Hinds. Director Don Sharpe. 88 min. 8/5/63.

October

FOR LOVE OR MONEY (Formerly Three Way Match)
Color. Kirk Douglas, Mirzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon. 108
min. 8/5/63.

Coming

BRASS BOTTLE. THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN, M.D. Color. Gregory Peck, Tony
Curtis, Angie Dickinson, Bobby Darin, Eddie Albert.
Producer Robert Arthur. Director David Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

CHARADE Technicolor, Panavision. Cary Grant, Audrey
Hepburn, Walter Matthau, James Coburn. Producer-
Director Stanley Donen.

DARK PURPOSE Technicolor. Shirley Jones, Rossano
Brazzi, George Sanders, Micheline Presle, Georgia
Moll. Producer Steve Barclay. Director George Mar-
shall.

GUN HAND, THE Tony Young, Dan Duryea, Jo Mor-
row Madlyn Rhere. Producer Gorden Kay. Director
Paul Sylos.

ISLAND OF THE BLUE DOLPHINS (Color) Producer
Robert B. Radnitz. Director James B. Clark.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven, Shirley Jones. Producer Stanley Shapiro.
Director Ralph Levy.

MAN'S FAVORITE SPORT Color. Rock Hudson, Paula
Prentiss, Maria Perchy. Producer-director Howard
Hawks.

WILD AND WONDERFUL (Formerly Monsieur Cognac)
Color. Tony Curtis, Christine Kaufmann, Larry Storch,
Marty Ingles. Producer Harold Hecht. Director Michael
Anderson.

WARNER BROTHERS

May

AUNTIE MAME Re-release.

ISLAND OF LOVE (Formerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da ••sta.
Comedy set in Greece. 101 min. 5/13/63.
SUMMER PLACE, A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda.
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family. 119 min. 3/4/63.

September

CASTILIAN. THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama. 112 min. 8/19/63.

October

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa MartineMi. Producer William Fadiman. Direc-
tor Phil Karlson. Adventure drama. 98 min. 8/19/63.

November

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr.

PALM SPRINGS WEEKEND Technicolor. Troy Donahue.
Connie Stevens. Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMER'CA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

DEAD RINGER Bette Davis, Karl Maiden. Peter Law-
ford. Producer William H. Wright. Director Paul Hen-
reid. Miss Davis plays a dual role of twin sisters in
this shocker.

DISTANT TRUMPET. A Technicolor. Panavision. Troy
Donahue, Suzanne Pleshette, Diane McBain. Producer
William H. Wright. Director Raoul Walsh. Epic adven-
ture of Southwest.

ENSIGN PULVER (formerly Mister Pulver and the
Captain) Technicolor. Robert Walker, Burl Ives, Walter
Matthau, Millie Perkins, Tommy Sands. Producer-
director Joshua Logan. Comedy sequel to "Mister
Roberts".

FBI CODE 98 Jack Kelly, Ray Denton. Producer Stanley
Niss. Director Leslie H. Martinson. Dramatic action
story.

4 FOR TEXAS Technicolor. Frank Sinatra, Dean
Martin, Anita Ekberg, Ursula Andress. Producer-direc-
tor Robert Aldrich. Big-scale western with big star
cast.

GREAT RACE, THE Technicolor. Burt Lancaster, Jack
Lemmon. Producer Martin Jurow. Director Blake Ed-
wards. Story of greatest around-the-world automobile
race of all time.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

KISSES FOR MY PRESIDENT Fred MacMurray, Polly
Bergen. Producer-director Curtis Bernhardt. Original
comedy by Robert G. Kane.

LONG FLIGHT, THE Spencer Tracy. James Stewart,
Richard Widmark, Carroll Baker, Dolores Del Rio,
Sal Mineo. Producer Bernard Smith. Director John
Ford, Super-adventure drama of struggle by 300
Indians against U.S. Army.

MARY, MARY Debbie Reynolds. Barry Nelson.

OUT OF TOWNERS. THE Color. Glenn Ford, Geraldine
Page, Angela Lansbury. Producer Martin Manulis. Di-
rector Delbert Mann. Comedy-drama about a small-
town "postmistress".

PALM SPRINGS WEEKEND Troy Donahue, Connie
Stevens.

ROBIN AND THE 7 HOODS Technicolor-Panavision.
Frank Sinatra, Bing Crosby, Dean Martin, Sammy
Davis, Jr., Joey Bishop. Producer Gene Kelly. Director
Gordon Douglas. Based on adventures of Robin Hood
set against background of Chicago in the "roaring
20's."

YOUNGBLOOD HAWKE Suzanne Pleshette, James Fran-
ciscus. Producer-director Delmer Daves. From Herman
Wouk's best-selling novel.

DEPENDABLE SERVICE!

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BULLETIN

Opinion of the Ind.-u.stry

SEPTEMBER 30, 1963

FEATURES

It's About TIME

A Tongue-in-Cheek Comment on the
TIME Cover Story about Cinema Art by
The Newsweekly's Waggish Movie Punster

LANDAU -ON THE RISE

Burgeoning Inde Producer Aims
To Shake Off 'Egg Head' Image

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by ROLAND PENDARIS

More on Family Films

I seem to remember reading in Believe It or Not, or some
similarly reliable source, that if you sat a monkey down at a
typewriter, sooner or later he would type enough words for a
novel. If you sat a columnist down at a typewriter for the
same amount of time, he would not do as well as the monkey.
He would repeat the same column X number of times. I do not
make this statement in deference to the superior ability of
monkeys. Indeed, I doubt that any monkey would write a good
novel. But I also doubt that any monkey would feel as strongly
about a selected assortment of particular situations as the aver-
age columnist. We regular denizens of the printed page have a
tendency to pound away at our own individual pet subjects,
and that's the way it's going to be.

All of this is by way of preface to another excursion into the
world of The Green Sheet, the survey of current films issued
monthly by the Film Estimate Board of National Organizations.
This is the publication that rates movies in five categories of
audience acceptability: A for Adults, MY for Mature Young
People, Y for Young People, GA for General Audience, and
C for Children.

We have utilized this space a few times in the past to ask
whatever happened to family pictures — and children's pictures
as well. We know it is an old and often heard question, but
the September-October Green Sheet raises it all over again.
There are 22 pictures reviewed. There is exactly one which gets
a GA rating for the General Audience. There are five for Young
People of the Y category. As far as C for Children (unaccom-
panied by adults), we seem to be fresh out.

It's all very fine to talk about the maturity of the motion pic-
ture medium and the high quality of adult entertainment. But
a good deal of his talk is sophistry. Adult entertainment in too
many instances — and I refer to books and plays as well as
movies — is used to describe not the intellectual level of the offer-
ing, but rather its unfitness for young people. The growing bat-
talion of female stars who take off all their clothes in a movie —
or at least in the publicity about the movie — purely for art's
sake and then rush into print deploring other nudes as being
cheap; the amoral humor of sexual freebooters in both on-
screen and private (?) life; the long-haired pretty-boy aspect
of so many of the young actors of today — all these are phases
of what you can call adulthood in movies, but I frankly regard
as either aesthetic adultery or adulteration, take your pick.

I said that this was not confined to movies. On a plane ride
to lotusland and back, I recently read a long novel whose author
is highly regarded by the motion picture industry and his pub-
lishers as well. This gifted gentleman found it impossible to
describe a single female in his book without discussing the
deployment and configuration of her mammaries; hips no,
superstructure yes. On the first three or four occasions, it is
interesting. After a while you find yourself wondering whether
this guy ever thinks of anything else.

Sex is many things but not a bore, you say. If it were as sure-
fire a guarantee of long-term prosperity as some of the nude-
dealers seem to think, Minsky would own New York by now.
The sexy newspapers would have driven the New York Times
and the Washington Post to the wall. It hasn't happened yet.

I read The Green Sheet as a potential movie customer. Cor-

rection— as the head of a family of potential movie customers.
And let me hedge that word "potential." My older daughter
and son may have seen a movie in the past six months, but I
can't remember when. My wife and I have asked them to come
with us a few times — and they have turned us down. Their early
teen-aged groups don't go to the movies. And the younger
children go only when they are assured by their parents that
they will like the picture. They don't pester us to go to the
movies — we pester them, when we can find that one picture out
of 22 (latest Green Sheet proportion) which parents and chil-
dren can enjoy together as General Audience.

And there's another catch to this Green Sheet listing. Their
categories don't mean that the picture is necessarily good. They
merely mean that the picture is suitable, in terms of theme and
treatment, for the particular audience they specify. Thus the
one General Audience film in the September-October Green
Sheet is described this way: "The obvious little war film unpre-
tentious and sentimental, has a reasonable share of excitement."
Hardly a rave.

Whenever columnists or other observers cite The Green
Sheet to point up not entirely laudatory aspects of the movies,
these comments are taken greatly to heart by segments of the
industry. "This is terrible," they say. "We've got to do some-
thing." But what they mean — we know they mean it because
they keep saying it — is "We've got to do something — about
the Green Sheet." They want to treat the symptom, not the
disease.

I wish to venture a prediction. I hope I am wrong. The gen-
eration which was born after network television is now in its
teens. The television generations yet to come will follow in ever
greater waves. They have grown up relatively unaware of the
joys of moviegoing, except for the refreshment-laden drive-in.
The conventional theatre is not anywhere nearly as familiar to
them as it was to their parents at the same age. I doubt that
the movie theatre will ever become terribly much more familiar
to them unless the industry turns out more pictures for the gen-
eral audience, more different kinds of pictures.

Was business good this summer? Fine, if that's the case. Did
vou gentlemen look at your audience and find out how many
kids were breaking down the doors to get in? Did you take in
more money by attracting more customers or by raising prices?

The bowling alleys, to cite just one of the competitors of the
motion picture theatre, zoomed into the more prosperous
brackets when they began to attract family patronage and even
set up children's leagues. The bowling proprietors would cer-
tainly recoil in horror if their pastime were to be labeled "for
adults only." But many of the very motion picture people who
are doing the most to have that adults only label pinned on the
film wares of our theatres point to it as a sign of progress and
"maturity." And they have unwitting allies among the producers
at the other end of the spectrum, the people who perpetuate
motion pictures so gosh awful that only an undiscriminating
kid could bear to sit through them. We find these bits of dross
described as "children's pictures," but you can be certain few
parents will send their children to see them. And after a while
even the children get wise to the lack of quality of these
offerings.

So read The Green Sheet, gentlemen of the film world, and
ponder the portents of its ratings. There's more to them than
meets the eye.

Film BULLETIN September 30. 1963 Page 3

Time' Magazine's Waggish Movie Punster
Paints Glowing Picture of Cinema Attic Artists
. . . But Pans Miners of Gold in Hollywod Hills

ITS ABOUT
TIME

Bradford Darrach, Jr., motion picture critic of
TIME, has had great sport over the years quip-
ping and carping about American-made movies.
The costlier the production, the more assured its
popularity, the sharper Mr. Darrach hones his
cutting witticisms to dissect it for the amuse-
ment, if not enlightenment, of TIME'S readers.
The feature piece in the Sept. 20 issue of The
Weekly Newsmagazine was Mr. Darrach's ap-
praisal of Cinema as an International Art. We
asked David J. Hayeman to warm up a pan of
puns — jest for the fun of it — to give our readers
a review of the TIME punster's half-baked essay.

By DAVID J. HAYEMAN

Time and time again, the Timetchaat
of Death for Hollywood's emissions
for general admissions, Brad Darrach,
has pulverized the local product with
such clever contumely that the film-
makers hereabouts have thought that
Darrach was not too puny a punishment
for Darrachet he made weekly. Each
issue he would Luce his vituperation on
the American product, like a manager
to his rookie second baseman who had
just kicked away a doubleplay ball.
And, like the rookie under censure, the
American producers harbored the pro-
verbial mixed feelings towards their
oppressor: we'll try to do better next
time by following your sage counsel

(read: loud-mouthed insults), or we
shall kick the next one away even
harder (we'll show you you can't inti-
midate us: psychological reaction forma-
tion). And each week we would spew
forth venom like an adder machine
upon the home-grown product, his
forked tongue maliciously, puckishly
labeling it puerile, juvenile, hackneyed,
idea-less, ideal-less, tasteless but not
smell-less. His word-lashings dug deeper
than the legal Delaware whip-lashings,
leaving several late-starters or supple-
mentary entires at the post where they
waited with an almost fiendish maso-
chistic delight for the next issue of
Brad's darrach hit on them.

For the past few years the Time

reviewer has hinted broadly, not that
"the play's the thing," but that the play
has been taken away from both Broad-
way and Hollywood by the foreign out-
put, "the art film," the serious cinema.
It is even seemed that the dullest
foreign imprint would receive Timem-
tion honorably, while our glossiest
print would have its face scratched by
our cat-o-nine tales, all of them viciously
nailed down. The auslander dared to try
something new, experiment with un-
tried ideas, dabble with tricky techni-
ques, and unveil free expressions of
life's drama, all of which captivated
Bradford Darrach, Jr. He continued to
slug the star-makers, sneer at the epic-
builders, cavil at the story-stealers, and
punningly rap the enraptured teensters'
union as the leading cause of much of
the inanity on celluloid.

Meanwhile, back at the studio, the
lensmen continued to "give the public
what it wants" — and will pay for,
seemingly — by mess producing more of
the same that enticed certain age levels
to the movie houses: beach parties,
hootenanies, nudies, colorful extra-
ganzas, drawing-room comedies, and a
vain/ vague effort to match some for-
eign aberrations with the Tennessee
Williams w/drome. The whole catalo-
gue of vices was thumbed through to
inveigle the vast American public to
leave its TV screen and enter the pop-
corn factories to see what they couldn't
at home; and, at the same time, to out-
maneuver, outproduce, outwit, and out-
sex what we had regarded as the Euro-

( Continued on page 6 )

Page 4 Film BULLETIN September 30, 1963

lewpotnts

ER 30. 1963 m VOLUME 31, NO. 20

SEPTEMBER 30, 1963

HVttstiny Our Produvt

The ancient proverb that "haste
makes waste" might be pondered to
their profit by distributors, and by ex-
hibitors, too, as they approach their
national organization convention dates.

We suggest they explore the ques-
tion of how much of our industry's
potential revenue might be going down
the drain because of present-day distri-
bution and exhibition policies that rush
motion pictures from camera to can to
theatre without sufficient time to cap-
ture the interest of a substantial audi-
ence. How many films come and are
gone before a vast section of the pub-
lic body is even aware that they were
even produced?

There is so much talk these days
about the popular theory that "only
the blockbuster can succeed in today's
market". Instead of accepting this stale
truism, why not ask ourselves: "Is
there something wrong with our pres-
ent methods of distributing, exhibit-
ing, or promoting films?" The honest
answer to that question might furnish
a clue to some of our ills.

The point is raised because each sea-
son we see a goodly number of films of
sub-blockbuster calibre pushed into re-
lease without benefit of exhibitor enthu-
siasm or public interest. Some are ex-
ploitation pictures — the kind that beg
for flamboyant circus-style ballyhoo, but
must be backed by ardent exhibitor
belief in their potential. Others are
those quality movies made on lesser
budgets, without front-rank star power
for the marquee, yet containing ele-
ments that might strike the fancy of
that large segment of the public that
stands ready to buy entertainment in
which its interest is aroused. Too often
films like these are given either luke-
warm campaigns or brushed off alto-
gether because the distributor is pre-
occupied with a big show on which it is
"shooting the works." Too often these
non-blockbusters are dumped with lit-
tle ceremony on the market and dis-

appear from view before the ticket-buy-
ing public knows they have been in
circulation. This is a waste of product.

The exceptions point up the rule. In
recent months, the revitalized Metro-
Goldwyn-Mayer organization has pro-
vided some striking examples of how
extra effort can be productive with
exploitation films. Some of our readers
have reported extraordinary grosses on
stuff like "Captain Sindbad" and "Flip-
per", two relatively minor M-G-M re-
leases that topped some of the season's
blockbusters — on sheer power of bally-
hoo. And Walt Disney continues to
demonstrates the value of constancy in
promotion on the grassroots level.

There was a time when distribution
and exhibition practices allowed the
slow and thorough play-off of a film
throughout all the normal levels of
exhibition. In those days it was pos-
sible to capitalize the steady accumu-
lation of stature that films of quality
gained as the impetus of word-of-
mouth gathered.

Today, more often than not, the
exploitation or superior, but modestly
caparisoned, movie often perishes aborn-
ing for one of two reasons: ( 1 ) want of
the preselling it merits, or (2) the
present supersonic distribution system.
Pursued in the interest of quick amor-
tization of investment, the latter pat-
tern, as it unfolds, works to rob the
deserving picture of the audience poten-

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 123? Vine
Street, Philadelphia 7, Pa., LOcust 8-0950, 0951.

Associate Editor; Leonard
Associate Editor; Helen Per-
Manager; Norman Kllnger,
Business Manager; Robert Heath, Circulation Man-
ager. BUSINESS OFFICE 550 Fifth Avenue New
York, 34, N. Y., Circle 5-0124; John Ano, N. Y.
Editorial Representative. Subscription Rates:
ONE YEAR, $3.00 in the U. S.: $5.00
$4.00; Europe, $5.00. TWO YEARS, $5.00
in the U. S.; Canada, Europe, $9.00

Philip R. Ward,
Coulter, New York
rone, Publication

tial it might very readily attract. With
little or no prior intelligence at hand to
sustain it, the film is unceremoniously
rushed into release, filtered pellmell
through an unwary exhibition and out
of circulation by just about the time an
awareness of its intrinsic quality takf s
hold and its rightful audience takes
shape. We might be aghast to know
the number of ticket sales so thwarted
by this hasty system of distributing and
exhibiting, and the number of frus-
trated ticket buyers so lost.

This current system of haste, involv-
ing inadequate pre-selling and quick-
silver play-offs for everything but the
occasional blockbuster, has brought on
a condition of waste which our industry
can ill afford in a day when every admis-
sion ticket sold means so much in terms
of overall survival.

We submit to exhibition and distri-
bution, both, that a re-evaluation of
current practices is clearly in order.

The
Mail
Box

To the Editor:

In my job I read in line of duty many
magazines to see what others editors are
doing. One of them is Film BULLETIN
where I get an excellent advance picture
of upcoming films and what's doing in
the movie business.

I have been intrigued particularly by
the observations of one, Adam Weiler.
He's a bright, fresh voice whose opin-
ions are pointed and often humorously
biting. More power to him, whoever,
he may be, and to you for publishing
what is some of the best writing I have
ever read on your industry.
B. A. BERGMAN, Editor

Sunday Bulletin Magazine,

Philadelphia livening anil Sunday Bulletin

Film BULLETIN September 30, 1943 Page 5

IT'S ABOUT TIME

Hope in Greenwich Village Garrets

( Continued from page -f )

pean sinema. Brad Darrach turned
thumbs down, then held thumb and
forefinger to his quivering nose in
supercilious disgust. American moguls,
according to Darrach, convinced that
they did not live by Brad alone, con-
tinued to turn out the same stale, moldy
product, even though the dough wasn't
all there. Were the movies through?

Not so, says the Cover Story of Time
Magazine, issue of September 20th,
1963. Moved by the first New York
Film Festival at Lincoln Center's Phil-
harmonic Hall in the same month,
where the advertisements in the New
York Times proclaimed that the film
showings were on a once-and-for-all
basis (the films were to be shown no-
where else, would be shipped back im-
mediately after the showings) and thus
were sold out, Time's article heralds
the opening of the era of film greatness.

Here's a darrach quote: "The movies
have suddenly and powerfully emerged
as a new and brilliant international art,
indeed as perhaps the central and charac-
teristic art of the age."

They Applaud and Hiss

Hail to thee, O Brad Darrach, for the
Great Enunciation. Can it be that your
heart, like marshmallows in the fire-
place, has melted in favor of movies as
the best entertainment? Well, no, all it
means is that the untimorous Time critic
has delivered further accolades to the
international experimenter on film. He
has declared for the revolution in
taste, in production, in audience appeal,
in costs of filming, in story lines, in the
type of audiences infesting the film
parlors. "It is a young audience; exhi-
bitors in a dozen countries report that
eight out of ten foreign-film buffs are
under 30. It is a vehement audience; it
applauds what it likes and hisses what
it doesn't. It is an expert audience; the
new generation of moviegoers believes
that an educated man must be cinemate
as well as literate. And it is a mass
audience; financially, the new cinema is
a going concern."

Then, if you have "Time on Your
Hands," you will be taken on an inter-
national expedition into all the film
capitals of the producing world, there
to sample the wares on the cinemarket.

In France, Resnais weather is caused by
the New Wave of young Gallic direc-
tors, the downpour being caused Last
Year at Marienbad by the 400 Blows,
leaving one Breathless with one of the
worst pictures of any year. Unfortun-
ately, most of the films that Darrach
mentions in his champagne glow have
been puzzling, morose, cynical, down-
right morbid, but exciting to him.

About one of the new and per-
manent Wavers he says: "Resnais, in
short, has the skill to say whatever he
wants to say on the screen. Unhappily
he has nothing, or almost nothing, to
say. As an artist he lacks humanity, lacks
blood. He is out of this world, a man
of air. Nevertheless, his work is im-
portant. He has shattered the public
image of what a film is. He has freed
all film creators to remold the cinema
nearer to their art's desire."

Paeans of praise are there for Akira
Kurosawa of Rashomon and Yojimbo
fame, "an ironist who knows how to
pity. He is a moralist with a sense of
humor. He is a realist who curses the
darkness — and then lights a blowtorch."
Bergman of Sweden becomes a big man
in the critic's view: "a metaphysical
poet whose pictures are chapters in a
continuing allegory of the progress of
his own soul in its tortured and solitary
search for the meaning of life, for the
experience of God." About Fellini,
who, like Bergman wallows on his own
cinematic psychoanalytic couch and thus
saves himself the cost of expensive and
lengthy therapy (in Sy2), "aimed his
camera into his own psyche and let it
record his fears and fantasies, desires
and despairs in a cinematic language
that owes more to Joyce than it does to
D. W. Griffith." Poland, the Soviet
Union, Argentina, India, even Great
Britain, are accorded graceful tips of
the high-falutin hat for their solemn
masterpieces, usually studies in agony,
defeat, gloom. The foreign directors
are treated like emperors on their can-
vas thrones, when most of their epics
are hodge-podges of extemporaneous
sadness over the fall of man. Very
rarely does one of the foreign scenarios,
if there are such overseas, announce a
way out of the abyss; where, oh where,
are some of the solutions for man's
depravities, even if only some of the
insipidities of the Soviet propaganda
line of the '30's? The Time critic sees

not the necessity for prescription, rather
glorying in a sterile proscription from
the foreign market; answers are needed,
if only on a temporary basis.

And what about the United States
production efforts? Brad Darrach is full
of surprises. He says: "In the U.S.,
when most people think of movies they
still think of Hollywood. But the new
American cinema is not coming out
of Hollywood — it is springing up in
New York. There are art houses, film
libraries and terribly strange little film
groups that meet at midnight in Green-
wich Village garrets and show movies
about nail bitings and things. It is all
wonderfully stimulating."

Blames the Bankers

It seems that the anti-stimulators
among American film-makers are
bankers and financiers, according to
Darrach. The new cut-rate, "absurdly
inexpensive" equipment will allow for
"a free exploration of the full possi-
bilities of cinema as an art. The possi-
bilities are clearly immense. No other
art can so powerfully exploit the di-
mensions of time and space. No other
art has so many ways of involving a
human being. It involves his eyes, ears,
mind, heart, appetites all at once. It is
drama, music, poetry, novel, painting at
the same time. It is the whole of art
in one art, and it demands the whole
of man in every man."

So, that's the movies of today and
tomorrow! Time, the great leveler of
mankind, and Time, the magazine, the
great excoriator of the cinema ordinar-
ily, are both on the side of the develop-
ment of the new, the true, the dutiful,
the beautiful on film. To have a na-
tional magazine of Time's dimension
state what producers have known all
along, that movies can and will be more
than just best entertainment, is en-
couraging news. In fact, it is one of
the most hopeful signs of cinematic
progress since Lisa stopped rhyming; at
least it's almost as touching.

The touch of Time's Darrach is us-
ually to scoop up dirt for our upraisal;
this is no time for groveling or gravel-
ing, however. It's time for agreement
with an implementation of Time's main
thesis: "A tremendous power, a great
magic has been given to the men of
the new cinema. What will they do with
it? . . . Whatever happens, the pioneers
have broken through. The world is on
its way to a great cinema culture. The
art of the future has become the art of
the present."

It's about Time.

»-ge 6 Film BULLETIN September 30, 1943

BOXOFFICE WINNER

"Charade" Fast-Paced, Exciting Comedy-Thriller

Sci4utete IZctfuu? O O O Plus

Suspense, action and smart comedy co-mingled to make
a sock entertainment. Cary Grant, Audrey Hepburn,
handsome Technicolor production will give big crowds
their money's worth and more. A winner.

If ever there was a move with sure-fire mass appeal, Univer-
sal has it in this festive Christmas-New Year's package — an
entertainment goodie with Cary Grant and Audrey Hepburn
careening madly on a roller coaster of spine-tingling thrills and
screwball sallies. One doesn't have to be clever at the game of
guessing boxoffice winners to know that "Charade" is a "sure
thing". It has the elements of a smash hit in every location.

The first-time teaming of these two favorites works all the
wonders one could hope for — and more. They provide a seem-
ingly endless array of farcial delights ranging from a macabrely
funny funeral scene to wacky romantic interludes (there's even
a telephone kissing bit a la "Notorious"). A high spot is Grant's
shower in Miss Hepburn's apartment — one could go on, but
there's no point in exposing the unexpected delights that pop up.

The two delightful stars seem to be having such a fine time
cavorting through the mystery-comedy antics (in "The Thin
Man" vein) that most viewers will be willing to forgive occa-
sional comic lapses in the script. But these few spots are hardly
apt to be noticed in the fast pace at which "Charade" is played.
For, actually, it is not all designed for laughs. It is more a
thriller. There is a corker of a chase through the Paris Metro, an
edge-of-the-roof fight atop the city's American Express building,
a body falling out of a speeding train, murders galore (all
ingeniously planned), a "dead" man returning to life, a kid-
napped child in danger of losing his life, and a spectacular cli-
max in the atmospheric Paris Opera house.

No, the screenplay wasn't written by Ian Fleming, but it
might have been. Probably not even the fecund creator of
James Bond could have dreamed up the zany terrors that Peter
Stone has devised (from a story by Stone and Marc Behm).
Whoever heard of a Bond adversary drowning in bed — in a
hotel room, yet?

Producer-director Stanley Donen has kept the plot plunging
ahead pell-mell, pausing just long enough for viewers to catch

Cary Grant, Audrey Hepburn, James Co burn and Ned
Glass about the murdei by Paris Inspector Jacuqes Mann

Audrey Hepburn watches puppet show in Paris park, while
Cary Grant offers aid in finding her husband's murderer

glimpses of some spectacular Technicolored vistas in the French
Alps. He has staged the thrills with such ta^te and dexterity that
"Charade" is an adult entertainment that will delight the most
avid action fan, and it's safe for the kiddies. The off-beat, back-
ground score was composed by the ever-reliable Henry Mancini
and includes a title song with lyrics by Johnny Mercer.

Revealing much of the plot would spoil the fun. Suffice to
say Miss Hepburn is cast as the wife of an unspeakable cad
whose unnatural demise no one regrets — least of all his widow.
Grant has the hotel room next to Miss Hepburn's, and he may
be the dashing American playboy he pretends to be, or he may
be a fugitive, long believed dead, who is willing to kill Miss
Hepburn for the $250,000 he believes she has. Then again, he
may be a society thief — a sort of modern day "Raffles," for he
plays a charade, changing identities at will. The audience is
allowed to believe that he was involved in the murder of Miss
Hepburn's husband — and even that becomes uncertain when it
appears that the lovely widow might be the killer.

Such complications put quite a burden on CIA agent Walter
Matthau, and on gangsters James Coburn, George Kennedy, and
Ned Glass — Runyonesque characters who don't know whether
they should kill Grant, Miss Hepburn, or each other. Thomas
Chelimsky is the tyke who becomes a pawn in their deadly game,
and is apparently the only one incapable of the murder. Other
possible suspects include Dominique Minot, Miss Hepburn's
best friend, and Paul Bonifas. The solution is ingenious enough
to disappoint no one, with clues logically planted along the way
for those shrewd enough to spot them. — ANO

Universal. 114 minutes. Cary Grant, Audrey Hepburn, Walter Matthau, James
Coburn. Produced and directed by Stanley Donen.

MORE REVIEWS Pages 14-15

Film BULLETIN September 30, 1943 Paqe 7

ITs 'New Horizons'
Expanding; Two Set

Universale version of an American
"new wave" in production started as a
ripple, but the tide is rising. Two pro-
jects already are under way in what
was announced six months ago as the
company's "New Film Horizons" pro-
gram.

Edward Muhl, vice president in
charge of U production, disclosed that
arrangements had been completed with
Richard Saranan to produce and direct
"Andy", a modern drama from his
original screenplay. Saranan has been
a television director and has made

MUHL

documentary and industrial films. The
first "New Hroizons" project, "The
Guns of August", is based on Barbara
Tuchman's Pulitzer Prize book. This
will be made by Nathan Kroll and
Lawrence White.

In setting up its "New Horizons"
program, Universal allocated a sub-
stantial budget for production of fea-
tures by new talent in all phases of
film-making. Muhl described the plan
as a practical answer to those who con-
tend that "young American picture-
makers have not kept pace with the
recent 'new wave' school of producers
abroad."

Conventions To Hear
Array of Speakers

An imposing array of prominent
speakers will address the National
Allied and TOA conventions, both to
be held at the Americana Hotel in New
York. National Allied (October 21-
24) members will hear Martin Ranso-
hoff, production chief and board chair-
man of Filmways, Inc.; and Otto

LEVINSON

Page 8 Film BULLETIN September 30, l?43

CAST &

CREDITS
■

Report on the Industry's
PEOPLE and EVENTS

Preminger, the independent producer-
director; producer Ely A. Landau;
Nicolas Reisini, president and board
chairman of Cinerama, Inc., and Mel-
vin L. Gold, president of the Asso-
ciated Motion Pictures Advertisers,
who will detail AMPA's "Promote the
Theatre" plan.

The TOA Convention (October 28-
31) will hear from theatreman Richard
A. Smith, Rt. Rev. Msgr. Thomas F.
Little, executive secretary of National
Legion of Decency, who will speak on
"Exhibitor — Citizen, Saint or Sinner";
Robert W. Selig, vice president in
charge of theatre operations of Na-
tional General Corp.

Herman M. Levy, recently resigned
as general counsel of TOA, will chair
a Legal Advisory Council roundtable,
which will be followed by an address
by producer-director Carl Forman.

An Art Theatre Seminar will be
chairmanned by Norman Levinson,
Dallas, Texas, theatreman. Speakers
will include Bosley Crowther, film
critic of the New York Times; Sidney
Deneau, vice president of Continental
Distributing; Richard Brandt, president
of Trans-Lux, and Atlanta exhibitor
Melvin A. Brown.

Make New Faces into
V.I.P.s — de Grunwald

Filmdom's eternal search for fresh
talent, if producer Anatole de Grun-
wald has his way, will return to an
old principle of star-making: introduce
new faces by giving them key support-
ing roles in important films featuring
top-rank stars. And use original story
material, rather than published or
staged work.

The man who brought M-G-M's cur-
rent blockbuster, "The V.I.P.'s," to the
screen believes there is a wealth of star
material in stage performers who have
never been seen on the screen. He

DE GRUNWALD & BURTON

points to his latest discovery, Maggie
Smith, who is following in the foot-
steps of Jean Simmons, Richard Burton
and Trevor Howard. Miss Smith is
garnering critical and audience acclaim
in "The V.I. P. s," and will receive fur-
ther exposure via other upcoming de
Grunwald production. "With millions
of people seeing her in this film", de
Grunwald said, "she will be an impor-
tant personality in her future pictures.
That is how stars were made in the
old days, and the principle applies to-
day no less."

The time is ripe for a revival of the
form of "pure entertainment" that
M-G-M and Irving Thalberg excelled
at in the 1930's de Grunwald de-
clared. "They were my idols even be-
fore I entered production, and now I
feel honored to be associated with
M-G-M in producing films in that great
tradition." He noted that there has
been a great upsurge in spirit under
the regime of president Robert H.
O'Brien, and that all signs point toward
some great things for Metro in the
future.

Next on the de Grunwald agenda
for M-G-M is "The Yellow Rolls
Royce," scheduled for early 1964 pro-
duction, with "The V.I.P.s" writing-
directing combination of Terence Rat-
tigan and Anthony Asquith, a team
which Mr. de Grunwald has been
closely associated for the past 25 years.
He is also preparing several additional
properties for production, most of
which will be original screen works.
Mr. de Grunwald feels that adapta-
tions, no matter how fine, suffer by
comparison with the originals, and that
the screen is so unique and potent a
medium that it demands specialized
material.

FINANCIAL REPORT

Appraisal of 4th Quarter Prospects

At the year's three-quarter mark, filmdom's fiscal condition
looks hale, hearty and comparatively stable. It bids to remain
this way for an indeterminate time. For one thing new theatre
construction runs at a post-war high, reflecting confidence by
builders and developers in the medium's future. For another,
the handsomest summer boxoffice in some years points to a
recapture of relatively significant segments of that elusive
entity known as the "lost'' audience, a development which
would seem to augur a potentially improved 4th quarter.

Temporarily, business has run into the inevitable downturn
which coincides with the reopening of the Fall TV season.
This session's fall from grace appears rooted in the dizzying
numbers of new TV series, heaviest in recent memory, coupled
with the public's willingness to give the new entries a twirl
of the dial. Mild to thumbs-down notices on much of the pro-
gramming effort, plus one of the industry's more impressive
4th quarter release backlogs gives weight to optimistic fore-
casts for the year's closing period.

The outlook for individual companies as of this time may
be characterized as follows:

M-G-M. On the strength of surprising grosses earned by a
number of low-budget films during the summer, and very
bright early returns on "The V.I.P.s," as well as revenues flow-,
ing in from "How the West Was Won'' and "Mutiny on the
Bounty", this company should end the year strongly. During
the last calendar quarter look for strong grosses for "The
Wheeler Dealers" and "The Prize," although most of this
will not be reflected until 1964. Volume of films in prepara-
tion is now highest among the major companies, as president
Robert H. O'Brien pursues a planning outlook aimed at reduc-
tion of risk through increased product. We regard this a
prudent policy. M-G-M should rally strongly well in '64.

20th Century-Fox. Will conclude the year in fine fettle, thanks
essentially to income from Zanuck's "The Longest Day," top
attraction of the summer past, and "Cleopatra." Company is
progressively restoring its balances, but requires more assistance
from two current releases, "The Condemned of Altona" and
"The Leopard." The 4th quarter is likely to get a lift, however,
from the first important films formulated under the Zanuck
aegis, "Take Her, She's Mine" and "Move Over, Darling,"
the latter a Doris Day vehicle. Fox is untracking, but the best
results will not appear until next year.

MCA. Bolstered by its holdings in Universal, as solid a pic-
ture making edifice as stands in the industry today, MCA
shares look like pure Stardust. Long on that indefinable mys-
tique known as the boxoffice touch, Universal holds under
wraps a long line-up of promising entries, among which its
late 1963 entry, "Charade," a Cary Grant-Audrey Hepburn
opus, looms particularly glittering. The 4th quarter of this
year will be bolstered by returns from "The Thrill of It All."
Columbia. Should hold steady to year's end and beyond on
basis of general release of "Lawrence of Arabia." Company
turns out a well proportioned product effort. One or two sur-
prising grossers could create a very tasty report card. Mixed in
the Columbia product baggage are two more or less imponder-
able efforts, namely, "The Cardinal" and "Dr. Strange Love:

Or How I Learned to Stop Worrying and Love the Bomb."
The merchandising approach will likely tell the tale. The
steady, utility-like grossing power of Screen Gems materially
enhance Columbia shares.

( Hited Artists. This has been a Darwinian time for UA. Fol-
lowing a remarkably protracted cycle of growth, the processes
of natural selection have caused a mutation. Its profit making
organs have fallen into decline, culminating in the suspension
of the cash dividend. The company however, is too hearty and
agile a specimen to remain so encumbered. Look for a relatively
rapid restoration of net income, resulting in the near term
from grosses on "Irma La Douce" and "The Great Escape ',
plus potentially blockbuster earnings from "It's a Mad, Mad,
Mad, Mad World," the first comedy filmed in Cinerama.

Warner Brothers. Bogged down in a rut of mediocrity in recent
months, Warners presently shows little to induce investor
enthusiasm through the balance of the year. On the plus side
for the longer term, is the fact that production volume will run
higher than it has in some time. "Mary, Mary" hints most
promise among near-term releases. Looking ahead: "My Fair
Lady" is moving fast before the cameras.

Paramount. Smartly turned out product carried Paramount to
one of its best summer sessions in years, and the trend prom-
ises to continue to year end with only moderately reduced
intensity. While current and prospective releases do not have
the composite power of "Come Blow Your Horn," "Hud,"
"Nutty Professor" and "Donovan's Reef," the come down
should not be too perceptible with such stuff in the offering as
"A New Kind of Love," a Paul Newman- Joanne Woodward
vehicle, "Who's Minding the Store? " (Jerry Lewis) and
"Who's Been Sleeping in My Bed?" (Dean Martin).

Walt Disney. It is a fair bet that this gifted company may
experience a mild downturn on disappointing returns from
"Savage Sam" and less than sensational, though respectable,
grosses for "Summer Magic." The latter film churned up
revenues which a number of companies would be happy to
settle for, but fell short of what is generally expected from
one of Disney's. Still solid and granite-like overall, the com-
pany appears poised for a fresh blast-off with its Christmas
entry, "The Sword in the Stone."

Allied Artists. Inside reports foretell of a substantial loss with
little relief in prospect. Culprit is an overt deficiency in prod-
uct. A somewhat lagging boxoffice performance for the Samuel
Bronston epic, "55 Days at Peking" has not aided AA.

Cinerama. Worthy of notice. With two attractions garnering
revenue, "How the West Was Won" and "The Wonderful
World of the Brothers Grim" (though the latter not quite up
to estimates), Cinerama appears fortified to weather the year
end in adequate style. "It's a Mad, Mad, Mad, Mad World"
portends well, but will not be reflected in income until 1964.

Filmuays. The Martin Ransohoff operation is maturing into an
interesting situation. Excellent product list. "The Wheeler
Dealers" has trade insiders buzzing with excitement, heralding
it as in the tradition of the really top-drawer comedies for
mass consumption.

Film BULLETIN September 30, 1943 Page 9

Are we going back to the advertising slide? . . . Counter TV's splash with movie ballyhoo

Is this business going back to the
days of the advertising slide, but in a
more fancy way? Twentieth Century-
Fox, I see, has already shown a "Movie-
tone Digest", containing advertising
messages, to a group of ad agencies.
What's the reaction of the paying cus-
tomers going to be?

Exhibitors on many occasions have
voiced resentment over scenes in films
that exposed a cola bottle, or a brand
of cigarettes, and they've protested
about shots of Broadway that included
the electrical advertising spectacles.

At least the revelation of these trade
names follow some logical scheme in
the script. But can a theatre charging
an admission price justify a reel openly
advertising a sponsor's product? Thea-
tremen must give plenty of thought to
this, lest they get hooked into a practice
that might cost them more at the box-
office than it brings in from the ad spon-
sors.

► -4 ►

For one year and a few weeks, this
department has gone its merry way. A
few readers have deprecated our lack
of seriousness and questioned how we
can face our typewriter with a light
heart when the industry is fighting for
survival.

Well, let's set forth a point of view.
I think one trouble with the movie
industry is that it takes itself so damn
seriously. No one who pays his buck at
the box-office gives a hoot about all the
problems we constantly talk and write
about. Pick up any trade journal, in-
cluding this one, and you find it is
dominated by the "problem finders".
It's too bad that there are so many
problem seekers and it is sad that, for
every silly problem, a sillier solution
is put forth.

Just recently, the Northern Califor-
nia Theatres' Association launched its
Crusade for Free Television. This or-
ganization is going to fight the advent
of Pay-TV in California in such a way
that its present big competitor, free
television, is going to be the beneficiary
of the crusade.

And how can the use of the word
"crusade" be justified in this case.
Wouldn't it make more sense to start a
campaign emphasizing that entertain-
ment begins at the theatre boxoffice.

Mr. Roy Cooper, president of the
Northern California Theatres Associa-
tion was cjuoted in the San Francisco
Chronicle as follows "The group's posi-
tion is that Pay TV is discriminatory
and financially in opposition to the best

Iii F

ADAM WEILER

interests of senior citizens, people in
lower income groups and all viewers
who have to pay for something they
now receive without charge." In Mr.
Cooper's statement there was not one
word on what should be exhibitor's
credo: if people are inclined to pay for
mediocre entertainment at home, thev
surely can be sold the idea of going out
to see some extraordinary entertain-
ment.

If Pay-TV ever gets any place, it will
owe a big debt to the theatre owners,
who are giving it much more publicity
than it could ever get on its own.

It is also my opinion that to try to
legislate against the advent of Pay-TV
has as much chance as legislation against
bowling, picnics, automobiles and all
competitive fun that confronts the box-
office.

The networks have been splashing big
ads all over the country heralding the
new season's television shows, which,
incidentally, are just like last year's
shows, except that they have different
titles. Nevertheless, these ads do excite
the public. At this very time, there
seems to be almost a total absence of
ballyhoo from the motion picture in-
dustry. Certainly, this is bound to have
a decided effect on grosses in the
theatres.

I suggest that it would be smart to
counter TV's big blast by driving across
Compo's slogan, "Get more out of Life,
Go Out to a Movie". The film business
should be shouting about the good
movie entertainment on the way. In-
stead, it acts as if frightened by a
gorgon and ashamed of the image it
presents to the public.

We really do not need a new image.
What we need is the chemistry that will
get our adrenalin glands stimulated
and get back to the good old-fashioned
technique of hawking the movie play-
ing at the theatre. It's not as easy as it

used to be, but a little extra effort and
enthusiasm could do it.

Maurice Chevalier has now celebrated
his seventieth birthday and admits he
still likes the ladies. It seems that it
was only yesterday that Chevalier ar-
rived in New York to start his Ameri-
can movie career. Your correspondent
was assigned to meet the gentleman at
quarantine. We had the newsreel ca-
meras on hand, along with many news
photographers. Chevalier came on deck
and was asked by the horde of photog-
raphers to smile. Whereupon Monsieur
Chevalier replied: "When you are
ready to take the pictures I will smile."

That comment stuck in my mind all
these thirty-two years. Such conserva-
tion of energy must have been a prin-
ciple with the old boy. Not a wasted
motion at any time. Maybe that's why,
at seventy-five, he still is going strong
on stage, screen and we hope, the
boudoir.

Some time ago I was intrigued by an
ad that appeared in a west coast trade
journal. This dignified solicitation or
plea said: "Our film company in Fin-
land desires cooperation with some
American producer in order to make a
feature film in Finland. Owing to the
curiosity of the Finnish nature there
are possibilities to make a unique film."
The ad was duly signed with the name
of an organization in Helsinki.

This set me to thinking and wonder-
ing about the Finnish nature, which I
recall from my history books was most
heroic and sturdy. And then there was
Sibelius who wrote his enchanting
music in heavy underwear.

The ideas popped up. I started to
visualize all sorts of scripts and titles,
and you know what. I decided that the
picture should be titled "The Finnish
Nature." The rest I leave to Billy
Wilder.

And speaking of the American na-
ture, I was fascinated to read the fol-
lowing ad of a California theatre: "You
have never seen anything in the world
like 'Women of the World'; plus 'Pas-
sionate Thief; Tuesday only: 'Two
Grand Operas'; Mozart's 'Marriage of
Figaro'; 'La Forza Del Destion'; Spe-
cial Kiddies' Matinee Sat. 1:00. Three
Exciting Features. A Free Shrunken
Head to All."

I don't care much for opera, but I
sure go for those shrunken heads.

Page 10 Film BULLETIN September 30, 1943

Preface? eff £ch$ bay J JcufHeij '

Landau--on the Rise

By JOHN ANO
Insiders disagree on the merits of Ely
A. Landau, but they all concede him
one point. No figure has cut as wide or
colorful a swath in New York film
circles within the past year as fledgling
movie producer, the wizard — "mentally
retired" — from the video wastelands,
whose first motion picture, the modestly
budgeted ($500,000), "Long Day's
Journey Into Night," earned him a
reputation for combining art house
quality with boxoffice success.

Those who call his initial film a
lucky fluke point to the production
problems that now are plaguing the
Landau Co., and to the zealous activi-
ties of its publicity department, headed
by Harold Rand (former director of
world publicity for 20th Century-Fox),
which dispatches multitudinous news
breaks that contradict, negate, or super-
sede previous releases.

This "Alice In Wonderland" activity
is shrewdly designed to keep the pro-
ducer's properties before the public eye.
The fact that Kilgallen, Winchell, Earl
Wilson and other Gotham scribes find
almost daily fodder from Landau re-
leases is considered proof of his news-
making success, and these techniques
have undoubtedly helped to inspire "ex-
clusives" like the National Enquirers
"inside and straight" report that the
elusive Garbo would star in a Landau
production.

Such publicity shenanigans may ap-
pear a little Mad Hatterish for the man
who founded TV's celebrated past suc-
cess, "Play of the Week," and whose
image hitherto has been that of a dedi-
cated purveyor of high art, but a visit
to Landau himself helps to clear the
air. A rotund, cherubic-looking man
whose balding dome reveals sprigs of
jet-black hair that appear to crackle
with electric energy, he has a quiet, al-
most bashful manner. Though his words
are few, every phrase is chosen with
care. Each seemingly off-the-cuff wit-

ticism makes its point — incisively — and
is punctuated by a mischievous twinkle
that lights up his face. The effect is
unmistakable — there is a touch of the
showman about him that portends a
career that will grow increasingly flam-
boyant.

He is not at all happy with the cur-
rent motion picture scene nor with his
own niche in it. "I suppose it's easy
for a neophyte like me to be a Monday
morning quarterback and to have 20-20
hindsight, but this Hollywood idea of
movies, spectacles costing 12-20-40 mil-
lion dollars, is like spinning a bullet
that could mean production suicide.
What do they have when they get
through? Just another opus, and event-
ually a whole bunch of — the plural of
opus (?) — opiates, maybe."

"I don't want to augment or supple-
ment this Russian roulette element and
I guess that's why this 'egg head' image
of me persists. Quality entertainment
doesn't have to be highbrow, just as
it doesn't have to be semi-professional
or made on a shoestring with a cast
of unknowns."

Landau follows intuitive drives in
selecting his properties, and right now
this calls for wide diversification, evi-
dently in the hope that this will rid
him of his burdensome intellectual
image. "The Fool Killer," an Anthony
Perkins starrer, already completed, was
budgeted at $950,000 and is described

Rod Steiger emotes at rehearsal for Landau's
production of "The Pawnbroker" , due to
start shooting in New York early in October,
as Geralditte Fitzgerald, director Sidney Lumet
and script supervisor Maggie James observe.

Ely Landau (standing with glasses and cap)
Hatches crew set up Anthony Perkins ( fore-
ground) for scene in "The Fool Killer"

as "warm family drama," while his
current production (being filmed in New
York), "The Pawnbroker," is a story of
"blunt sexuality and overwhelming
power." Also on the agenda are "For-
bidden Area," a suspense thriller about
the Strategic Air Command, and Carson
McCullers' famed novel "The Heart
Is A Lonely Hunter." All these features
will be cast with "name" performers
participating on a percentage basis and
will be financed totally by Landau Co.

The producer feels that most creative
talents will respond to percentage deals
if they are given a worthwwhile project.
"If they are willing to take a gamble
for creativity, you get people with pas-
sion. The result is a finer end result,
something other than the normal film
fare."

Thus far, Landau's formula has met
with notable success, and for his forth-
coming productions he has secured the
imposing talents of directors Arthur
Hiller ("The Wheeler Dealers") and
Sidney Lumet ("Long Day's Journey
Into Night"), writer James Poe
("Around The World In 80 Days"),
and performers Rod Steiger, Geraldine
Fitzgerald, Brock Peters, and Mont-
gomery Clift.

He expresses little patience with the
"purer than pure" attitude that brought
criticism when "Long Day's Journey
Into Night" was cut by some 40 minutes
before it went into general release.
"Embassy Pictures (distributors of the
film) and I felt that the cuts enhanced
the picture. Without them, we might
have brought the film to 400,000 people
(Continued on Page 12)

Film BULLETIN September 30, 1963 Page 11

LANDAU— ON THE RISE

(Continued front Page 11)
at most, but now that the story is
tighter, more compact, it may reach an
audience of 4 million."

According to Landau, however, there
is no such thing as a "sure" boxoffice
anymore. 'Not in John Wayne, Sinatra,
Presley, or any of the others. The mass
audience that once was willing to
accept its favorites in junk stays home
and watches it on television now — but
it's no great loss. There's still an au-
dience— a vast, wide group — that wants
quality, but you've got to let them know
that you have it." He indicated that no
matter how great a film might be, its
potential audience could not be realized
without strong selling and exploitation.

With this in mind, the Landau or-
ganization is mounting a campaign for
"The Fool Killer" in which adver-
tising, underscoring the film's family
appeal, will span a six-month period,
allowing for maximum penetration deep
into its release. The picture is being
slated for special previews for heads of
PTA groups, National Women's Clubs,
Film Councils, and organizations affili-
ated with the Green Sheet Committee
of the Motion Picture Association of
America. There also will be a tie-in

with a paperback edition of the Helen
Eustis novel on which the film is based.

Landau remains silent on distribution
plans for "The Fool Killer," but there
have been consistent rumors that one
of the majors would handle his films
on a package basis. When queried, he
always gives the same answer. "I have
no plans for major distribution — at the
moment." However, his European sales
representative, William Shelton, has
been negotiating for U. S. distribution
rights to foreign films and the Landau
Releasing Organization, Inc., has been
chartered in New York State. Accord-
ing to the Landau organization, this
has been done so that these films can be
showcased at the two Landau-owned
Manhattan theatres, the 57th St. Nor-
mandie and Little Carnegie, and then
leased to major distributors for full
U. S. handling.

Omnia Films Export has contracted
to handle the distribution of Landau's
four productions in Europe (excluding
Great Britian) and the Middle East.
Two other features, "The Madwoman
of Chaillot" and "Leonardo da Vinci,"
will be lensed in Europe early in 1964,
and for these Landau is seeking a co-
production deal. He also is seeking

participation in properties held by other
producers, primarily in Europe.

Landau's major (or, at least, most
publicized production problem to date
has been local IATSE production
unions. He contends that New York
unions are geared to non-theatrical pro-
ductions (TV commercials, industrial
films, etc.) on a day-to-day basis and
he is seeking an adjustment for ex-
tended feature production. The major
area of dispute is Landau's insistence
on the establishment of weekly rates.
The problem has been simmering for
some years now, but Landau is the first
to really bring it into the open. The
resultant news reports have invariably
pictured Landau, heroically, as a David
trying to down Goliath.

In summing up his activities so far,
Landau says, "I do not see myself as a
leader or as a Messiah in any sense of
the word. Rather, I think that I may
offer a form of counterpoint to the
usual production procedures, and this,
in time, may help to provide some
solutions to industry problems."

Whatever the general opinion of
Landau and his activities may be, his
is a career which bears watching.

FILM &

THEATRE

STOCKS

Close

Close

Film Companies

9/12/63

9/26/63

Change

ALLIED ARTISTS

... 2%

2%

~ %

ALLIED ARTISTS (Pfd.) .

... 8%

7%

" %

CINERAMA

16

I6I/4

+ %

COLUMBIA

. 243/4

24%

" %

COLUMBIA (Pfd.)

82

82i/4

+ %

DECCA

. . 45%

45%

+ %

DISNEY

. 441/4

42

-2%

FILM WAYS

7

6%

- %

MCA :

65

631/4

-13/4

MCA (Pfd.)

. 383/4

38%

+ %

M-G-M

32

31%

%

PARAMOUNT

51%

48%

-3

SCREEN GEMS

... 23%

21%

-l3/4

20TH-FOX

31i/2

31%

%

UNITED ARTISTS

• 20%

19%

-1

WARNER BROS

... 14%

14

%

Close

Close

Theatre Companies

9/12/63

9/26/63

Change

AB-PT

.... 34%

30%

-3%

LOEW'S

.... 16%

18%

+ 1%

NATIONAL GENERAL

.... 9%

9%

- %

STANLEY WARNER

.... 24%

24%

TRANS-LUX

.... 133/4
* # *

13%

- %

( Allied Artists, Cinerama, Screen Gems, Trans-Lux, American
Exchange; all others on New York Stock Exchange.)
* * *

9/12/63 9/26/63

Over-the-counter

Bid

Asked

Bid

Asked

COMMONWEALTH OF P. R. .

■ 53/4

65/8

6%

7%

GENERAL DRIVE-IN

. 10%

11%

9%

10%

MAGNA PICTURES

. 1%

2%

1%

2%

MEDALLION PICTURES

. 10%

-11%

12

13%

SEVEN ARTS

■ 7%

8%

7%

8

UA THEATRES

• 11%

12%

10%

11%

UNIVERSAL

65

71%

66

71%

WALTER READE STERLING .

. 2%

2%

2%

3

WOMETCO

. 27%

29%

31%

333/4

( Quotations courtesy National Assn. Securities Dealers, Inc.)

Poqo 12 Film BULLETIN September 30. 1943

THE V.I.P.s ... OF LOVE AND DESIRE ... IN THE FRENCH STYLE
THE HAUNTING ... MY SON, THE HERO . . . SHOCK CORRIDOR

"QUOT6S"

What the Newspaper Critics Sag About New Films

"THE V.I.P.S" (M-G-M)

". . . 'The V.I.P.s' is, gratifyingly, a lively,
engrossing romantic film cut to the always serv-
iceable pattern of the old multi-character 'Grand
Hotel' . . . Suspenseful, amusing stuff." —
CROWTHER, N. Y. Times

". . . It's difficult to single out anyone for
praise, so well do all the members of the cast
perform . . . An eminently satisfactory evening
of entertainment." — GILBERT, N. Y. Mirror

". . . Something for the girls — the girls who
at least in the minds of male movie-makers, want
the glamour laid on with a ladle ... So highly
polished a surface that, if you haven't your wits
about you, you might, from time to time, mis-
take it for the solid gold Cadillac it resembles."
—CRIST, N. Y. Herald Tribune

". . . The kind of movie they used to make in
the good old days . . . Jam-packed with gor-
geous, glamourous people, facing emotional
problems that just tear you to pieces." — PEPER,
N. Y. World Telegram & Sun

". . . Slick and glossy entertainment, at times
perhaps a bit too slick in its workings, but con-
stantly colorful. '— PELSWICK, N. Y. Journal
American

"... A natural almost any way you look at
it, box-office, publicity -wise, performance-wise,
or simply wise-wise. Producer Anatole de Grun-
wald, director Anthony Asquith and Terence
Rattigan deserve some kind of reward for this
effort, and I think they'll get it, in cash." —
WINSTEN, N. Y. Post

". . . An extremely entertaining film." — CAM-
ERON, N. Y. News

"OF LOVE AND DESIRE" (20th Fox)

"... A silly, soapy little pseudo-adult film
about the mixed-up rich . . . Miss Oberon is
lovely."— CRIST, N. Y. Herald Tribune

". . . The years have been kind to Miss Oberon
and she wears lovely clothes. Her picture, though,
is old-fashioned romantic rubbish." ■ — PEPER,
N. Y. World-Telegram & Sun

"... A garish, grotesque movie ... A sadly
worn Merle Oberon playing a coy, bright-eyed,
come-hither, race-you-across-the swimming pool
coquette to a fat-hairy-chested Steve Cochran
. . . The incongruity of their performing***is
rendered the more embarrassing by the seami-
ness of the script."— CROWTHER, N. Y. Times

". . . Considerably less than a happy come-
back for the star, an old-fashioned and ineptly
handled conversation piece." — PELSWICK,
N. Y. ] ournal- American

". . . Seems long on talk . . . Moreover, plot-
ting holds little of suspense . . . Although not
a film of bad intentions, it does not reach a
satisfactory level for the treatment of such dire
and unhappy human predicaments." — WIN-
STEN, N. Y. Post

"... A soap opera . . . Settings and photog-
raphy are an enchantment. Story and perform-
ances lack conviction." — MASTERS, N. Y. Daily
News

"IN THE FRENCH STYLE" (Columbia)

". . . In the hands of Irwin Shaw the same old
story gains a sleekness, a certain sophistication
and plausibility . . . The first sequence comes to
a touchingly ironic climax . . . It's too bad that
we've been diverted by the other installments."
—CRIST, N. Y. Herald Tribune

". . . Slowly paced drama . . . Mr. Parrish has
done a good job in directing Jean Seberg in a
long and crucial scene wherein the heroine first
surrenders her virtue to a French youth no more
experienced than she . . . The rest is progres-
sively more hackneyed."— CROWTHER, N. Y.
Times

". . . An expertly made romantic drama in
which Jean Seberg emerges as a good actress
and a memorable beauty . . . An honest but
overly slick film that will probably appeal more
to women than to men." — PEPER, N. Y. World-
Telegram & Sun

". . . Jean Seberg's professional star is rising
toward the zenith . . . Based on two of Irwin
Shaw's short stories, which the author adapted
into a well-wrought screenplay and Robert Par-
rish bought to life on the screen through his
admirable direction of a fine cast . . . I'm sorry
to report that it has been photographed in black
and white, which fails to evoke properly the
colorful background." — CAMERON, N. Y.
Daily News

". . . Takes a perceptive look at a midwest
American girl who comes to Paris to study art
. . . Details the girl's emotional drifting ... A
moving honesty in its account of her love affairs,
disappointments and hopes." — PELSWICK,
N. Y. Journal- American

". . . Jean Seberg makes an engrossing and
surprisingly efficient heroine . . . Bright, gay
and sometimes frivolous, yet a deep and mov-
ing drama, first-rate in all its facets."

— QUINN, N. Y. Mirror

"THE HAUNTING" (M-G-M)

". . . Exciting and gripping excursion into the
realm of the supernatural." — QUINN, N. Y.
Mirror

"... A movie that believes in ghosts and be-
fore it's over, it should have audiences believing
in them, too, for it is a genuinely spooky film."
—PEPER, N. Y. World-Telegram & Sun

". . . You'll agree that it does have just about
everything in the old-fashioned blood-chilling
line except a line of reasoning that makes a de-
gree of sense . . . Disappointing for a picture
with two such actresses, who are very good all
the way through."— CROWTHER, N. Y. Times

"... A thoroughly satisfying ghost story for
grownups done with a style and professionalism
that had long been denied spook-story addicts."
—CRIST, N. Y. Herald Tribune

". . . As far as shuddery atmosphere is con-
cerned, 'The Haunting' doesn't miss a trick . . .
A spooky tale that provides chills for the audi-
ence via the power of suggestion." — PELS-
WICK, N. Y. Journal-America'}

"MY SON, THE HERO" (United Artists)

". . . If this had started out to be a genuine
spoof, and not a doctored-up imitation of one,
it would have raked in all the marbles." —
SALMAGGI, N. Y. Herald Tribune

"... A mythological mishmash that is occa-
sionally funny in spite of itself." — WEILER,
N. Y. Times

". . . Latest of the absurd spear-and-sandal
epics the Italian studios appear to be making
on an assembly line basis. Only in this case the
English title and English-dubbed dialogue try
to make some of the absurdities seem deliberate
instead of unintentional."— PELSWICK, N. Y.
J ournal -A m eric an

". . . An epic to end all those monstrous
Italian epics that are all brawn and no brain
. . . It should have been a 30-minute short in-
stead of running one hour and 51 minutes." —
HALE, N. Y. Daily News

". . . Chucklss and titters, but unfortunately,
not the design of the film's creators . . . has an
abundance of action and interest in the activi-
ties of gods and mortals."

—QUINN, N. Y. Mirror

"SHOCK CORRIDOR" (Allied Artists)

". . . You've never seen such hallucinations,
in color, too, and with noise accompaniments of
the most horrendous sort." — WINSTEN, N. Y.
Post

"... I suspect that Samuel Fuller, who wrote,
directed and produced this minor monstrosity,
originally intended to come up with 'The Three
Stooges in the Loony Bin'." — CRIST, N. Y.
Herald Tribune

". . . Should present few startling turns to the
cinema psychiatrists . . . Vividly shocking, if not
a scientist's dream." — WEILER, N. Y. Times

". . . Emerges as a deliberate attempt at sen-
sationalism, and the manner of its telling is a
shallow as it is tasteless." — PELSWICK, V V.
J ournal- American

". . . Uses the asylum as background for an
unsolved murder and does not even develop a
tense or intriguing mystery . . . Succeeds con-
sistently in making itself thorough! unpleas-
ant."— COOK, N. Y. World-Telegraph & Sun

Film BULLETIN September 30, 1 963 Page 13

"The Conjugal Bed"
Scuuteu IZcttiH? O O O

Rating for art houses. Droll tale of Queen Bee who sex-
ually exhausts her mate and discards him.

This droll lesson to females (and warning to males) on the
disposing of husbands who have served their sole, useful func-
tion— procreation — will take its place alongside such long-run-
ning art house attractions as "Divorce, Italian Style" and "Never
On Sunday." Under the banner of Joseph E. Levine's Embassy
Pictures, the mattress bouncing risibilities, more pointed and
blunt than anything previously shown on American screens,
will be fully exploited. But it won't be to every customer's
taste. Many will find its "sick" cynicism more than a bit sour
and will question the humorous effect in clinically depicting the
exhausted hero's ecstactic death throes, but such controversies,
along with possible censorship troubles in some areas, are only
likely to arouse public interest. Director Marco Ferreri, working
with little more than two actors and a sheet, accomplishes the
almost impossible feat of holding audience attention through
necessarily limited visual techniques. Ugo Tognazzi, the fortyish
bachelor who imagines himself a Casanova, and cherubic-
looking Marina Vlady, who won best acting honors at the
Cannes Festival for this performance, are exhaustingly athletic,
relying more on facial expressions and physical movement than
dialogue (adequately conveyed by subtitles). Known in Italy as
"L'Ape Regina" (The Queen Bee), the screenplay by Ferreri
and Raphael Azcona compares the homicidal sex life of insects
to that of humans. Drone Tognazzi woos and weds Miss Vlady,
a queen bee from an all-female hive, the males having myster-
iously expired. At first the husband is amazed by his bride's
quick comprehension of sex, then delighted by her abilities, and,
finally, exhausted. After hormone injections, administered by
his mate, fail to help, he seeks refuge in the office, a monastery,
and a sanitarium, but each time his eager bride tracks him
down. Finally, she becomes pregnant. The exhausted, expiring
male is moved from his wife's bedroom to maid's quarters where
he will not be in the way of women preparing to make room
for the baby. The funeral is barely over before the child — a
female — takes its place in the hive of women.

Embassy. 90 minutes. Ugo Tognazii, Marina Vlady. Produced by Henrylc Chroscicki
and Alfonso Sansone. Directed by Marco Ferreri.

"In the French Style"

American girl seeking "life" in Paris theme should
appeal to fern trade. OK for art and class markets.

This combination of two romantic stories by Irwin Shaw
seems trapped between the art and popular classifications. It
may be too slick for the art trade and too arty for the popular
trade. Columbia's showmen face the problem of making it
appealing to both. In the general market, it should attract
sufficient feminine trade to make it a fair, or better, grosser —
especially in class situations. Jean Seberg offers mild marquee
value and her beautifully controlled performance makes the
familiar material — the American girl learning about life in Paris
theme — seem fresher and more consequential than it really is.
First-rate support is furnished by newcomer Philippe Forquet
and Britain's Stanley Baker (in his first romantic role), while
director Robert Parrish, by eschewing use of color and the
usual tourist trappings, captured an off-beat Parisian flavor that
helps to hold audience interest even when the script fails. The
first story, "A Year To Learn The Language", casts Miss Seberg
as a 19-year-old visiting Paris to study painting. Naive and
innocent, she falls in love with a young student (Forquet), be-
lieving he is older than she. The two are constant companions

Page 54 Film BULLETIN September 30. 1963

for three months before a quarrel leads them to try to con-
summate their love in a sleazy, unheated hotel room. In a
tenderly-drawn scene that reveals the inexperience of both, the
boy confesses he is only 16 and has never before been alone with
a woman. The second story, "In The French Style," takes place
three years later. Now world-weary and neurotic, Miss Seberg
still retains a touch of naivete which attracts newsman Baker
to her. He is amused by her affectionate kissing "in the French
style" of nearly everyone she meets, but he is disturbed by the
aimlessness of her life and her many past romances. Although
believing she is really in love for the first time, she cannot
reconcile herself to his job which takes him to far corners of
the world on a moment's notice. After her father (Addison
Powell) visits and urges her to give up her "jet set" existence,
she becomes a recluse and, after months of mediation, decides to
admit her failures and make plans for the future. Time passes
and when the long-absent Baker returns from the Middle East,
she introduces him to her fiance, a doctor (James Herlihy),
and tells him that she is going to return to America and, for
the first time, face the realities of life.

Columbia. 105 minutes. Jean Seberg, Stanley Baker. Produced by Irwin Shaw and
Robert Parrish. Directed by Robert Parrish.

"The French Game"

Scuute^ 'Rati*? Q

BULLETIN

reviews have one aim:
to give honest judgment
of entertainment merit
— and boxoffice value

French import deliberately moves at snail's pace. Slow
b.o.

Boxoffice prospects are gloomy for this "way-out" French
New Wave import. Writer-director Jacques Doniol-Valcroze's §
apparent intent was to invoke a mood of poetic weariness, and
he has succeeded well enough to severely limit the playoff
potential of his film. Yet, the unremitting ennui gradually pro-
duces a rhythmic effect that is not unappealing, and, in its way, 1
is strangely relaxing. There is a fragmentary story, broken by j|
innumerable shots of the sea and by Ingmar Bergmanish
glimpses of the moon. A weary young man, Jean-Louis Trinti- I
gnant, loves Francoise Brion, a lethargic blonde who appears
unresponsive to anything. Last summer they had spent an
idyllic vacation on an island with the girl's married lover. Now
they are there again, awaiting the lover's return. Meanwhile the
two find boredom in each other's arms, in the sun, the sand, the
water — everywhere. At dinner, he tiredly squirts seltzer water in
her face. The lover finally arrives (but the audience never sees
his face) and offers to take the girl away on a yacht, but, at the
last minute, she decides to remain in her state of blissful bore-
dom with the young man. All of this is presented with only a
faint trace of humor.

Wilsh;re International. 86 minutes. Francoise Brion. Jean-Louis Trintignant. Pro- '
duced by Marceau-Cocinor. Directed by Jacques Doniol-Valcroie.

!

"The Wheeler Dealers"
SutiHtM 'Rati*? O O O

Sock laugh bonanza far city sophisticates and folks in
the sticks. Handsome Ransohoff Panavision-color pro-
duction. Looks like big boxoffice in all markets.

If M-G-M and exhibitors cooperate to give it strong promo-
tion push, this screwball comedy from Martin Ransohoff-Film-
ways will be a real boxoffice winner. There hasn't been such a
bonanza, laughwise, in homespun humor since Ma and Pa
Kettle first set up housekeeping nearly 20 years ago, and blase
city slickers will be quick to welcome a fresh satirical approach
that doesn't begin and end with bedroom pseudo-sophistication.
Ransohoff has given the film a handsome Panavision-Metro-
color production that adds much visual value to the very lively
proceedings. James Garner, temporarily abandoning his imita-
tion of a straight romantic leading man, turns in one whale
of a performance as the Texas rube who takes Wall Street
for a ride. Pretty Lee Remick, scrubbed and wholesome, is the
gal who thinks she's showing him the city ropes. Adding zest
to the whacky proceedings are Jim Backus in one of his
Magoo-type roles, Phil Harris, Chill Wills and Charles Watts,
as Garner's country cousins in the investment field, and, in a
cameo role as a practical artist, tv's Louis Nye. Throw these
characters together on the New York Stock Exchange and it's
a field day of unsophisticated fun. It doesn't take long for the
George Goodman-Ira Wallach screenplay, from Goodman's
novel, to move into high gear and remain there, most of the
way. Arthur Hiller's direction is unpretentious and thoroughly
appropriate. A "wheeler dealer" is somebody who creates a
stampede on Wall Street and then uses money just for keeping
score. That's Garner. Miss Remick is the broker whose bum-
bling boss (Backus) gives her an impossible assignment — selling
Widget stock — -to use as an excuse for firing her. However,
cowboy Garner takes a hankering to the lady and pretends an
interest in Widgets. Since neither of them knows what a
Widget is, they take a trip to New England where company
president Percy Kelton explains that although Widget's became
obsolete after the Civil War, the company has remained in busi-
ness as a convenient tax liability for its multi-millionaire ow ners.
None of it makes much sense, especially after Garner and his
Texas cronies (Harris, Wills, Watts) turn Widgets into a major
appropriation for national defense, but it provides the frame-
work for some broad barbs at politics and high finance. By the
time Miss Remick discovers that Garner went to Yale (she hates
all Ivy League men), she is hopelessly in love with him and
abandons her career to settle down to a life of connubial globe
trotting, with home offices in Texas.

M-G-M. 104 minutes. James Garner, Lee Remick. Produced by Martin Ransohoff
Directed by Arthur Hiller.

"Twilight of Honor"

Sudcne44. 1R*U*f O O Plus

Good boxoffice elements for the mass market. Court-
room melodrama stars tv's popular young Dr. Kildaire,
good support.

Despite its overly-pretentious title this M-G-M offering
should be a better-than-average grosser. The major fault of the
William Perlberg-George Seaton production is its reliance on
familiar formulas, but "Twilight of Honor" obviously was not
intended for the sophisticated trade. For the mass audience it
has solid boxoffice elements. Boyish heart-throb Richard Cham-
berlain, tv's Doctor Kildare, makes his big-screen debut in this
courtroom melodrama, and gals of all ages will be towing
their swains to get a big-screen view of the popular young
medic. Chamberlain acquits himself well enough (in the role of
/ a medically-oriented attorney) to indicate a future in motion

pictures. Firm support is given by another tv personality Nick
Adams ("The Rebel ') and buxom Joey Heatherton, while
Claude Rains adds a bit of class to the role of Chamberlain's
crippled mentor — a sort of legal-minded Dr. Gillespie. Henry
Denker's screenplay from a novel by Al Dewlen, and Boris
Sagal's direction build tension in a couple of well-staged flash-
backs, and Johnny Green's rocking, jazzy background score will
have strong appeal to teenagers. Inexperienced attorney Cham-
berlain is forced by court appointment to defend Adams, a
near-illiterate vagabond, accused of murdering the town's most
prominent citizen. The obstacles against our hero seem over-
whelming. Adams has confessed to the killing; the state has
appointed a special prosecutor, gubernatorial candidate James
Gregory; the jury is made up of the dead man's friends; the
judge is prejudiced; and Adams' wife (Miss Heatherton) is a
witness for the prosecution. Under Rains' guidance, Chamber-
lain gradually ferrets out the truth. Adams had killed the man
when he found his wife in bed with him, but kept quiet to
protect his wife's name — more tarnished than he realized. An
obscure section of the state's criminal code says that a husband
is innocent of murder if he finds his wife in the act of adultery,
so Chamberlain wins the case and finds time for romance with
pretty secretary (and Rains' daughter) Joan Blackman.

M-G-M. 115 minutes. Richard Chamberlain, Nick Adams, Claude Rains, Joan
Blackman, James Gregory, Joey Heatherton. Produced by William Perlberg and
George Seaton. Directed by Boris Sagal.

"My Son, The Hero"

%u4i*ete teatou? O Plus

Italian-made spectacle so bad, UA has tried to jazz it
up as comic satire. Exploitable, but dubious b.o. entry.

This Italian-made spectacle, originally known as "The
Titans," wasn't intended as a comedy, but United Artists is
hoping that audiences will mistake its ineptitudes for satire.
To sell this idea, UA has devised a campaign spoofing the
muscle-bound epic, one phase being a screwball trailer, narrated
by recording star Mel Brooks ("The 2,000 Year-Old Man").
These gimmicks may get "My Son, The Hero" off to a start in
saturation bookings, especially for drive-ins and action houses,
but boxoffice receipts will dip sharply once word of the hoax
gets around. As straight adventure, it would make a passable
Saturday afternoon kiddie booking. The late Pedro Armendariz,
the only performer familiar to American audiences, is relegated
to a subsidiary role. The hero, Giuliano Gemma, was apparently
cast for acrobatic abilities, but his frail, puckish appearance
makes his deeds of derring-do appear ridiculous, if not par-
ticularly funny. Direction, by Duccio Tessari, is seldom evident
in this Alexander Mnouchkine production, filmed on a fairly
lavish scale in Technicolor. Ennio de Concini's infantile screen-
play has been augmented by the intended comic touches of
popular American tunes in the background. The mythical yarn
depicts Crios (Gemma), youngest and brainiest of the Titans,
being given a chance to free his brothers from their imprison-
ment in Hades (for insubordination to Jove) by replacing them
with evil king, and self-proclaimed God, Cadmus (Armendariz),
and his even more wicked spouse, Hermoine (Antonella Lualdi).
With the help of Pluto's helmet which renders him invisible,
Jupiter's thunderbolts, a friendly Cyclops, and assorted strong-
men, he overcomes sirens, an ugly Gorgon and several death
traps. He has a little trouble with the king's troops since they
have been made invulnerable by dragon's blood, but our wily
hero manages to wash away their immortality. After banishing
Cadmus and wife to the infernal regions, he rescues a drowning
princess (Jacqueline Sassard), who has never before seen a
man, and makes her his bride.

United Artists. I I I minutes. Pedro Armendarii, Jacqueline Sassard, Antonella
Lualdi, Giuliano Gemma. Produced by Alenander Mnouchkine. Directed by Duccio
Tessari.

Film BULLETIN September 30. 1 963 Page 15

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

May

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Lauren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.
88 min. 5/13/63.

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
Producer David Deutsch. Director Michael Winner.
Musical, 74 min. 7/8/63.

June

55 DAYS AT PEKING Technirama, Technicolor.
Charlton Heston, David Niven, Ava Gardner, Flora
Robson, Harry Andrews, John Ireland. Producer Samuel
Bronston. Director Nicholas Ray. Story of the Boxer
uprising. 150 min. 4/29/63.

August

GUN HAWK. THE Rory Calhoun, Rod Cameron, Ruta
Lee, Rod Lauren. Producer Richard Bernstein. Direc-
tor Edward Ludwig. Outlaws govern peaceful town of
Sanctuary.

September

CRY OF BATTLE Van Heflin, Rita Moreno, James Mac-
Arthur. Producer Joe Steinberg. Director Irving Lerner.
Guerilla Warfare in the Phillipines at the start of World
War II.

SHOCK CORRIDOR Peter Breck, Constance Towers,
Gene Evans, James Best, Hari Rhodes. Producer-direc-
tor Samuel Fuller. A Leon Fromkess-Sam Firks Produc-
tion. A suspense drama. 101 min. 7/22/63.

November

GUNFIGHT AT COMANCHE CREEK Color. Panavision.
Audie Murphy, Ben Cooper, Colleen Miller, DeForrest
Kelley and Jan Merlin. Producer Ben Schwalb. Director
Frank McDonald. Private detective breaks up outlaw
gang.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen, Tuesday Weld, Tony Bill, Tom Poston, Chris
Noel. Ed Nelson. Producer Martin Jurow. Director
Ralph Nelson. Peacetime Army comedy.

Coming

STRANGLER, THE Victor Buono. Producers Samuel
Bischoff, David Diamond. Director Burt Topper.

IRON KISS, THE A Leon Fromkess-Sam Firks produc-
tion. Producer-director Samuel Fuller.

MAHARAJAH Color. George Marshall. Polan Banks.
Romantic drama.

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar

WAR MADNESS Tony Russell, Baynes Barron, Judy Dan.

AMERICAN INTERNATIONAL

May

MIND BENDERS, THE Dirk Bogarde, Mary Ure, John
Clement. Producer Michael Relph. Director Basil Dear-
den. Science fiction. 99 min. 4/15/63.

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama. 84 mm.

June

DEMENTIA #13 IFilmgroup) William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK. THE CONQUEROR (Formerly Miracle of the
Vikingl. Color, CinemaScope. Cameron Mitchell,
Kessler Twins. Action drama. 90 min.

July

TERROR, THE IFilmgroup) Color, Vistascope. Boris Kar-
loff. Sandra Knight. Horror. 81 min.

August

BEACH PARTY Color, Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funicello.
Producer James H. Nicholson. Director William Asher.
Teenage comedy. 100 min. 7/22/63.

September

HAUNTED PALACE, THE Color, Panavision. Vincent
Price, Debra Paget, Lon Chaney. Producer-director
Roger Corman. Edgar Allan Poe classic. 85 min.
9/2/63.

October

SUMMER HOLIDAY Technicolor, Technirama. Cliff
Richard, Lauri Peters. Teenage musical comedy. 100

min.

"X"— THE MAN WITH THE X-RAY EYES Ray Milland,
Diana Van Der Vlis, John Hoyt, Don Rickles. Science
fiction. 80 min.

November

PYRO— THE MAN WITHOUT A FACE Color. Barry
Sullivan, Martha Myer, Suspense melodrama. 93 min.

December

BLACK SABBATH Color. Boris Karloff, Mark Damon.
Horror.

FLIGHT INTO FRIGHT IFormerly Schizo) Leticia
Roman, John Saxon. Producer-director Mario Dava. Sus-
pense horror.

January

GOLIATH AND THE SLAVE QUEENS OF BABYLON

Color, Scope. Mark Forest, Scilla Gabel, John Chevon.
Action comedy.

SOME PEOPLE IColorl Kenneth More, Ray Brooks,
Annita Wills.

February

COMEDY OF TERRORS, THE Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff, Basil Rathbone, Joyce
Jameson. Horror, comedy.

Coming

DUNWICH HORROR Color. Panavision. Science Fiction.
GENGHIS KHAN 70mm roadshow.

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester, Harvey
Lembeck. Horror comedy.

MAGNIFICENT LEONARDI, THE Color, Cinemascope.
Ray Milland.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

MUSCLE BEACH PARTY Color, Panavision. Frankie
Avalon, Annette Funicello. Teenage musical.

RUMBLE Color. Frankie Avalon, Annette Funicello. Teen-
age drama.

SAMSON & THE G'AD'ATORS. Color; Scope. Mark
Forrest, Josi Creci, Erno Crisa. Action comedy.

UNEARTHLY, THE John Neville, Philip Stone. Gabriella
Lucudi. Science fiction.

UNDER AGE Teenage drama.

WHEN THE SLEEPER AWAKES Color. Vincent Price.
Producers Julian Wintle, Leslie Parkyn. H. G. Wells

classic.

June

SAVAGE SAM Brian Keith, Tommy Kirk, Kevin Cor-
coran Marta Kristen, Dewev Martin. Jeff York. Pro-
ducer Walt Disney. Director Norman Tokar. Tale of the
pursuit of renegade Indians who kidnap two boys and
a girl. 110 min. 6/10/63.

July

SUMMER MAGIC Hayley Mills, Burl Ives. Dorothy Mc-
Guire, Deborah Walley, Peter Brown, Eddie Hodges.
Director James Neilson. Comedy musical. 109 min.
7/8/63.

October

20/1000 LEAGUES UNDER THE SEA Re-release.
FANTASIA Re-release.

November

INCREDIBLE JOURNEY Emile Genest, John Drainie.

Sandra Scott. Producer Walt Disney. Director Fletcher

Markle. Based on book by Sheila Burnford. Adventure
drama. 90 min.

December

SWORD IN THE STONE, THE. Producer Walt Disney.
Director, Wolfgang Reitherman. Full-length animated
feature. 80 min.

June

BYE BYE BIRDIE Janet Leigh, Dick Van Dyke, Ann-
Margret, Jesse Pearson. Producer Fred Kohlmar.
Director George Sidney. Film version of Broadway
musical. 112 min. 4/15/63.

JASON AND THE ARGONAUTS IFormerly The Argo-
nauts). Color. Todd Armstrong, Nancy Kovak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic. 104 min. 6/10/63.

JUST FOR FUN Bobby Vee, The Crickets, Freddie
Cannon, Johnny Tillotson, Kerry Lester, The Tornadoes.

72 min.

July

L-SHAPED ROOM. THE Leslie Caron, Tom Bell. Pro-
ducer James Woolf, Richard Attenborough. Director
Bryan Forbes. Drama. 125 min. 7/22/63.

13 FRIGHTENED GIRLS Murray Hamilton, Joyce Tay-
lor, Hugh Marlowe. Producer-director William Castle.
Mystery. 89 min.

August

GIDGET GOES TO ROME James Darren, Cindy Carol,
Jobv Baker. Producer Jerrv Bresler. Director Paul
Wendkos. Teenage romantic comedy. 101 min. 8/5/63.

September

IN THE FRENCH STYLE Jean Seberg. Producer Stanley
Baker. Director Robert Parrish.

THREE STOOGES GO AROUND THE WORLD IN A
DAZE, THE. The Three Stooges. Producer-director
Norman Maurer. Comedy. 94 min. 9/2/63.

October

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Pater OToole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

MANIAC Kerwin Mathews, Nadia Gray.

OLD DARK HOUSE, THE Tom Poston, Robert Moreley,
Joyce Greenfell.

RUNNING MAN, THE Laurence Harvey, Lee Remick,
Alan Bates. Producer-director Carol Reed. Suspense
melodrama. 103 min. 9/16/63.

November

UNDER THE YUM YUM TREE Jack Lemmon. Carol Lyn-
ley, Dean Jones, Edie Adams. Producers David Swift,
Fred Brisson.

December

CARDINAL, THE Tom Tryon, Romy Schneider, Carol
Lynley, John Saxon. Producer-director Otto Preminger.

Coming

BEHOLD A PALE HORSE Gregory Peck, Anthony Quinn.!

CONGO VIVO Jean Seberg, Gabriele Ferzetti.

DR STRANGE LOVE: OR HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers,
Sterling Hayden, George C. Scott, Keenan Wynn. Pro- 1
ducer-director Stanley Kubrick. Comedy.

LILITH Warren Beatty, Jean Seberg. Producer-director
Robert Rossen.

STRAIT JACKET Joan Crawford, Anne Helm. Producer
William Castle.

SWINGIN- MAIDEN. THE IFormerly The Iron Maiden) j
Michael Craig, Anne Helm, Jeff Donnell.

VICTORS, THE Vincent Edwards, Melina MercoufiJ
Jeanne Moreau, Romy Schneider. Producer-directoi !
Carl Forman.

June

DAVID AND LISA Keir Dullea, Janet Margolin, How
ard Da Silva. Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed young
sters. 94 min. 1/7/63.

Film BULLETIN — THIS IS YOUR PRODUCT

OCTOBER SUMMARY

Exhibitors may look forward to a
plentiful harvest of new product during
the month of October. Available re-
leases for the month total 22, four of
these being provided by Columbia.
M-G-M, 20th-Fox and United Artists
each promise three films. Two releases
will be forthcoming from Embassy,
American International and Paramount.
Three companies — Universal, Warner
Brothers and Continental — each have
one listing. Neither Allied Artists nor
Buena Vista have announced any new
issue for October to date.

YOUR SHADOW IS MINE Jill Haworth, Michael Ruhl.
A European girl, raised by an Indo-Chinese family, has
to choose between her native sweetheart and the
society of her own people. 90 min.

July

THIS SPORTING LIFE Richard Harris, Rachel Roberts.
Producer Karel Reisi. Director Lindsay Anderson. Dra-
ma. 12? min. 7/22/63.

August

LORD OF THE FLIES James Aubrey, Tom Chapin,
Hugh Edwards. Producer Lewis Allen. Director Peter
Brooks. Dramatization of William Golden's best selling
novel. 90 min. 9/2/63.

NEVER LET GO Richard Todd, Peter Sellers, Elizabeth
Sellers. Producer Peter de Sarigny. Director John
Guillevmin. Crime melodrama. 90 min. 6/24/63.

September

HANDS OF ORLAC. THE Mel Ferrer, Christopher Lee,
Dany Carrel, Lucille Saint Simon. Producers Steven
Pallos, Donald Taylor. Director Edmond Greville.
Mystery. 86 min.

October

BILLY LIAR. Tom Courtenay.

Coming

MEDITERRANEAN HOLIDAY 70 mm color. Travelogue
narrated by Burl Ives.

May

BEAR, THE I English-dubbed ) Renato Rascel, Francis
Blanche, Gocha.

July

ri

FREDERICO FELLINI'S "8V2" Marcello Mastroianni,
Claudia Cardinale, Anouk Aimee, Sandra Milo. Pro-
ducer Angelo Rizzoli. Director Federico Fellini. Drama.
135 min. 7/8/63.

GENTLE ART OF MURDER, THE I Formerly Crime Does
Not Pay) Edwige Feuillere, Michele Morgan, Pierre
Brasseur, Richard Todd, Danielle Darrieux. Director
Gerard Oury. Drama. 122 min.

PASSIONATE THIEF THE Anna Magnani, Ben Gazzara,
' Toto. Producer Silvio ClementeMi. Director Mario
Monicelli. Comedy. 95 min.

WOMEN OF THE WORLD Technicolor. Narrated by
Peter Ustinov. Director Gualtiero Jacopetti. Women as
they are in every part of the world. 107 min. 7/8/63.

September

CONJUGAL BED, THE Marina Vlady, Ugo Tognazzi.
Director Marco Ferreri. Comedy drama. 90 min.

October

LIGHT FANTASTIC Dolores McDougal, Barry Bartle.
Producer Robert Gaffney. Director Robert McCarty.
Drama. 84 min.

ONLY ONE NEW YORK Director Pierre-Dominique
Gaisseau. Documentary.

November

GHOST AT NOON, A Brigitte Bardot, Jack Palance,
Fritz Lang, Georgia Moll.

December

THREEPENNY OPERA Sammy Davis, Jr., Curt Jurgens,
Hildegarde Neff. Director Wolfgang Staudte. Screen
version of Bertolt Brecht and Kurt Weill classic.

Current Releases

BERN ADETTE OF LOURDES (Janus Films) Daniele Ajoret
Nadine Atari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE ILopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLACK FOX, THE ICapri Filmsl Produced, directed
and written by Louis Clyde Stoumen. 89 min. 4/29/63.

BLOODY BROOD, THE I Sutton) Peter Fa Ik, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR. A (Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

BURNING COURT, THE (Trans-Lux) Nadja Tiller, Jean-
Claude Brialy, Perrette Pradier. Producer Yvon
Guezel. Director Julien Duvivier.

CLEOPATRA'S DAUGHTER I Medallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

DAY THE SKY EXPLODED, THE (Excelsior) Paul Hub-
I schmid. Madeleine Fischer. Director Paolo Heusch.
S Science fiction. 80 min.

I DESERT WARRIOR. THE (Medallion) Color, Totalscope.
|J Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE I Ultra Pictures) Anthony Quinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS (Crown International)
Technicolor, Totalvision. Yoko Tani, Oldrick Lukes. 81
min.

FIVE DAY LOVER, THE IKinqsley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FORCE OF IMPULSE ISutton Pictures) Tony Anthony,
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

GIRL HUNTERS. THE IColorama). Mickey Spillane,
Shirley Eaton, Lloyd Nolan. Producer Robert Fellows.
Director Roy Rowiand. Mickey Spillane mystery. 103
min. 6/10/63.

GONE ARE THE DAYS (Hammer Bros.) Ruby Dee,
Ossie Davis. Producer-director Nicholas Webster. 100
min. 9/16/63.

GREENWICH VILLAGE STORY. THE (Shawn-Interna-
tional) Robert Hogan, Melinda Prank. Producer-direc-
tor Jack O'Connell. Drama. 95 min. 8/19/63.

HAND IN THE TRAP (Angel Films) Elsa Daniel, Fran-
cisco Rabal. Director Leopoldo Torre Nilsson. Horror.
90 min. 7/22/63.

HEAD, THE (Trans-Lux) Horst Frank, Michael Simon.
Director Victor Trivas. Horror. 95 mm. 7/8/63.

HORROR HOTEL (Trans-Lux) Denis Lotis, Christopher
Lee, Betta St. John, Patricia Jessel. Producer Donald
Taylor. Director John Moxey. 76 min. 7/8/63.

IMPORTANT MAN, THE ILopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

LAFAYETTE (Maco Film Corp.) Jack Hawkins, Orson
Welles, Vittorio De Sica. Producer Maurice Jacquin.
Director Jean Oreville. 110 min. 4/1/63.

LA NOTTE BRAVA IMi'ler Producing Co.) Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LA POUPEE (Gaston Hakim Productions International I
Zbigniew Cybulski, Some Teal. Director Jacques Bara-
tier. French farce. 90 min. 9/16/63.

LAST OF THE VIKINGS I Medallion) Color. Totalscope.
Cameron Mitchell, Edmond Purdom. 102 min.

LAZARILLO (Union Films) Marco Paoletti, Juan Jose
Menendez. An Hesperia Films Production. Director
Cesar Ardavin. Tale of a 12-year-old rogue-hero's
efforts to survive in 16th century Spain. 100 min.
5/13/63.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

MAGNIFICIENT SINNER (Film-Mart, Inc.) Romy
Schneider, Curt Jergens. Director Robert Siodmak. 91
min. 4/29/63.

MARRIAGE OF FIGARO, THE (Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin. Director Jean Meyer. French import.
105 min. 2/18/63.

MONDO CANE ITimes Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/63.

MOUSE ON THE MOON, THE Eastmancolor ILopert
Pictures) Margaret Rutherford, Bernard Cribbins. Terry
Thomas. Satirical comedy. 84 min. 6/24/63.

MY HOBO IToho) Keiji Kobayashi, Hideko Takamine.
Producer Tokyo Eiga Company. Director Zenzo Matsu-
yama. 98 min. 8/5/63.

MY NAME IS IVAN (MosFilm) Kolya Burlaiev. Director
Andrei Tarkovsky. Drama. 94 min. 8/19/63.

NIGHT OF EVIL (Sutton) Lisa Gaye, Bill Campbell.
88 min.

NO EXIT (Zenith-International) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.
ONE POTATO, TWO POTATO (Bowalco Pictures) Bar-
bara Barrie, Bernie Hamilton, Richard Mulligan, Harry
Bellaver. Director Larry Peerce. Producer Sam Weston.
ORDERED TO LOVE IM. C. Distributor Releasel Maria
Perschy. Producer Wolf Brauner. Director Werner
Klinger. Drama. 82 min. 7/22/63.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I 1 5 min.

RAIDERS OF LEYTE GULF (Hemisphere Pictures) Mich-
ael Parsons, Leopold Salcedo, Jennings Sturgeon. Pro-
ducer-director Eddie Romero. War melodrama. 80 min.
7/22/63.

REACH FOR GLORY (Royal Film International) Harry
Andrews, Kay Walsh, Oliver Grimm. Producers Jud
Kinberg, John Kohn. Director Philip Leacock. Story of
youngsters in wartime. 89 min, 9/16/63.

ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

RUN WITH THE DEVIL (Jillo Films) Antonella Lualdi,
Gerard Blain, Franco Fabrizi. Director Mario Camerini.
Drama. 93 min. 8/19/63.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

SMALL WORLD OF SAMMY LEE, THE (Seven Arts)
Anthony Newley. Producer Frank Godwin. Director Ken
Hughes. 105 min. 9/16/63.

SON OF SAMSON (Medallion) Color, Totalscope. Mark
Forest, Chelo Alonso. 89 min.

STAKEOUT Ping Russell. Bill Hale, Eve Brent. 81 min.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THREE FABLES OF LOVE IJanus) Leslie Caron, Ros-
sano Brazi, Monica Vitti, Sylva Koscina, Charles
Aznavour, Jean Poiret, Michel Serrault, Ann Karina.
Producer Gilbert de Goldschmidt. Director Alessandro
Blasetti, Heave Bromberger, Rene Clair. 8/5/63.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Victoria) Narration by Thomas
L. Row and Pauline Girard. Producer-director Marion
Gering. 67 min. 7/8/63.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRI DIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FOR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

MET RO-GOLDWYN -MAYER

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian,
Karl Boehm. Producer Anatole de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.
109 min. 5/13/63.

May

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Borii
Sagal. Race track comedy. 94 min. 4/1/63.

DRUMS OF AFRICA Frankie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.
92 min. 4/29/63.

IN THE COOL OF THE DAY CinemaScope, Color. Jane
Fonda. Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz. 90 min. 5/13/63.

SLAVE, THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites the slaves to
revolt against the Romans.

June

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West. 89 min.

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.
90 min.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min. 6/24/63.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GrifflTh. Pro-
ducer Aaron Rosenberg. Director Lewis Milestone.
Sea-adventure drama based on Iriology by Charles
Noroff and James Norman Hall. 179 min. 11/12/63.

Film BULLETIN — THIS IS YOUR PRODUCT

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode. Producer Sy Weintraub. Director Robert Day.
Adventure. 92 min. 7/8/63.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,

Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy. 85 min. 6/24/63.

DAY AND THE HOUR, THE [Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

TICKLISH AFFAIR, A (Formerly Moon Walk) Shirley

Jones, Gig Young. Producer Joe Pasternak. Director
George Sidney. Romantic comedy based on a story in
the Ladies Home Journal. 87 min. 7/8/63.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

August

HOOTENANNY HOOT Peter Breck, Ruta Lee, Brothers
Four, Sheb Wooley, Johnny Cash. Producer Sam Kati-
man. Director Gene Nelson. 91 min. 9/16/63.

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy. 84 min.
5/13/63.

September

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller. 112
min. 9/2/63.

V.I.P.s, The Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama. 119 min. 8/19/63.

October

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

TIKO AND THE SHARK Producer Goffredo Lombardo.
Director F. Quilici. Filmed entirely in French Poly-
nesia with a Tahitian cast. 108 min.

TWILIGHT OF HONOR Richard Chamberlain, Nick
Adams, Joan Blackman, Joey Heatherton. A Pearlberg-
Seaton Production. Director Boris Sagal. A young
lawyer falls victim to the bigoted wrath of a small
town when he defends a man accused of murdering
the town's leading citizen. 115 min.

November

GLADIATORS SEVEN Richard Harrison, Loredana Nus-
ciak. Producers Cleo Fontini, Italo Zingarelli. Director
Pedro Lazaga. Seven gladiators aid in overthrowing
a tyrant of ancient Sparta. 92 min.

MGM'S BIG PARADE OF COMEDY Great stars of the
past in memorable comedy moments from great MGM
films of the past.

WHEELER DEALERS. THE James Garner, Lee Remick.
Producer Martin Ransohoff Director Arthur Hiller.
Story of a Texan who takes Wall Street by storm. 106
min.

December

THE PRIZE PauJ Newman, Edward G. Robinson, Elke
Sommer. Producer Pandro Berman. Director Mark
Robson. Based on the Irving Wallace bestseller.

January

CHILDREN OF THE DAMNED Ian Hendry, Alan Bader.
(Science fiction).

SUNDAY IN NEW YORK (MGM-Seven Arts) Cliff
Robertson, Jane Fonda, Rod Taylor. Producer Everett
Freeman. Director Peter Tewksbury. The eternal ques-
tion: should a qirl or shouldn't she, prior to the
nuptials?

February

GLOBAL AFFAIR A Bob Hope, Lilo Pulver. Producer
Hall Bartlett. Director Jack Arnold. Comedy.

NIGHT MUST FALL Albert Finney, Mona Washbourne.
Producer Karl Reise, Albert Finney. Director Karl
Reise. Psychological suspense thriller.

OF HUMAN BONDAGE (MGM-Seven Arts) Kim
Novak, Laurence Harvey. Producer James Woolf. Di-
rector Henry Hathaway. Film version of classic novel.

Coming

CORRIDORS OF BLOOD Boris Karloff, Betta St. John,
Finlay Currie. Producer John Croydon. Director Robert
Day. Drama. 84 min. 6/10/63.

COUNTERFEITERS OF PARIS Jean Gabin, Martina
Carol. Producer Jacques Bar. Director Gilles Grangier.
99 min.

FOUR DAYS OF NAPLES, THE Jean Sorel, Lea Messari,
Producer Goffredo Lombardo. Director Nanni Loy.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

VICE AND VIRTUE Annie Girardot, Robert Haisin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their woman whose
thirst for power leads to their downfall.

HOW THE WEST WAS WON Cinerama. Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/63.

MURDER AT THE GALLOP Margaret Rutherford, Robert
Morley, Flora Robson. Producer George Brown. Direc-
tor George Pollock. Agatha Christie mystery. 81 min.
7/22/63.

WEREWOLF IN A GIRL'S DORMITORY Barbara Lass,
Carl Schell. Producer Jack Forrest. Director Richard
Benson. Horror show. 84 min. 6/10/63.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleasoti,
Glynis Johns. Producer Jack Rose. Director George
Marshall. Comedy-drama based on childhood of silent
screen star Corinne Griffith. 98 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds. CUff

Robertson, David Janssen. Producer Gant Gaither.
Director Gower Champion. Broadway star adopts six
abandoned children. 105 min. 3/18/63.

May

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director Ritt.
Drama set in modern Texas. 122 min. 3/4/63.

June

DUEL OF THE TITANS CinemaScope, Eastman color.
Steve Reeves, Gordon Scott. Producer Alessandro
Jacovoni. Director Sergio Corbucci. The story of
Romulus and Remus, the twin brothers who founded
the city of Rome.

NUTTY PROFESSOR. THE Technicolor. Jerry Lewis.
Stella Stevens. Producer Ernest D. Glucksman. Direc-
tor Jerry Lewis. A professor discovers a youth-
restoring secret formula. 105 min. 6/10/63.

July

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific. 108 min. 8/5/63.

August

COME BLOW YOUR HORN Technicolor. Frank Sinatra,

Barbara Rush, Lee J. Cobb. Producer Howard Koch.
Director Bud Yorkin. A confirmed bachelor introduces
his young brother to the playboy's world. 112 min.
6/24/63.

October

NEW KIND OF LOVE, A Technicolor. Paul Newman,
Joanne Woodward, Thelma Ritter, Maurice Chevalier.
Producer-director Melville Shavelson. Romantic com-
edy. 105 min. 9/2/63.

WIVES AND LOVERS Janet Leigh, Van Johnson, Shelley
Winters, Martha Hyer. Producer Hal B. Wallis. Direc-
tor John Rich. Romantic comedy. 102 min. 9/2/63.

Coming

ALL THE WAY HOME Robert Preston, Jean Simmons.
Pat Hingle. Producer David Susskind. Director Alex

Segal. Film version of play and novel.

BECKET Technicolor. Richard Burton, Peter O'Toole.
Producer Hal B. Wallis. Director Peter Glenville. Film
version of Jean Anouilh's play.

CARPETBAGGERS, THE Technicolor. Panavision 70.
George Peppard, Carroll Baker. Producer Joseph E.
Levine. Director Edward Dmytryk. Drama based on the
best-seller by Harold Robbins.

FUN IN ACAPULCO Technicolor. Elvis Presley, Ur-
sula Andress. Producer Hal B. Wallis. Director Rich-
ard Thorpe. Musical-comedy.

LADY IN A CAGE Olivia de Havilland, Ann Southern.
Producer Luther Davis. Director Walter Grauman.
Horror drama.

LOVE WITH THE PROPER STRANGER Natalie Wood,
Steve McQueen. Producer Alan J. Pakula. Director
Robert Mulligan. A young musician falls in love with
a Macy's sales clerk.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Douglas,
Fredric March, Ava Gardner. Producer Edward Lewis.
Director John Frankenheimer. A Marine colonel un-
covers a militay plot to seize control of the U.S. gov-
ernment.

WHO'S BEEN SLEEPING IN MY BED? Panavision.
Technicolor. Dean Martin, Elizabeth Montgomery, Carol
Burnett. Producer Jack Rose. Director Daniel Mann.
Comedy.

WHO'S MINDING THE STORE? Technicolor. Jerry!
Lewis, Jill St. John, Agnes Moorehead. Producer Paul
Jones. Director Frank Tashlin. Comedy.

20TH CENTURY-FOX

March

HOUSE OF THE DAMNED CinemaScope. Ronald Foster,
Merry Anders. Producer-Director Maury Dexter. Archi-
tect inspects haunted house and runs across circus of
freaks. 62 min.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

April

NINE HOURS TO RAMA CinemaScope. DeLuxe Coler.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63.

May

YELLOW CANARY, THE CinemaScope. Pat Boone, Bar-
bara Eden. Producer Maury Dexter. Director Buzz Kulik.
Suspense drama. 93 min. 4/15/63.

June

STRIPPER, THE I Formerly A Woman in July) Cinema-
Scope. Joanne Woodward, Richard Beymer, Gypsy Rose
Lee, Claire Trevor. Producer Jerry Wald. Director
Franklin Schaffner. Unsuccessful actress seeks happi-
ness. 95 min. 4/29/63.

July

LONGEST DAY, THE CinemaScope. John Wayne, Rich-
ard Todd, Peter Lawford, Robert Wagner, Tommy
Sands, Fabian, Paul Anka, Curt Jurgens, Red Buttons,
Irina Demich, Robert Mitchum, Jeffrey Hunter, Eddie
Albert, Ray Danton, Henry Fonda, Edmond O'Brien,
Robert Ryan. Producer Darryl Zanuck. Directors Gerd
Oswald, Andrew Marton, Elmo Williams, Bernhard
Wicki, Ken Annakin. 180 min.

August

LASSIE'S GREAT ADVENTURE DeLuxe Color. June Lock-
hart. Jon Provost. Producer Robert A. Golden. Director
William Beaudine. Lassie and his master get lost in
Canadian Rockies. 103 min.

OF LOVE AND DESIRE DeLuxe Color. Merle Oberon,
Steve Cochran, Curt Jurgens. Producer Victor Stoloff.
Jirector Richard Rush. Brother tries to break up sister's
romance. 97 min. 9/16/63.

September

CONDEMNED OF ALTONA, THE CinemaScope. Sophia
Loren, Maximilian Schell, Fredric March, Robert Wag-
ner. Producer Carlo Ponti. Director Vittorio De Sica.
Adaped from Jean-Paul Sartre's stage success. 114 min.
min. 9/16/63.

A FAREWELL TO ARMS. Re-release.

THE YOUNG SWINGERS CinemaScope. Rod Lauren,
Molly Bee. Producer-Director Maury Dexter.

October

LEOPARD THE CinemaScope, DeLuxe Color. Burt Lan-
caster, Alain Delon, Claudia Cardinale. Producer Gof-
fredo Lombardo. Director Luchino Visconti. Based on
famous best-seller detailing disintegration of Italian
nobility. 165 min. 8/19/63.

MARILYN CinemaScope, DeLuxe Color. Screen clips
from Marilyn Monroe's films with narration by Rock
Hudson. 83 min.

THUNDER ISLAND Cinemascope. Gene Nelson. Fay,
Spain. Producer-director Jack Leewood. 65 min.

November

TAKE HER, SHE'S MINE CinemaScope, DeLuxe Color.
James Stewart, Sandra Dee. Producer-Director Henry
Koster. Daughter's escapades at college cause comic
disturbance to father.

Coming

1

CLEOPATRA Todd-AO Color. Special handling. Elizabeth
Taylor, Richard Burton, Rex Harrison. Producer Walter
Wanger. Director Joseph Mankiewicz. Story of famous
queen. 221 min. 6/24/63.

MOVE OVER, DARLING CinemaScope, DeLuxe Color.
Doris Day, James Garner, Polly Bergen. Producers
Aaron Rosenberg, Martin Melecher. Director Michael
Gordon. Romantic comedy of man with two wives.

QUEEN'S GUARDS, THE CinemaScope, DeLuxe Color.
Daniel Massey, Raymond Massay, Robert Stephens.
Producer-Director Michael Poweir. A tale o* fh«
tradition and importance of being a Guard.
WINSTON AFFAIR, THE CinemaScope. Robert Mitchum,
Frances Nuyen.

UNITED ARTISTS

March

FIVE MILES TO MIDNIGHT Sophia Loren, Anthony
Perkins, Gig Young, Jean-Pierre Aumont. Producer-
director Anatole Litvak. Suspense drama about an
American in Europe who schemes to defraud an insur-
ance company. 110 mtn. 3/4/63.

Film

BULLETIN — THIS IS YOUR PRODUCT

LOVE IS A BALL Technicolor, Panavision. Glenn Ford,
Hope Lange, Charles Boyer. Producer Martin H. Poll.
Director David Swift. Romantic comedy of the interna-
tional set. 1 1 1 min. 3/4/43.

April

I COULD GO ON SINGING Eastmancolor, Panavisioa.
Judy Garland, Dick Bogarde, Jack Klugman. Producers
Stuart Millar, Lawrence Turman. Director Ronald
Neame. Judy returns in a dramatic singing role. 99
min. 3/18/63.

May

DR. NO Technicolor. Sean Conneiy, Ursula A/idress,
Joseph Wiseman, Jack Lord. Producers Harry Saltz-
man, Albert R. Broccoli. Director Terence Young. Action
drama based on the novel by Ian Fleming. Ill min.
3/18/63.

June

AMAZONS OF ROME Louis Jourdan. Sylvia Syms.

BUDDHA Technicolor, Technirama. Kojiro, Hongo,
Charito Solis. Producer Masaichi Nagata. Director
Ken ji Misumi. Drama dealing with the life of one of
the world's most influential religious leaders. 134 min.
7/22/63.

CALL ME BWANA Bob Hope, Anita Ekberg, Edie
Adams. Producers Albert R. Broccoli, Harry Saltiman.
Director Gordon Douglas. Comedy. 103 min. 6/10/63.

DIARY OF A MADMAN Vincent Price, Nancy Kovak.
Producer Robert E. Kent. Director Reginald Le Borg.
Horror mystery of a man possessed by a horla. 96 min.
3/4/63.

July

GREAT ESCAPE, THE Deluxe Color, Panavision. Steve
McQueen, James Garner, Richard Attenborough. Pro-
ducer-director John Sturges. Based on true prisoner of
war escape. 168 min. 4/15/63.

IRMA LA DOUCE Technicolor, Panavision. Jack Lem-
mon, Shirley MacLaine. Producer-director Billy Wilder.
Comedy about the "poules" of Paris, from the hit
Broadway play. 142 min. 6/10/63.

August

CARETAKERS, THE Robert Stack, Polly Bergen, Joan
Crawford. Producer-director Hall Bartlett. Drama
dealing with group therapy in a mental institution. 97
min. 8/19/63.

TOYS IN THE ATTIC Panavision. Dean Martin, Geral-
dine Page, Yvette Mimieux, Gene Tierney. Producer
Walter Mirisch. Director George Roy Hill. Screen
version of Broadway play. 90 min. 7/8/63.

September

LILIES OF THE FIELD Sidney Poitier, Litia Skala. Pro-
ducer-director Ralph Nelson. Story of ex-GI and Ger-
man refugee nuns who build a chapel in the Arizona
desert. 94 min. 9/2/63.

October

JOHNNY COOL Henry Silva, Elizabeth Montgomery.
Producer-director William Asher. Chrislaw Productions.
101 min.

STOLEN HOURS Color. Susan Hayward, Michael Craig,
Diane Baker. Mirisch-Barbican film presentation. Di-
rected by Daniel Petrie. 100 min.

TWICE TOLD TALES Color. Vincent Price, Mari Blan-
chard. Producer Robert E. Kent. Director Sidney Salkow.
Based on famous stories of Nathaniel Hawthrone. 119
min.

November

IT'S A MAD. MAD. MAD. MAD WORLD. Cinerama.
Technicolor. Spencer Tracy, Milton Berle, Sid Caesar,
Buddy Hackett, Ethel Merman, Mickey Rooney, Dick
Shawn, Phil Silvers, Terry-Thomas, Jonathan Winters.
Producer-director Stanley Kramer. Spectacular comedy.

MCLINTOCK! Color. John Wayne, Maureen O'Hara,
Yvonne De Carlo, Patrick Wayne, Chill Wills, Jack
Kruschen. Producer Michael Wayne. Director Andrew
V. McLaglen. 127 min.

December

KINGS OF THE SUN Color. Yul Brynner, George Cha-
kiris. Producer Lewis Rachmil. Director J. Lee Thomp-
son. A Mirisch Company Presentation.

Coming

CEREMONY, THE Laurence Harvey, Sarah Miles, Rob-
ert Walker, John Ireland. Producer-director Laurence
Harvey. 108 min.

MY SON, THE HERO Color. Pedro Armendariz, Jacque-
line Sassard. Directed by Doccio Tessari. Spoof on
Gods and heroes.

mnnsnmm

May

PARANOIC Janette Scott, Oliver Reed, Sheilah Burrell.
Producer Anthony Hinds. Director Freddie Francis.
Horror. 80 min. 4/15/63.

SHOWDOWN I Formerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen. Western. 79 min. 4/15/63.

June

LIST OF ADRIAN MESSENGER, THE George C. Scott,
Dana Wynter, Clive Brook, Herbert Marshall. Producer
Edward Lewis. Director John Huston. Mystery. 98
min. 6/10/63.

SWORD OF LANCELOT (Formerly Lancelot and Guini-
verel Technicolor. Panavision. Cornel Wilde, Jean
Wallace, Brian Aherne. Producers Cornel Wilde, Ber-
nard Luber. Director Wilde. Legendary tale of love and
betrayal. I 15 min. 5/13/63.

TAMMY AND THE DOCTOR Color. Sandra Dee, Peter
Fonda, Macdonald Carey. Producer Ross Hunter. Direc-
tor Harry Keller. Romantic comedy. 88 min. 5/13/63.

July

GATHERING OF EAGLES, A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann. 116 min.

KING KONG VS. GODZILLA Color. Michael Keith,
Harry Holcomb, James Yagi. Producer John Beck.
Director Ray Montgomery. Thriller. 90 min. 6/10/63.

August

FREUD: SECRET PASSION (Formerly Freud I Mont-
gomery Clift, Susannah York. 120 min.

THRILL OF IT ALL. THE Color. Doris Day, James Gar-
ner, Arlene Francis. Producers Ross Hunter, Martin

Melecher. Director Norman Jewison. Romantic comedy.
108 min. 6/10/63.

TRAITORS, THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson. 71 min.

September

KISS OF THE VAMPIRE Eastman Color. Clifford Evans,
Edward DeSouza, Jennifer Daniels. Producer Anthony
Hinds. Director Don Sharpe. 88 min. 8/5/63.

October

FOR LOVE OR MONEY (Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon. 108
min. 8/5/63.

Coming

BRASS BOTTLE. THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN, M.D. Color. Gregory Peck, Tony
Curtis, Angie Dickinson, Bobby Darin, Eddie Albert.
Producer Robert Arthur. Director David Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

CHARADE Technicolor, Panavision. Cary Grant, Audrey
Hepburn, Walter Matthau, James Coburn. Producer-
Director Stanley Donen.

DARK PURPOSE Technicolor. Shirley Jones, Rossano
Brazzi, George Sanders, Micheline Presle, Georgia
Moll. Producer Steve Barclay. Director George Mar-
shall.

HE RIDES TALL [Formerly The Gun Hand) Tony Young,
Dan Duryea, Jo Morrow, Madlyn Rhue. Producer Gor-
don Kay. Direcior R. G. Springsteen.

ISLAND OF THE BLUE DOLPHINS [Color) Producer
Robert B. Radnitz. Director James B. Clark.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven, Shirley Jones. Producer Stanley Shapiro.
Director Ralph Levy.

MAN'S FAVORITE SPORT? Color. Rock Hudson, Paula
Prentiss, Maria Perchy. Producer-director Howard
Hawks.

WILD AND WONDERFUL Formerly Monsieur Cognac)
Color. Tony Curtis, Christine Kaufmann, Larry Stored,
Marty Ingles. Producer Harold Hecht. Director Michael
Anderson.

WARNER BROTHERS

May

AUNTIE MAME Re-release.

ISLAND OF LOVE (Formerly Not On Your Ufe!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da ©osta.

Comedy set in Greece. 101 min. 5/13/63.

SUMMER PLACE. A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda.
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family. 119 min. 3/4/63.

September

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama. 112 min. 8/19/63.

October

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Producer William Fadiman. Direc-
tor Phil Karlson. Adventure drama. 98 min. 8/19/63.

November

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr. 126 min. 9/16/63.

PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens. Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

DEAD RINGER Bette Davis, Karl Maiden, Peter Law-
ford. Producer William H. Wright. Director Paul Hen-
reid. Miss Davis plays a dual role of twin sisters in
this shocker.

DISTANT TRUMPET, A Technicolor. Panavision. Troy
Donahue, Suzanne Pleshette, Diane McBain. Producer
William H. Wright. Director Raoul Walsh. Epic adven-
ture of Southwest.

ENSIGN PULVER [formerly Mister Pulver and the
Captain) Technicolor. Robert Walker, Burl Ives, Walter
Matthau, Millie Perkins, Tommy Sands. Producer-
director Joshua Logan. Comedy sequel to "Mister
Roberts".

FBI CODE 98 Jack Kelly, Ray Denton. Producer Stanley
Niss. Director Leslie H. Martinson. Dramatic action
story.

4 FOR TEXAS Technicolor. Frank Sinatra, Dean
Martin, Anita Ekberg, Ursula Andress. Producer-direc-
tor Robert Aldrich. Big-scale western with big star
cast.

GREAT RACE, THE Technicolor. Burt Lancaster, Jack
Lemmon, Lee Remick. Producer Martin Jurow. Director
Blake Edwards. Story of greatest around-the-world
automobile race of all time.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

KISSES FOR MY PRESIDENT Fred MacMurray, Polly
Bergen. Producer-director Curtis Bernhardt. Original
comedy by Robert G. Kane.

LONG FLIGHT, THE Spencer Tracy. James Stewart,
Richard Widmark, Carroll Baker, Dolores Del Rio,
Sal Mineo. Producer Bernard Smith. Director John
Ford. Super-adventure drama.

OUT OF TOWNERS, THE Color. Glenn Ford, Geraldine
Page, Angela Lansbury. Producer Martin Manulis. Di-
rector Delbert Mann. Comedy-drama about a small-
town "postmistress".

ROBIN AND THE 7 HOODS Technicolor-Panavision.
Frank Sinatra, Bing Crosby, Dean Martin, Sammy
Davis, Jr., Joey Bishop. Producer Gene Kelly. Director
Gordon Douglas.

YOUNGBLOOD HAWKE Suzanne Pleshette, James Fran-
clscus. Producer-director Delmer Daves. From Herman
Wouk's best-selling novel.

To Better Serve You . . .

Office & Terminal Combined At

1018-26 Wood St. New Phones

(above Vine) Phila.: WAInut S-3944-45

Philadelphia 7, Pa. N. J.: WOodlawn 4-7380

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Member National Film Carriers

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Philadelphia. Pa.: CEnter 2-3100
Washington, D. C: DUpont 7-7200

Film BULLETIN — THIS IS YOUR PRODUCT

THIS
PAGE

RESERVED

for a film company
that has a release
worth advertising

to the owners, the buyers,
the bookers of over 12,000 of
the most important theatres
in the U.S. and Canada

. . . and 517 financial
and brokerage houses

BDLTETIN

OCTOBER 14. 1963

Without Enthusiasm
Show Business
Is No Business

"Film companies invest $2 million in a production,
a brand-new product, then practice the most nig-
gardly economy in presenting it to exhibition . . .
The lack of advertising in trade papers implies an
attitude that they can ride the present sellers'
market without fuel to excite the theatreman's
enthusiasm . . . Some film men seem to have
forgotten the rudiments of show business . . ."

Viewpoint

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FINANCIAL REPORT

"HAPPY ENDING" FOR HOLLYWOOD

Control of Production Costs
Seen Stabilizing Film Industry

Stabilization of production costs on a businesslike level is the
principal issue facing the film industry, says The Value Line in
its current analysis, and if it can conquer this problem, "a once-
pat Hollywood happy ending might be in the making."

The investment survey, published by Arnold Bernhard & Co.,
recites the history of the industry's problems following the 1948
anti-trust decision and the subsequent development of television
as its most formidable competitor. While some of the earlier
"blockbuster" films gave movie business a counter weapon
against TV, the runaway costs induced by reckless, extravagant
competition for talent and story properties brought certain of
the film companies to the brink of ruin. Citing "Cleopatra" and
"Mutiny on the Bounty" as prime examples, Value Line says
"the grossly uneconomic manner in which studios subsequently
pursued the 'blockbuster' panacea soon destroyed its essentia!
validity." It is now becoming apparent, the analysis reports, that
the film companies recognize the need to practice sensible con-
trols over production costs. If this is accomplished Value Line
believes the industry "can look forward with some justifiable
confidence toward immediately ensuing years", based on the fol-
lowing factors:

"Average weekly movies attendance, boosted by a growing
teenage and young married population has been trending irreg-
ularly upward from 39 million in 1958 to probably 43 million
this year.

"Box office receipts have simultaneously advanced sharply to
over $1.4 billion, doubtless bolstered by higher admission
charges.

"Equally important, additional construction of indoor thea-
tres has been occurring in recent years * * * New construction
of indoor movie theatres by objective, independent businessmen
is, in our opinion, significant in direct proportion to its magni-
tude and persistence.

"The quality of the Hollywood movie, according to most lead-
ing critics, continues to improve year-by-year. While somewhat
■j intangible and totally subjective, such critical judgment exerts
| an influence on a meaningful segment of the movie-going public.

"Movie producers and distributors have not only survived
f television, but — led by Warner Bros. Pictures — learned how to
exploit this medium through profitbale TV program production
and syndication, and lucrative sale or rental of old feature
movies. Today all major Hollywood movies studios have impor-
|i tant television interests, and judged by prevailing trends, will
have enlarged these interests handsomely by the 1966-68 period.
"*■*** The fruition of MCA-controlled Universal Pictures' plans
to produce feature length movies for NBC-TV, and National
-;| General Corporation's attempt to draw people into theatres via
the projection of closed-circuit color TV programs on movie
house screens could well hasten this once unimaginable marri-
|f | age of Hollywood and television.

"Finally, we believe that the recent court decision permitting
Uj National General Corporation to combine motion picture pro-
1, duction and theatre operations for a 3-year trial period augurs
well for the possible eventual return of Hollywood producers
lj and distributors to the exhibitor level.

"Thus, far from being 'out', Hollywood appears to have been
1 1 only knocked down. Now on one knee — Hollywood may indeed
JU be in the process of arising to a weakened but formidable battle
h stance."

Allied Artists Shows $2.7 Million Loss

A surprisingly high loss, $2,747,549 net, was reported by Al-
lied Artists for the fiscal year ended June 29 1963. This is equal,
after payment of preferred dividends, to $2.97 per share on the
931,608 common shares outstanding. The loss in 1962 was
$1,580,000, $1.73 per share. (Film BULLETIN had estimated in
its Aug. 5 issue that the company would show a loss this year
'in excess of $2 million".) Gross income amounted to $18,001,-
988, compared to $14,434,872 for 1962.

AA president Steve Broidy informed the stockholders that the
loss was "caused by the failure of a number of pictures to return
their cost, due to sharp changes in market tastes." This made it
necessary, he stated, to write off approximately $1,000,000 "in
order to state the inventory at realizable values." An additional
$572,000 of unabsorbed studio overhead was charged off. A
further adjustment placed $376,000 in reserve to cover a claim
of the Internal Revenue Service for additional income taxes for
the years 1949-57. This is being contested by the company.

Broidy said "55 Days at Peking", the Samuel Bronston pro-
duction, "is fully expected to rapidly return our negative cost
advances, yielding a very substantial distribution income." He
also expressed the view that "Soldier in the Rain", starring
Jackie Gleason and Steve McQueen, "will contribute import-
antly to this year's results".

FILM &

THEATRE

STOCKS

Close

Close

Film Companies

9/26/63

10/10/63

Chang

ALLIED ARTISTS

.... 23/g

%

ALLIED ARTISTS (Pfd.)

.... 7%

7%

CINERAMA

...I6I/4

151/4

-1

COLUMBIA

.,..24%

24

- %

COLUMBIA (Pfd.)

...821/4

83

+ 3/4

DECCA

...451/2

45V2

DISNEY

42

453/g

+ 3%

FILM WAYS

. . . . 63/4

73/8

+ %

MCA

...631/4

603/8

-2%

MCA (Pfd.)

.38%

383/4

- %

M-G-M

...3iy4

301/2

- 3/4

PARAMOUNT

....48%

473/4

- %

SCREEN GEMS

...21%

201/4

-1%

20TH-FOX

- 3iy4

33%

+ 1%

UNITED ARTISTS

....19i/2

22

+ 21/2

WARNER BROS

14

133/4

- !/4

Theatre Companies

AB-PT

.30%

291/4

-1%

LOEW'S

...I8V4

171/2

- %

NATIONAL GENERAL

... 9%

93/8

- %

STANLEY WARNER

- 24i/2

24%

+ %

TRANS-LUX

....13%

12

-1%

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, American
Exchange; all others on New York Stock Exchange.)
* * *

9/26/63 10/10/63

Over-the-counter

Hid

Asked

Bid

Asked

COMMONWEALTH OF P.R. . . .

6V4

7%

6

6%

GENERAL DRIVE-IN

91/4

10%

9%

10%

MAGNA PICTURES

13/4

2%

11/2

1%

MEDALLION PICTURES

12

13%

133/4

14%

SEVEN ARTS

7%

8

7%

8V4

UA THEATRES

IOI/4

IP/4

IO1/4

11%

USIVERSAL

66

71V2

66

70%

WALTER READE-STERLING

2%

3

2%

3

WOMETCO

311/4

333/4

35

37%

( Quotations courtesy Nation

al Assn.

Securities

Dealers

Inc.)

Film BULLETIN October 14, 1963 Page 3

SOME THOUGHTS ON THE 'IMAGE'-BUILDING IDEAS OF MRS. ROSENBERG

One thing is certain about the MPA's
resolution to launch a public relations
program. The boys are not rushing into
it.

For years, we have heard about the
necessity to improve the industry's
image without any one asking what the
image should be. Now that Mrs. Anna
M. Rosenberg has submitted a plan and
also a revised plan, the members of
MPA's Advertising-Publicity Directors'
Committee has let it be known that all
of this needs further study. Maybe the
whole plan will die from improvements
before it ever gets out of committee.

Personally, if I may be allowed a
word or two on this whole image busi-
ness, I would suggest that the best way
to create a better image is to get it on
the theatre screen by way of more good
boxoffice pictures.

If I understand all this gobbledygook
that Mrs. Rosenberg and the MPA are
tossing around, these well-meaning folk
are under the illusion that this industry
has an image rather than lots of images.
For example there is, the image of Walt
Disney who believes that films can
make money as well as friends; then
there is the image of Billy Wilder who
believes that films can be delightfully
naught)' and make lots of friends; then
there is Stanley Kramer who is dedi-
cated to both entertaining and phil-
osophizing.

To say nothing of George Stevens
who has devoted four years to bring
the story of Christ to the screen.

And then there is American-Interna-
tional who- has re-discovered Edgar
Allen Poe. .

And what about Elizabeth Taylor,
who proved recently on television that
she loves London and who recited
Shakespeare with such nuances that one
had the feeling Mr. Burton's tutelage
was not far behind.

We could go on and on about the
multiple images of our business. The
main point is that every motion picture
that gets playing time creates its own
individual image.

If you go for this argument, then you
have to admit that our lads in the MPA
should quit making like Ivy Lee and,
instead, thank Mrs. Rosenberg very
much for telling them the same things
they have been told for years. To their
credit, not much money has been wasted
with this kind of irrelevancy.

The advertising and publicity execu-
ti\es on this committee are, for the
most part, an able, astute lot of show-
men. As a matter of fact, other indus-
tries have copied many of the movie
techniques in ballyhoo and promotion.

ADAM WEI LER

\D\\ they must think we are a bit daft
to start using their trite vocabulary
about image-building and the like.

-4 ►

It's true we have a number of prob-
lems which need constant attention and
which have nothing to do with selling
tickets. Censorship, admission taxes and
a lot of other troubles arising from
groups who have always looked down
upon movies and, for that matter, who
have always been opposed to any fun.

But if I understand the set-up exist-
ing in the MPA and in Compo, I see no
need to engage outside help such as
Mrs. Rosenberg to tell us how to attack
these problems when we have been at-
tacking them quite well over the past
thirty years.

Mrs. Rosenberg is a most capable
lady who has a fine track record. But
the advertising and publicity directors
must wince a bit when they review her
recommendations. It certainly is not
startling to read that she thinks we need
to convince the press to give us better
breaks when we are attacked. Certainly
there is merit to her thought that we
should do a better job on television by
producing industry shorts for that med-
ium. David Wolper, without any indus-
try help, thought of that two years ago.
She thinks also we should have a film
festival in Washington which the late
Eric Johnston talked about some years
back. And for the crusher, she thinks we
should bring the nation's press to
Hollywood to show them we are still in
business. Stanley Kramer is bringing 250
of these gents to show them "Mad,
Mad, Mad, Mad World" and also to let
them see something of Hollywood. Jack
Warner had the press at his studio for
several days a couple year ago. True, it
should be done more often.

Mrs. Rosenberg also believe it would
be a good idea to have monthly Holly-
wood salutes to the states of the union
which would, evoke in return, salutes
to Hollvwood from Governors and

mayors. The Ted Mack Amateur hour
has been doing this for years on TV.
■< ►

I don't know the size of Mrs. Rosen-
berg's fee, but I think it would be much
more constructive to use this money to
expand the MPA's services on all fronts
and to appropriate a lot more to see
that MPA sets up an adequate appa-
ratus to be used, not only when emer-
gencies arise, but day in and day out.

Ken Clark, head of MPA's public
relations department, is a schooled
newspaper man who knows a great deal
about the industry. The same goes for
Charles McCarthy who has done an
outstanding job for Compo. I therefore
suggest to the Committee that they
make a pitch to provide funds so Clark
can get an appreciable staff and I sug-
gest that exhibitors pay their Compo
dues so this organization can enlarge its
facilities, which presently are too lim-
ited.

And to the board of MPA, I have a
piece of advice. There is no point in
getting the tremors every time some
crackpot says something disparaging
about the movies. We shouldn't be so
sensitive to these chimeras. The paying
public wants to be entertained and
doesn't give a hoot in hell about images
other than the flickers on the screen. I
thing it was very timely on Mr. Ralph
Hetzel's part to rebuke the New York
Times for editorializing about the supe-
rior artistic merits of foreign films. The
American public, however, doesn't really
care what the Times thinks about the
relative merits of foreign and American
movies. They go to see both with the
hope they can get some enjoyment at a
reasonable cost.

The presidents of our film com-
panies, who also are the board of the
MPA, are honorable, intelligent gentle-
men who sometimes consider disparag-
ing remarks about the industry as per-
sonal affronts. They should be condi-
tioned, after all these years, to the idea
that they have to take the hisses with
the bows.

And, above all, they should by now
understand the nature of our business,
which in the final analysis is not really
a business but a conglomeration of
ideas. And a business of ideas is bound
to develop some ideas that ain't going
to be cheered by 180,000,000 voices. We
only ask to be cheered by some 80,000,-

000 a week who keep coming to the
theatres with the hope that they will
have a good time and eat a little pop-
corn, all of which has something to do
with art, but is also a helluva lot of fun.

1 like thai image.

Page 4 Film BULLETIN October 1 4 I9A3

Without Enthusittsm—
Show Business Is No Business

The author of the following is
a V.I. P. of exhibition, one of the fore-
most theatremen in the country, a
keen student of his industry whose
thinkmanship we regard as impec-
cable. He originally expressed, in
general terms, the opinions con-
tained below during a personal con-
versation with the Publisher of Film
BULLETIN, and we asked him to put
them down on paper for our View-
points page. His name is omitted at
his request, for obvious reasons.

— M. W.

I am flattered that you considered
some of the thoughts I voiced during
our talk yesterday worthy of space in
your publication; they came off the top
of my head, and frankly it surprised me
when you suggested that I put them
down on paper. I trust the views in
cold print will not disappoint you or
your readers.

While it appears, on the surface, that
movie business has undergone radical
changes in the past dozen years or so
since television arrived to share our
audience, most things really remain con-
stant. Production costs have spiralled to
dizzy heights, but the dollar is a lot
cheaper than it was 30 years ago. Many
theatres have been converted into food
stores or bowling alleys, but new ones
have risen to accommodate the popula-
tion explosion in the suburbs. And, of
course, thousands of drive-ins are bring-
ing films to families and lovers. So, the
total number of theatres varies but little
from what it was 20 years ago.

Some analysts of our business regard
the spectacle (blockbuster, they now call
it) as a recent development, an out-size
answer to the small TV screen, but
D. W. Griffith, King Vidor and Cecil B.
DeMille were turning out "blockbusters"
in the silent era when the screen was
postage stamp size. The motion picture
is still basically a medium of scope
(although it lends itself to intimacy,

too), and neither television nor the
stage can approach it in that respect.
The bigger screen of today is a mere
technical improvement that adds to the
advantage the 35-foot movie theatre
screen has over the 20-inch television
screen in sheer visual impact.

Even the popular subject of sex has not
changed a great deal over the years.
Some of today's films are a bit bolder,
true, and the Will Hays version of the
wages of sin no longer prevails in the
scripts. But movie sex symbols date back
to the days of Theda Bara.

Nothing really has changed much in
our business, except one thing. That is
the spirit of the industry, the flamboyant
flair with which it once razzle-dazzled
the public and made everyone in the
world believe there was no business
like movie business. It was a spirit that
permeated the whole realm of our in-
dustry because it came from within; the
film producer relayed it to the distribu-
tor, who passed it along to the exhibi-
tor, and all of us oozed it out over the
people who bought the tickets. It was
enthusiasm, spelled out in terms of
showmanship.

What has happened to that enthu-
siasm?

A new attitude has taken hold in the
film branch: the picture is what matters;
all else is incidental. I couldn't dis-
agree more.

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 123? Vine
Street, Philadelphia 7, Pa., LOcust 8-0950, 0951.

Associate Editor; Leonard
Associate Editor; Helen Per-
Manager; Norman Klinger,
Business Manager; Robert Heath, Circulation Man-
ager. BUSINESS OFFICE 550 Fifth Avenue, New
York, 34, N. Y., Circle 5-0124; John Ano, N. Y.
Editorial Representative. Subscription Rates:
ONE YEAR, $3.00 in the U. S.: $5.00
$4.00; Europe, $5.00. TWO YEARS, $5 00
in the U. S.; Canada, Europe, $9.00

Philip R. Ward.
Coulter, New York
rone, Publication

Film companies invest $2 million in a
production, a brand-new product, then
practice the most niggardly economy in
presenting it to exhibition.

The sales force in most branch offices
is so sadly under-staffed that the theatre-
man often has to take the initiative in
buying the picture, if he wants it — a
situation that exists in no other industry
I know of. The harried salesmen and
branch manager, under home office pres-
sure to obtain top terms for almost
every film (with the silly tradition of
making adjustments after the engage-
ment), have little time to think of
sparking enthusiasm in the product.

The field promotion men in most
areas have so wide a field to cover that
they can render little more than token
service to theatres playing the picture.
How can one expect them to provide
enthusiasm.

An important source of my own en-
thusiasm for films and future business
prospects has always been the advertis-
ing in the trade press. I regularly read
three publications, a daily, "The Ex-
hibitor" and your "Film Bulletin". Over
the past few years, and particularly in
recent months, I have noted the dwin-
dling amount of advertising appearing
in the papers. Some issues have ap-
peared without a single page of adver-
tising. I'm sure this is of grave concern
to you and your fellow publishers, but
let me say that it gives a theatreman
pause as well.

It strikes me that the lack of adver-
tising in trade papers implies an atti-
tude on the part of the film companies
that they can ride the present sellers'
market without fuel to excite the thea-
treman's enthusiasm. Don't they realize
that the average movie won't go any
where without being either pushed or
pulled?

Some film men seem to have forgot-
ten the rudiments of show business.
Without enthusiasm . show business is
no business.

Film BULLETIN October 14, 1943 Page 5

'Bright7 Prospects
For Next 9 Months
Predicted by Hyman

Doggedly pursuing his goal of Order-
ly Distribution — he's been at it for eight
years — Edward L. Hyman, vice president
of American Broadcasting-Paramount
Theatres, had some encouraging news
for theatremen in his latest semi-annual
product report issued Oct. 8.

On the basis of the substantial number
of quality films promised for release by
twelve national distributors during the
next nine months, Hyman forecast a
"bright period" for the balance of the
current year and the first half of 1964.

Meeting with the trade press, he re-
vealed the contents of the new edition
of his Orderly Distribution Release
Book, listing 143 productions with re-
lease dates set from last August as far
ahead as next June, and 69 other pic-
tures unscheduled. Leading in volume of
releases is M-G-M, with 22 features
slated for delivery to June. Paramount's
program to April totals 19, of which
four are re-issues. The other distributors
furnished Hyman the following sched-
ules: Warner Bros., 13; Universal, 10;
20th-Fox, 10; United Artists, 12; Colum-
bia, 11; Allied Artists, 16; American
International, 10; Embassy, 5; Continen-
tal, 9; Buena Vista, 5.

Hyman stated that two "orphan"
periods, April-May and September, still
persist, and he is planning further talks
with distributors in hopes of obtaining
a flow of quality product in those
months. The usually slack pre-Christmas
period has heen accorded some relief this

CAST &
CREDITS

Report on the Industry's
PEOPLE and EVENTS

year, he said, on the condition that exhib-
itors will give the cooperating film com-
panies some of the prime holiday playing
time.

"Orderly distribution must go hand in
hand with orderly exhibition," the AB-
PT executive declared, urging theatre-
men to extend themselves in exploiting
the pictures provided them during the
"orphan" periods.

Noting that theatre business all over
the country suffered last winter as the
result of poor weather, Hyman said there
is little likelihood that the same condi-
tions will prevail this winter. Better
weather, plus the increase in quality
product, make prospects for the 1963
last quarter and the first half of '64
"bright", he stated.

MARTIN

U Slates 14 for
First Half of '64

A sharp
pick-up in the
volume of
Universal's re-
leases for the
first six
months of
1964 was an-
nounced by
Henry (Hi)
Martin, vice
president and
sales chief at
the company's
sales convention in New York. A total
of 14 new features and two re-issues
have been scheduled in that period, start-
ing with the Christmas release of "Cha-
rade" (Cary Grant- Audrey Hepburn),
Martin told the sales and promotion ex-
ecutives.

This program, he declared, represents
"the greatest boxoffice potential in the
history of the company." In addition to
"Charade", six of Universal's big ones
were screened for the enthusiastic distri-
bution force.

At the opening session, president Mil-
ton R. Rackmil told the convention:
"Plans are now being made for long
years ahead. Universal looks to the fu-
ture for its greatest achievements."

Warning To Pay-TV Investors:

i rits4id<> To Stymie Feevee Funds

The barricades are going
up in the all-out war by west
coast exhibitors against the
threatened onslaught of Pay-
TV.

Serving notice on the fi-
nancial world that they in-
tend to oppose the feevee
promotion in California
through the ballot box, as
well as in the courts and the
public forums, the Southern
California Theatre Owners
Ass'n carried this one-quarter
page advertisement in the
Wall Street Journal last Fri-
day (11th).

The strategy of going into
the financial publication was
shrewd, if obvious: it is a
move to stymie feevee's pro-
( Continued on Page 19)

A LAW TO OUTLAW PAY-TV

STATEWIDE INITIATIVE BEING PREPARED FOR CALIFORNIA BALLOT

\\ INITIATIVE WILL BE
St'BM ITTED FOR SIGXA-
Tl RKS AND I'OPt LAR VOTE.
MAKING IT UNLAWFUL TO
IMPOSE DIRECTLY OR IN-
DIRECTLY ANY FEE OR
CHARGE TO THE GENERAL
ITBLIC FOR THE PRIVILEGE
OF VIEWING TELEVISION IN
THE HOME.

We believe pay televi-
sion will be rejected
liy the voters of Cali-
fornia as soon as they
are given the oppor-
tunity to vote on it.

ITS YOUR TV-KEEP IT FREE!

SOUTHERN CALIFORNIA THEATRE OWNERS ASSOCIATION

Page 6 Film BULLETIN October 14. 1963

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McLIWTOCK!

PATRICK WAYNE / STEFANIE POWERS / JACK KRUSCHEN / CHILL WILLS / YVONNE DE CAI

Co-starring

And Guest Star

Written by Directed by Produced by

JAMES EDWARD GRANT / ANDREW V. McLAGLEN / MICHAEL WAYNE TECHNICOLOR* pana vision* A batjac

PRODUl

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By PHILIP R. WARD

A performer of unique and varied
gifts, Jerry Lewis has conceived a novel
piece of tomfoolery that promises to
enliven the current entertainment sea-
son. It is a multiple hara-kiri staged
Saturday evenings for ABC Television
in which the lively performer disem-
bowels his sponsors, his network and
himself before the eyes of a national
audience. As the mayhem unfolds he
sportively hurls a kamikaze upon the
heads of his progenitors, Paramount
Pictures, film and theatre business gen-
erally, as the buffoonery comes crashing
to a fiery climax led by Lewis' earnest
appeal for applause for this fresh inven-
tion.

It is really a rakish idea, and though
reviews have been rather devastating,
the concept has been hailed by both
CBS and NBC (to say nothing of Dean
Martin) as just the tonic they (CBS,
NBC and Martin) needed. Television
critics, while more reserved, have praised
Lewis' work as a generally effective two
hour oriental water torture, a treat for
the masochistic-minded.

Hence, Jerry Lewis together with
those responsible for his Saturday nights,
have managed to radiate pain through-
out an unimaginable radius of interests,
with virtually nothing in the way of
compensatory pleasure, barring a per-
sonal bank account or two.

TWO HOURS TOO MUCH

As evidenced by the early Nielsens,
Lewis' sponsors are the heavy losers.
ABC gains no distinction. The residual
viewing audience is excluded from the-
atre admissions for a vital exhibition
night. A talented but tasteless per-
former, left to his own erratic devices,
is subjected to a possibly fatal flawing
of his public profile. His value to Para-
mount, whom he has long served as a
durable meal ticket, becomes seriously
clouded — both from over-exposure and
loss of stature. And the man himself, in
whom a legitimate genius of a sort does
exist, permits his overall configuration
to warp and decline for the sake of
doing the show business impossible.

What perverse notion prompted
Lewis to undertake the groaning bur-
den of 120 weekly (weakly?) minutes

Jerry

Lewis
On TV

—or
view of
a comic
committing
suicide

is not known. His formidable ego, per-
haps. Jack Parr, Johnny Carson, Steve
Allen, to name a few, have managed to
occupy 90 minutes fruitfully on a night-
ly basis. Why not one Jerry Lewis per
week? Mainly because the others are
indigenous to TV, home-grown, video-
nurtured. They bring an easy and con-
trolled informality to their work, while
Lewis is frantic, frenetic, hell-bent and
exhausting. His forte is the illusion of
spontaneous idiocy which cloys with
repetition. He is the village idiot who
at first regales, then merely bemuses and
ends up muttering to himself. He is an
inveterate on-stager and pre-empter of
the camera lens, conditions which add
to an already surfiet of plenty. He also
harbors serious humanistic aspirations,
a la Chaplin, which lead him into tor-
turous and meandering syntax. Mr.
Lewis is running amuck and, we fear,
undermining a valuable boxoffice asset.
Control is what is lacking. There are

too many shows, too many minutes on
camera, too much Jerry Lewis talk. Be-
fore the fresh faces of a night club
audience, or under the tight reins of a
movie director, or tossed unfettered into
an occasional TV special, Mr. Lewis
can be supremely entertaining in a bla-
tant and iconoclastic way. As a staple,
Lewis does not wear well.

As if this were not enough, Lewis
has chosen to overlook a now ancient
TV precept which deals with the med-
ium's debilitating impact upon estab-
lished movie stars who pay frequent
court upon TV audiences. Few if any
entrenched performers return to the
boxoffice with their lustre intact. Why
pay to see a performer when he can be
seen for free, goes a tidy viewer maxim.
Why indeed? Jack Benny never could
make it as a motion picture figure.
Jackie Gleason, no Hollywood figure to
begin with, is a marquee also-ran, as
proved by the disappointing boxoffice
performance of his fine starring vehicle,
"Gigot". A blockbuster on TV, his
image on the movie screen seems great-
ly diminished.

MOVIE INDUSTRY HAS STAKE

Television has proved to be a satis-
fying refuge for the boxoffice name in
eclipse, or a home for the Hollywood
retired. Jerry Lewis falls into neither
classification. His is still a productive
talent which threatens to spend itself
unless a measure of discipline can be
brought to bear.

It is the business of the film industry
to attempt steps in that direction. It is
Lewis' business to show a first consider-
ation for the business that whelped him,
made him wealthy, and which competes
most directly, on the most crucial movie
night of the week, against his current
employer. Logic impels the view that
the Lewis show must get better. At this
point, the threat both to theatremen and
to Lewis himself will, paradoxically,
grow worse.

Mr. Lewis is thus respectfully peti-
tioned to disengage himself from a most
questionable venture, and henceforward
to consign his ample talents to the
practice of filmcraft. In short, ferry,
while you're fiddling with TV, Who's
Minding the Store?

Film BULLETIN October 14, 1943 Page 9

The Vieu frw OuUide

Mmmmmmmmaam^*^ by ROLAND PENDARIS — — — ■■■ —

Fun for Waiting Customers

We are in recepit of a gracious note from A. Fuller Sams, Jr.,
president of the Statesville Theatre Corporation of Statesville,
North Carolina inviting suggestions from this column about
ways of entertaining customers while they are waiting to get
into the theatre. With thanks to Mr. Sams for his kind opinion
of our columnar efforts, let us proceed to the question.

Waiting in line is nobody's idea of bliss. At best, up to now,
it has been a necessary evil. But it can be something better.

The column which caught Mr. Sams' particular attention men-
tioned as possible time-killing attractions between shows such
items as rear-view projectors or television or tic-tac-toe pads and
so forth. Obviously what is practical for some theatres, in terms
of budgets, physical facilities, type of patronage and the like
may not be practical for other showplaces. Therefore, we preface
the list that follows with a small caution. Don't expect every
suggestion to be applicable to your own situation. If you get
two or three worthwhile ideas out of the whole batch you are
ahead of the game — and so are we.

Now as to specifics: First, for theatres where the waiting line
is outside rather than in the lobby we suggest the following.

Bean counting contest: place bowl of beans on tray or wheeled
cart, and walk along line inviting guesses from standees as to
number of beans in bowl. Two couples whose guesses come
closest fifteen minutes after start of contest are admitted free to
theatre. (Purpose of the fifteen minute stipulation is to elimi-
nate couples who have gotten into the theatre in the meantime.)
Games can be conducted every fifteen minutes, as long as the
line holds out. Usher or attendant writes number each con-
testant chooses on a distinctive slip of paper, keeping carbon.
You can specify that only round numbers can be used to make
selections of winners easier. For example, if you have 60 num-
bers entered by patrons and the exact count of the beans is
2760, you can insist that all guesses end in 0 to make the arith-
metic easier. You can invite a local organization to supply vol-
unteers to conduct the game, if you don't have personnel of your
own, with the organization collecting from you an amount equal
to the cost of the tickets given away (i.e., if 12 free admissions
are won in the course of the evening the organization gets the
price of 12 admissions). Through this device you may find the
organization urging its members to go to the movies.

Lucky number drawing: in effect this is a simpler version of
the count-the-beans suggestion. Here you simply have the cus-
tomers draw a lucky number, out of a hat. The simplest way to
sell your regular numbered admissions tickets to the patrons,
keeping a record of the first ticket and last ticket sold so as to
know within what range the winning ticket will fall. Use one
set of three-digit hat checks, obtainable from stationery stores.
When each winning three-digit check is drawn from the hat, all
ticket holders with the winning final three numbers win refund
of their ticket purchase and first place on line. The number of
drawings per night and the number of tickets to be drawn each
time would be determined by the customer traffic.

Good-will certificates: Printed and rubber-stamp dated good-
will coupons with a modest premium value can be distributed
to standees. Each certificate might be good for a reduction of,
say, 50 toward the purchase of an admissions ticket for a future
performance, as a token of theatre's appreciation of the cus-
tomer's patience. Only one coupon for any one date would be

redeemable in ticket purchase. That is, someone who came in
with certificates for November 8, 17 and 25 would get 50 re-
bate for each, or a total of 150, but someone who submitted 3
November 8 coupons could only get one 50 credit. In order to
be valid, each coupon would have to either be stamped at the
time the standee entered the theatre or to be presented later at
the box office with an accompanying ticket stub of the same date.

Fashion display: Where weather permits and cooperation of
local merchants is forthcoming, fashion displays can be pre-
sented as a standees' attraction. Restaurants have found these to
be pleasing events. They might prove the same for the theatre.

The above are only a few of many possibilities for outside the
theatre and we must repeat that their use depends on both your
facilities and your type of clientele. But every one of them has a
precedent in some other consumer business.

Now we move inside, to those poor customers who got past
the front doors only to find themselves stacked up like sardines.
One of the main problems of indoor standing and waiting is
that unless you have a lobby the size of the Radio City Music
Hall's you do not have an orderly line, but rather something
more like a mob scene. We approach the care of the indoor
standee on the assumption that he just barely has room to stand
— so no fashion parades, no window displays nothing that he
has to get to or that has to get to him after he joins the mob.
Good-will certificates can be presented as the folk enter the
theatre, as soon as you know they are going to have to wait
inside. Our other suggestions also involve doing something as
the patrons enter the lobby, not after they are in.

If you have sufficient light for reading, there are a number of
items you might distribute. Various premium supply companies
maintain stocks of puzzle cards or football or baseball trading
cards, for example. (Again your type of clientele would deter-
mine your type of premium card.) If your theatre publishes a
news sheet about coming attractions, this might be distributed.
Insurance companies might be willing to give you a stock of
first aid cards. Your floor may end up littered with discarded
copies, and first aid cards may not be terribly exciting, but they
are something. Bear in mind too that you might be able to pre-
pare a game card of your own for passing the time. As a matter
of fact, if enough of our readers express interest, we'll do a
piece about a game card which we ourselves have used success-
fully through the years. (A game card, as we use the term, is a
card which can be used to play games; for instance a rectangu-
lar card with the numbers 1, 2, 3 or 4 can be used in an odd-or-
even matching contest with someone holding a similar card.)

A television set mounted high on a wall so that most of the
standees can see it, even if they're toward the back, can be a
time passer for them.

If you can set a few loudspeakers up and borrow some old-
time records, you can regale the lobby crowd with a "guess
who" evening of fun until they get in to see the picture. Your
local radio station may even be willing to do the whole thing
for you on tape, in return for cross-plugging on your screen.
The idea is to play all or a portion of a record, then asked the
audience to guess who made the record. Pause for 1 5 seconds or
so to let the patrons discuss it among themselves, then give the
correct answer and go on to the next record.

If you care to sacrifice a small amount of lobby space, you
can have new product demonstrations by local merchants as an
extra added attraction. No charge to the merchant for the space
or the audience — no charge to you for his show.

You can use that same bit of space for an art show by the
local high school (pictures not hanging, but displayed for half
a minute each on a single easel, properly lit) or a woodcarver at
work, just to give two varied possibilities.

No doubt many readers have their own pet ideas on the sub-
ject. These are some of ours. Over to you.

Page 10 Film BULLETIN October 14, 1943

MOVE!

MOVE1
MOVE!

MOVE!
MOVE!
MOVE!
MOVE!
MOVE!

INKEmill IS OMI THE MOVE

i

yf COMING FOR NOVEMBER!

A razzler-dazzler of a twosome ... and a brilliant
off-beat cast... in a romantic comedy that rates
and will receive unique advance handling!

CURRENT!

The most exciting personalities in show-business today...
in a drama of our time ... backed by the first
concentrated national television campaign for a movie I

A STORY OF ONE DRAMATIC, DEVASTATING NIGHT

... in the glamorous private world of the very rich, the very
famous, the very beautiful... the "Very Important Persons"!

METRO-GOLDWYN-MAYER presents

LOUIS JOURDAN

ELSA MARTINELLI

MARGARET
RUTHERFORD

MAGGIE SMITH
ROD TAYLOR

AND

ORSON WELLES

li? COMING FOR OCTOBER!

The hottest favorite on the entertainment scene
in his first starring role in films . . . advertised over
radio, TV and in mass-circulation medial

METR0-60LDWYN
A PERLBER6-SEAT0N

Co - Starr in

NICK ADAMS
CLAUDE RAINS
AMI

DENKE

SCREENPLAY BY

JAMES GREGORY- pat buttram

BORIS SA6AL

and introducing L

RAW! BOLD!
POWERFUL!
AN ADULT THEME
OF SHOCKING REALISM I

EY HEATHERTON

iOMhE NO/EUiAlDE'.'llEN

[I

presents

DWYN-MAYER Mm*

ERARD OURYSERGIO FANTi

Edward C.

the uninhibited best-seller
becomes a headline-hot
picture !

RDBM5DN

as DrStratman

screenplay by

based on the novel by directed by

ERNEST LEHMAN IRVING WALLACE MARK ROBSON A PANDRO S BERMAN PRODUCTION

in PANAVlSION'and

COLOR

UPCOMING FOR DECEMBER!

A best-seller becomes a big boxoffice winner...

scheduled for those December holiday dates
when you demand an extra-important attraction.

AND MORE
MORE

MORE COMING UP IN '64!

-

"HIS AND HIS". . . The two hottest Broadway stars . . .
Robert Goulet and Robert Morse ... in their
motion picture debut. It's a laugh-triumphl

"SUNDAY IN NEW YORK". . . Dedicated to the proposition

that all girls receive sooner or later!

Starring Cliff Robertson, Jane Fonda, Rod Taylor.

A Seven Arts Co-production.

"THE UNSINKABLE MOLLY BROWN" . . The smash Broadway
musical filmed with Debbie Reynolds and Harve Presnell
in the starring roles.

"OF HUMAN BONDAGE" . Kim Novak and Laurence Harvey in
the masterpiece of human emotion by Somerset Maugham.
A Seven Arts Co-production.

"SAY IT WITH MUSIC"- Irving Berlin's greatest songs of all-
in one marvelous musical.

"NIGHT OF THE IGUANA"-Tennessee Williams' latest success
presented with a brilliant cast. Richard Burton, Ava Gardner,
Deborah Kerr, Sue Lyon. John Huston directs this contingent.
A Seven Arts Co-production.

"DOCTOR ZHIVAGO" . . An international event!
The Nobel Prize novel by Boris Pasternak.

"A GLOBAL AFFAIR". . . Bob Hope and a bevy of Global Girls
all involved with an abandoned baby. A Seven Arts Co-production.

MGM IS ON THE MOVE

CAST AND CREDITS

STYMIE FEEVEE FUNDS

(Continued from Page 6)
moters in their efforts to obtain public
funds. Since Subscription Television,
Inc., which plans to wire the Los Angeles
and San Francisco areas for Pay-TV, is
seeking some $23 million from outside
investors, this notice of fight to finish
was calculated to give pause to some
prospective buyers of ST shares.

Exhibitors from all sections of the
state are scheduled to meet in Holly-
wood next Wednesday (16) to raise
funds to finance the California Crusade
for Free-TV. Heading the session will
be Arnold C. Childhouse, of United
California Theatres; Roy C. Cooper,
president of California TOA, and cir-
cuit operator Fred Stein.

The Crusade has employed legal
counsel and a public relations firm to
handle various phases of the legislative
and public appeal programs.

Seymour Poe, 20th-Fox vice presi-
dent, recently announced that "The
Longest Day" had earned a tidy $25,-
275,000 in world-wide film rentals in
the first year of its release.

Six Roadshows in '64
Plotted by 20th-Fox

20th Century-Fox has set its produc-
tion sights high for next year. A pro-
gram of no less than six roadshows,
budgeted at $42 million, was an-
nounced to start in 1964 by Richard
D. Zanuck, vice president in charge of
production. 20th plans to make the
entire schedule of blockbusters with
its own personnel and facilities.

Plans for the half-dozen blockbusters
were evolved in a series of conferences
between president Darryl F. Zanuck,
Richard Zanuck, and Elmo Williams,
managing director of European pro-
duction.

Topping the list of projects is "The
Day Custer Fell", which is to be pat-
terned on the style of "The Longest
Day," with a number of stars appear-
ing in "cameo" roles.

RICHARD ZANUCK

FRANKOVICH

FRANKOVICH MOVE PART
OF JOINT STUDIO PLAN?

Columbia Pictures which, has been
drawing much of its program from
foreign soil in recent years, now plans
to re-establish its Hollywood studio
as the main source of future product.
In this direction, president A. Schnei'
der announced last weekend that M. J.
(Mike) Frankovich will become head
of world-wide production at the west
coast plant.

Frankovich, first vice president of
the company, had formerly been in
charge of foreign production. Sol A.
Schwartz, who had been in charge of
the Hollywood Studio, moves to the
home office to assume the post of sen-
ior vice president.

The move of Frankovich to the
U. S. is regarded by some as con-
nected with the plans of Columbia to
join MJG-M and 20th Century-Fox in
establishing a combined studio com-
plex.

NSS Steps Up Outlay
To Meet Exhib Needs

"An extensive resurgence of promo-
tional activities in all areas of exhibi-
tion" has prompted National Screen
Service to plan the expenditure of
almost 80% more in the year ahead
than in any prior period on the pro-
duction and distribution of promo-
tional material.

This was revealed by NSS president
Burton E. Robbins at the concluding
session of the 3-day meeting of the
company's branch managers in Chicago.
Almost half of this additional outlay
will go into preparation of material
which exhibitors can use in sparking
boxoffice drives in participation with
local merchants, civic groups.

NSS general sales manager Melvin L.
Gold also told the meeting that "44%
more holiday promotional stimulants"
than were available during last year's

pre-Christmas period would be offered
to exhibitors. "We are introducing
many new promotional concepts" to
meet exhibitors' needs, Gold said.

LIPTON

Must 'Custom-Handle7
Each Film: ITs Lipton

The industry was reminded by David
A. Lipton, Universal Pictures vice presi-
dent in charge of advertising and pub-
licity, that each individual motion pic-
ture is a new product and its mer-
chandising requires "custom-handling."
His remarks were made at U s national
sales meeting in New York.

"In today's market where our mo-
tion pictures compete for the public's
time, dollars and interest with the great
leisure time activities that are part of
our daily routine," Lipton declared, "it
takes more than advertising dollars to
sell an audience. Today our advertising
budgets are effective only if they are
part of a total marketing plan con-
ceived for the needs of and the audience
for each individual picture."

The promotion executive cited his
company's campaign on "Charade" as
an example of long-range merchandis-
ing. Scheduled for initial release at
Christmastime, the selling job on the
Cary Grant-Audrey Hepburn vehicle
has been underway since mid-July.

ROBBINS

Film BULLETIN October 14, 1963 Page It

"ANY NUMBER CAN PLAY" . . . "LILIES OF THE FIELD"

"THE RUNNING MAN" . . . "JOHNNY COOL" . . . "THE CASTILIAN"

KQUOT€S"

What the Newspaper Critics Sag About New Films

"JOHNNY COOL" (United Artists)

"... A crime drama little different from
those seen on so many TV shows, with one
exception. It attempts to explain the structure
of the Italo-American underworld (Cosa
Nostra) . . . Tried it to keep its plot boiling,
but by mid-movie is not hot at all." — GIL-
BERT, N. Y. Mirror

". . . Henry Silva, a newcomer to the more
meaty roles, is asked only to play it 'cool' and
this he does . . . He is so clever and unfeeling
that it is almost laughable . . . Slick production
touches have given this film a distinctive lift.
It fires away like a machine gun with rapid pre-
cision."— CARROLL, N. Y. Daily News

". . . Underworld melodrama, set in the
present day but so determinedly contrived that
it takes on the look of a parody on the gangster
films of the '30's . . . Along the way, for no
valid story reason, a number of 'guest stars'
including Sammy Davis, Jr., and Joey Bishop
are introduced in walk-on-bits." — PELSWICK,
N. Y. Journal American

"... A desperate attempt to camouflage a
low budget melodrama that would otherwise be
remarkable only for its dogged avoidance of
anything unusual." — ARCHER, N. Y. Times

". . . Such a conglomeration of syndicate
gangland killings you have never seen . . .
marks Peter Lawford's inauspicious debut as
an executive producer. His film is crammed
with those sly little plugeroonies that become
somewhat of an inside clan joke. 'Take me to
Jilly's,' Silva tells a cabbie. There is mention
of Reuben's, the Sands, a Ford car, a brand-
name scotch, and our boy flies United ... A
corny mishmash of mayhem and murder."
SALMAGGI, N. Y. Herald Tribune

". . . Since the acting requirements are
strictly one-dimensional (look tough) — only
Elizabeth Montgomery is permitted to emote,
and she does too much of it — the picture fouls
out on every possible count: performance, story,
direction, probability and entertainment."
WINSTON, N. Y. Post

"ANY NUMBER CAN WIN" (M-G-M)

". . . Spins off a slick and suspenseful tale
of robbing the casino at Cannes, and it is
stunningly played by two experts, Jean Gabin
and Alain Delon . . . One of the nicest things
about it is that it was shot in Cannes . . .
And it has enough girls in brief bikinis and
night-club dancers in long black tights to fill
the air with their vibrations and let you know
you're in no other place ... As for the melo-
drama, it, too, has the captivating air of pro-
fessional arrangement and performance, very
carefully calculated." — CROWTHER, N. Y.
Times

". . . The scheme is a dilly and its develop-
ment both nerve-tingling and grown-up . . .
First-rate suspense film . . . Keeps you with it
all the way."— CRIST, N. Y. Herald Tribune

"... A highly entertaining thriller ... In
the tradition of 'Rififi,' and in the matter of
casting and locale it even has the edge on that
memorable melodrama . . . Winds up with an
amusingly unexpected plot twist . . . Holds
attention from start to finish . . . You'll find
it fun."— PELSWICK, N. Y. Journal American

". . . The robbery is worked out in fine de-
tail during the planning stages, then enacted
with a good degree of suspense . . . These are
criminals sufficiently attractive to make your
vicarious sharing worthwhile, and nothing
really bad happens to them in a way that would
make you suffer."— WINSTEN, N. Y. Post

". . . Steadily mounting tension using a min-
imum amount of dialogue. When the coup is
over, there still is enough imagination in the
kitty to turn up a final twist of ironic chagrin
. . . Jean Gabin has announced that his next
picture will be his last. 'Any Number Can Win'
might have been the one to quit on while he
is ahead."— COOK, N. Y. World Telegram
& Sun

"THE RUNNING MAN" (Columbia)

". . . Makes no real dramatic progress or
gives the viewer a sense of getting any place
. . . Mr. Harvey, far from being engaging, is
disagreeable and offensive in many ways. Nor
is what he does exciting . . . Mr. Reed, who
used to shine at flight and pursuit melodramas,
just doesn't put excitement into this film." —
CROWTHER, N, Y. Times

". . . The plot is something less than novel
and its workings are predictable, but the piece
comes up with some lively melodramatics
lensed in color along the coast of Spain."
—PELSWICK, N. V. Journal American

". . . The suspense maintains a mild interest,
but it becomes monotonous before itt is re-
solved in some rather far-fetched melodrama-
tics."— WINSTEN, N. Y. Post

". . . Carol Reed manages a good chase which
is without one important ingredient. There's
no particular sympathy developed for the pur-
sued or the pursuer ... In spite of the fact that
the story lets down, as it runs along, and is
based on an old and often-tried idea, that of an
insurance fraud, it has many good points." —
CAMERON, N. Y. Daily News

". . . Reed, the old master, is in fine form
in 'The Running Man.' Not only does his man,
Laurence Harvey, run — but his worried wife,
Lee Remick, is in a split-second race to keep
up with husband Harvey's insidiously crooked
turns . . . Should prove a winner for those
who like rogues, races and spills." — GILBERT,
N. Y. Mirror

"... A movie long on excited detail and
short on the detailed excitement we have come
to expect from Carol Reed and demand from
suspense films . . . Two-thirds of the way
through this sunny fiesta-ridden location-laden
film Carol Reed seems to wake with a start to
the business at hand."— CRIST, N. Y. Herald
Tribune

"LILIES OF THE FIELD" (United Artists)

". . . Sidney Poitier is one of the finest actors
of our time . . . Superb casting, a literate
screenplay by James Poe and the fine sense of
the human comedy, steering a clear course be-
tween the cynical and the spiritual, that under-
lies Mr. Nelson's direction gives this movie
distinction ... A joyousness, a sense of de-
cency and an appreciation of the human spirit
pervade 'Lilies of the Field' and Sidney Poitier
makes it a movie worth seeing." — CRIST, N. Y.
Herald Tribune

"... A delight . . . Has unusual charm and
appeals thanks to the topflight work of Poitier
and company . . . Put 'Lilies of the Field' on
your must-see list."— PELSWICK, N. Y. Jour-
nal American

". . . Warm and human comedy . . . Pro-
ducer-director Ralph Nelson rates loud hurrahs
for his courage in making the film. It follows
none of the film formulas, consequently is a
rare and rewarding experience ... A rare and
rewarding film that will warm you and linger
fondly in your memory." — QUINN, N. Y. Mir-
ror

". . . All the performances are excellent, par-
ticularly that of Poitier, who dominates the
screen. There are, too, some delightful touches
of humor in the film and in the struggle toward
fulfillment of a dream that is accomplished not
only with sweat and prayers, but with song."
—CAMERON, N. Y. News

"THE CASTILIAN" (Warner Bros.)

". . . Of the blood-and-thunder school . . .
could have been all summed up so easily in an
hour, but what is apparently a repetition of
some shots brings the film's running time to
over two tedious hours." — CARROLL, N. Y.
Daily News

". . . Latest in the European series of pon-
derous, pseudo-historical costume dramas in
color . . . pretty involved, as well as tedious,
due to heavy-handed production and long-
drawn-out explanations." — PELSWICK, N. Y.
Journal American

". . . This Spanish-made adventure-rama is —
for about two-thirds of the time — surprisingly
sensible, even literate, with a curious natural
dignity . . . Much too long . . . The dubbed
English is good . . . Easy on the ear and eye."
—THOMPSON, N. Y. Times

". . . This one comes in at a 129-minute
snail's pace ... Is lavishly mounted: Striking
costumes, actual locales of Fernan's exploits
and great hordes of extras cavorting in the un-
inspired battle scenes." — SALMAGGI, N. Y.
Herald Tribune

". . , Plenty of action by way of battle and
individual swordplay . . . Youngsters should
enjoy it. "—GILBERT, N. Y. Mirror

". . . Producer Sidney Pink has spared no
expense on the massive and spectacular produc-
tion . . . lengthy, stodgy, a grim mixture of
battle and religious motif . . . Directed with
surprising slow speed."— THIRER, N. Y. Post

Page 20 Film BULLETIN October 14, 1963

"Tom Jones"
SciUhcm TZatiKf O O O Plus

Lusty, bawdy — but inoffensive adaption of Fielding's

classic. Albert Finney superb in title role. Sure-fire
click in art and class houses. And can be sold in general
metropolitan situations.

Henry Fielding's classic swipe at 18th-century morals and
mores has ben brought to the screen with all its lusty, bawdy
delights intact, insuring it a place among the year's biggest
moneymakers in art houses and class theatres. With strong
promotion "Tom Jones" also could score well in general metro-
politan areas. Despite its virile humor and blunt language, it
will offend only the most prudish elements. The devilish ex-
uberance of Albert Finney ("Saturday Night And Sunday
Morning") in the title role makes one believe that he is Tom
Jones, "a man born to be hanged," and he so dominates the
screen that it would be easy to overlook the rich cameos con-
tributed by Hugh Griffith and Edith Evans as Squire Western
and his sister, and by Joan Greenwood, Diane Cilento, and
Joyce Redman — some of the women passing through the amor-
ous Tom's life. Thanks to producer-director ("A Taste Of
Honey") Tony Richardson's facile blending of Hogarthian
elegance with an almost documentary realism and to the vivid
screenpplay by playwright John Osborne, the story advances
at so breathtaking a pace that nary a moment of its more than
two-hour running time seems wasted. The Woodfall produc-
tion, for Lopert release, has been stunningly mounted in East-
mancolor, with Walter Lassally's photography aiding immeas-
urably, especially in an awesome deer hunt that seems to place
the viewer in the very midst of the chase. Other highlights in-
clude a slapstick romp through a disreputable hotel and a
lewd meal-time seduction in which passions are unleashed as
Tom and his doxy (Miss Redman) lacerate a barbecued chick-
en. The complicated plot is held together by the wry (if oc-
casionally precocious) narration of Michael MacLiammoir.
The film opens like a silent melodrama (complete with sub-
titles and clanging harpsichord accompaniment) relating the
birth of Tom in suspicious circumstances, and the dismissal of
the maid and barber suspected of being the parents. Brought
up by Squire Allworthy (George Devine), Tom has all the
benefits of an upper-class education, but when he falls in love
with gentle, well-bred Sophie (Susannah York), daughter of
Squire Western, lord of a neighboring estate, he is banished
from the Allworthy lands forever. Tom sets out for London,
working himself from haystack to bed until he finds himself
accepted in society's best boudoirs— most specifically Miss
Greenwood's and his own beloved Sohpie's. The lovers re-
union is brief, however. Squire Western has pursued his run-
away daughter to London and, after Tom is arrested (wrong-
ly) as a thief and sentenced to be hanged, all appears lost. At
the last moment, Tom's true parentage is discovered — he is
of noble birth — and he is rescued from the gallows to make
a "suitable" husband for Sophie.

Lopert, 131 minutes, Albert Finney, Susannah York, Hugh Griffith, Edith Evans,
Joan Greenwood. Produced and directed by Tony Richardson.

"Johnny Cool"

*&U4i*t44 Ktt&Hf O O PIUS

Exploitable, fast-moving gangland melodrama should
find above average response in mass markets, espe-
cially where action sells.

Headline topicality combined with UA's strong exploita-
tion campaign will get this Cosa Nostra-style thriller above
average grosses in action and ballyhoo situations. The weak
marquee value of TV veterans Henry Silva and Elizabeth Mont-

gomery in leading roles is offset by a large "guest" cast that
includes Joey Bishop, Sammy Davis, Jr., Mort Sahl, Jim Backus,
John McGiver, and Telly Savalas. Corpses pile up in such
numbers that it's impossible to keep score, but none of the
victims deserve much sympathy and no matter how many
bullets are pummeled into them, nobody bleeds. Even when
Miss Montgomery is beaten and raped at a gangland soiree,
her bruises are only temporary, disappearing before dawn.
Obviously executive producer Peter Lawford did not want
anybody to taken this Chrislaw production seriously, but he
could have made his point without resorting to "inside" quips
that may tickle the Washington and Hollywood sets, but will
mean little to the average viewer. The Joey Bishop episode
and some nightclub scenes are particularly weak in this re-
spect. Producer-director William Asher lets the story zip right
along, however, and the screenplay by Joseph Landon, from
a novel by John McPartland, is so fast on action that only
sophisticated viewers will notice how weak the film is in char-
acter development or plausibility. Under the pseudonym of
Johnny Cool, Silva, a Sicilian hood, comes to America to take
vengeance on the underworld figures who plotted former gang
boss Marc Lawrence's downfall. On a good day, he can dis-
pose of Backus in Pennsylvania Station, jet to Las Vegas and
pick-off Sahl and Gregory Morton, hop to Los Angeles and
blow Brad Dexter out of his swimming pool, and still find
time for an evening's relaxation with an appropriately-named
society girl, Dare (Miss Montgamery). The action — most of
it taking place within three days — follows this pattern as Cool
sidelines to avenge Dare's attackers, then gets back to the
business at hand. His final caper, the elimination of king-pin
Savalas, is too ingenious to reveal here. By this time, how-
ever, Dare has begun to feel that beneath her lover's warm
exterior, there beats a heart of ice. Someday, she feels, some
innocent people are going to be killed, so before that can
happen, she turns him over to a rival "family" for disposal.

United Artists. 101 minutes. Henry Silva, Elizabeth Montgomery. Produced and
directed by Wilfiam Asher.

"The Gun Hawk"

Routine, but well-made, western in color. Rory Cal-
houn, Rod Cameron in strong roles. OK dualler in action
markets.

Six-guns blazing, the lawman waiting on the hill, and the
age-old theme of the sheriff vs. the outlaw he loves (like a
son makes this a familiar, but well-made oater. Where westerns
have a market, this should be an OK dualler. Rory Calhoun,
as the lawbreaker, and Rod Cameron, the lawman, robust
characterizations, and there is a fair share of hard-fighting,
rough-riding action in this Allied Artists release, filmed in
DeLuxe color. The Bern-Field production, produced by Rich-
ard Bernstein and directed by Edward Ludwig, has a snappy
pace and, toward the end, Jo Heim's screenplay takes a few
neat twists. Cameron is forced to track-down his former pro-
tege, Calhoun, after the latter kills two gunslingers. He shoots
the fugitive in the arm and then follows him to Sanctuary,
an outlaw-controlled town. Realizing he cannot abduct his
prey from the town, he sets up camp on the outskirts — and
waits. Meanwhile, Calhoun's wound worsens and blood poison-
ing sets in. Despite the protestations of his sweetheart-nurse,
Ruta Lee, he knows that death is near. Forcing young, would-
be gunslinger Rod Lauren into the street, Calhoun goads the
boy into a shoot-out, knowing that he is too weak to win. The
boy leaves Sanctuary and is taken under wing by Cameron,
who will teach him the advantages of a law-abiding life.

Allied Artists. 92 minutes. Rory Calhoun. Rod Cameron, Ruta Lee, Rod Lauren.
Produced by Richard Benstein. Directed by Edward Ludwig.

Film BULLETIN October 14, 1743 Page 21

"Take Her, She's Mine"

Su4iHC44 'RcUCHf O O O

Highly amusing parental problem comedy will click with
all audiences. Has touches of sex that are quite suitable
for family trade. Stewart, Sandra Dee head cast.

20th Century-Fox rockets back into produaion orbit after an
eight-month grounding with this exuberant comedy hit. Audi-
ences everywhere should take to this adaptation of the Broad-
way laughmaker which offers James Stewart one of his best roles
in years, that of a father who has difficulty in adjusting to his
daughter's emerging womanhood. With Sandra Dee cast as his
curvaceous offspring, appeal will be strong with both teenagers
and parents, making this a real family entertainment, despite a
generous sprinkling of sex — none of it offensive. Nunnally
Johnson's screenplay (freely adapted from Phoebe and Henry
Ephron's stage version) is homey, but not sticky, and with
Audrey Meadows, Robert Morley, and John McGiver bolster-
ing the supporting cast, every line comes across with maximum
laugh value. For romance, there's rising young Frenchman
Philippe Forquet ("In The French Style") and, for the eyes to
feast upon, the Hollywood-made CinemaScope production has
been mounted in glossy DeLuxe color. Producer-director Henry
Koster keeps the laughter constant except for a slight lag toward
the end when the story becomes a bit repetitious. For years,
Stewart has lived a happy, respected life as husband of Audrey
Meadows, father of two girls, and Board of Education member.
Then, daughter Miss Dee, after a brief fling at college, wins an
art scholarship and departs for Paris, fortified with Papa's lec-
tures on the worth of virtue and the value of an education.
When she becomes the "protege" of dashing French painter
Forquet, Papa, fearing the worst rushes to her defense. Sure
enough, Miss Dee and her tutor are in love, but convincing Papa
of Forquet's honorable intentions is no easy matter, especially
since Stewart is following the advice of tourist Morley, a tipsy
Britisher who has raised three daughters — unsuccessfully. While
trying to telephone Miss Dee from a bar, Stewart is arrested
with a Chinese vice-queen who attaches herself to him, and later
he is photographed jumping into the Seine, apparently nude,
while trying to escape photographers who had mistaken him for
an American movie star. Assured that his daughter and Forquet
will marry as soon as the boy's parents give their approval
(after Stewart's publicity has died down), papa departs for
home. Explaining his adventures to McGiver, the Board of
Education chairman, he decides that even parents have to ma-
ture. A chance to show his "maturity" awaits Stewart as he
nervously realizes that his younger daughter Charla Doherty, is
now about ready to blossom into womanhood.

20th Century-Fox. 78 minutes. James Stewart, Sandra Dee, Audrey Meadows, Robert
Morley, Philippe Forquet, John McGiver. Produced and directed by Henry Koster.

"The Castilian"

Minor league spectacle in color has enough in battles
and gore for action fans. Romero, Avalon provide mild
marquee value.

Action houses and neighborhood situations catering to the
kiddies should find this Spanish-made minor league spectacle
acceptable dual bill fare. It is robust and gory enough to
satisfy the adventure-minded male audience. Although Cesar
Romero and Frankie Avalon receive top billing, their roles
are subsidiary, with Avalon's participation limited to a "bit"
that appears to have been interpolated into the American edi-
tion to attract the teenagers. Spartaco Santony, a muscular
curly-headed brute, swashbuckles through the title role climbing
parapets for the love of buxom Teresa Velasquez, a sort of

10th-century sweater girll. Galloping briefly by on royal steeds
are Broderick Crawford and Alida Valli in "guest" roles.
The Sidney W. Pink production in Panacolor has been mount-
ed on a fairly lavish scale and the English dubbing is above
average, but 20 minutes or more should have be scissored to
make it fit better on double bills. Director Javier Seto, it
seems, was unable to conclude a scene, and transitions (com-
ing long after the audience has lost interest) are abrupt and
awkward. The screenplay by Seto, Paulino Rodrigo Diaz, and
Luis De Los Arcos, adapted by Pink, follows the "epic" route,
with Santony setting out to free Castille from its oppressors —
the Moors, Cordobans, and Navarrese. Miss Velasquez is the
daughter of the Navarrese king (Crawford) whom Santony
kills in a minor skirmish. Loyalty to her father's memory
compels her to hate the Castilian, but eventually true love
conquers all. There are still battle to be won, however, and
the final blood-spattered siege in the "Valley of the Swords"
appears to be a losing cause until the Castilians' patron saints,
Santiago and Millan, whip up a fiery miracle. The Moors
(the current opponents), realizing they are fighting more than
mere men, take to the hills in retreat, but not before killing
Santonv's best friend (Romero). Avalon plays the role of a
troubadour who narrates the story and sings three popular songs.

Warner Bros. 129 minutes. Cesar Romero, Frankie Avalon. Produced by Sidney
W. Pink. Directed by Javier Seto.

"Thunder Island"

Satinet ^OtiHf O Plus
low-budget action meller OK for lower slot. Not bad.

This low-budget actioner has only minor boxoffice values,
but can be a useful supporting feature in any market. Gene
Nelson, Fay Spain, and Brain Kelly do well in the leads,
but what really sets this 20th Century-Fox reelase (from its
Associated Producers affiliate) apart from others of its genre
is producer-director Jack Leewood's deft utilization of seldom
photographed locales in Puerto Rico. The intelligently written
screenplay by Don Devlin and Jack Nicholson contains a
number of surprises and allows for an exciting chase finale
in El Morro castle, highlighted by the nifty camera work
of John Nickolaus, Jr. Nelson plays a raisin-chewing killer,
hired by Miriam Colon to dispose of an exiled dictator who
seeks a return to power. In order to reach the despot, en-
sconced on a fortressed off-shore island, Nelson has Miss Spain
kidnapped and then forces her husband, Kelly, a charter boat-
man who delivers supplies to the dictator to assist him in his
plot. Nelson botches the job, then kills Miss Colon to prevent
her from talking, and is himself downed by Kelly. Miss Spain,
who had doubted her husband's love and had considered di-
vorcing him, and Kelly are reunited.

20th Century-Fox. 65 minutes. Gene Nelson, Fay Spain, Brian Kelly, Miriam
Colon. Produced and directed by Jack Leewood.

BULLETIN

reviews have one aim:
to give honest judgment
of entertainment merit
— and boxoffice value

Page 22 Film BULLETIN October 14. 1943

"The Sword in the Stone"

&u4i«CA4 Ratita O O O

Cartoon feature is not one of Disney's better ones, but
should delight the tender-age set. Adults will find repe-
titious and lacking inspiration. Solid holiday attraction.

This feature-length cartoon bears the magical Walt Disney
trademark, so it can be counted upon to draw throngs of
school-free youngsters and their elders during the Christmas
holidays. The kiddies of tender age will enjoy especially the
animal scenes, but adults will find it one of the maestro's less
inspired efforts. The boyhood of King Arthur as envisioned
by humorist-philosopher T. H. White seems a natural for
animation, but the bedtime favorite has been done a surpris-
ing injustice in this Buena Vista release. Using only the or-
iginal's framework, Bill Peet's screenplay is little more than
a succession of short cartoons, each utilizing the same theme.
Young Arthur, a scrawny house servant, is chased through
the "forest primeval" by a hungry wolf and finds refuge in
Merlin's cottage. The doddering old magician intends to train
the lad to the King of England, but he is derided in his ef-
forts by his confidant, Archimedes, a wise but conservative
old owl who bears a striking resemblance to Barry Goldwater!
To give the boy a practical education, the wizard transforms
him into a tiny fish that finds itself pursued by a famished
pike. Later, the boy becomes a sparrow and flees from a
hungry buzzard, then, as a boy, the ever-present wolf resumes
pursuit. These overly repetitious scenes are somewhat com-
pensated for by Arthur's adventures as a squirrel. Here he
falls victim to an amorous female of the species and some
of the wondrous charm of earlier Disney cartoons appear.
The delights are only fleeting, however. Before long, the boy
finds himself pawn in a dual between Merlin and his rival,
evil sorceress Mad Madam Mim. In this episode, the young-
ster finally realizes that self-preservation depends upon use
of one's wits and instincts. This information is invaluable
when the boy, ordered to obtain a weapon for a gladiator,
pulls a sword from a stone, believing the sabre to have been
abandoned there. The sword is, of course, Excalibur, and
Arthur is crowned King of England. Wolfgang Reitherman's
direction is lively, the Technicolor processing exquisite, and
there are several tuneful dities by Richard and Robert Sher-
man. Voices are supplied by Sebastian Cabot, Karl Swenson,
and Rickie Sorenson, among others.

Buena Vista. 75 minutes. Produced by Walt Disney. Directed by Wolfgang
Reitherman .

"X-The Man With the X-ray Eyes"

Sua*/** 'Rati*? O O Plus

Engrossing, ingenious science-fiction-horror yarn with
clever gimmick. Above average grosser where ex-
ploited.

American International maintains its hold on the exploita-
tion market with this "kookie" science-fiction entry, one that
also can be sold as a straight horror yarn. An additional gim-
mick is offered by a clever and ingeniously inoffensive nudist
scene. This Ray Milland starrer figures to draw above average
crowds in metropolitan areas, while retaining AIP's usual
favor in the action and drive-in markets. Although Milland
*ives a fine performance, most of the kudos must be reserved
for Floyd Crosby's spectacularly "far-out" photography and
for producer-director Roger Corman's fast pacing and inven-
tive staging. Robert Dillon and Ray Russell have turned out
k reasonably novel screenplay, but the manner of telling is so
)ffbeat and the James H. Nicholson-Samuel Z. Arkoff produc-
I ion so eye-filling in Pathe color and Spectarama that the story

i

seems secondary. Milland is a dedicated doctor who uses him-
self as a guinea pig on experiments to advance the vision of the
human eye. He soon develops a serum which enables him to
see beneath outer coverings, hence the nudist scenes, but, no
voyeur, he progresses deeper until he develops X-ray vision.
After meddling into a colleague's operation in order to save
a child's life, he accidentally kills a co-worker (Harold J.
Stone). Panic-stricken, Milland flees to a carnival where he
sets himself up as a clairvoyant, and is later blackmailed by
concession-owner Don Rickles into acting as a faith healer.
Here girl-friend Diana Van Der Vlis finds Milland and begs
him to desist his experiments, but the doctor can not stop
now. Blinding headaches have brought him to the verge of in-
sanity and the cumulative effects of the serum reduce his vi-
sion to shapeless blobs of color. The couple flee the carnival
and go to Las Vegas where Milland amasses a fortune at the
gaming tables, but within time his vision becomes so com-
plete that he sees through everything until there is only blind-
ing white light. Dazed, his eyes hideous black sockets, he
wanders into a revivalist meeting where the preacher offers
him a solution to his problem.

AIP. 80 minutes. Ray Milland. Produced and directed by Roger Corman.

"Stolen Hours"

Supine** TZoUhq O O

Soapy tear-jerker, remake of "Dark Victory", will sat-
isfy handkerchief brigade. Familiar Hayward vehicle.

Susan Hayward's more ardent admirers might enjoy suffer-
ing through the chronic bathos that afflicts her latest vehicle —
a wheezy remake of "Dark Victory." This Mirisch Company-
Barbican Films producion has enough plus-values in the
star's performance and in the DeLuxe color trappings to at-
tract fair response in the mass "woman's" market, but sophis-
ticated females and most men will find it too soapy for their
taste. Miss Hayward has a one-woman show in the familiar
story of the doomed jet set heiress who falls in love and mar-
ries her doctor, even though she has only a few months to
live. The star goes through the expected routines — cocktail
tippling, bedroom hysteria, pre-operative bravura, drunken
hysteria, and, finally lip-biting, mane-tossing courage — with
the expected competency. It's durable material and it might
have worked had Jessamyn West's screenplay, adapted by Joseph
Hayes, gone a little easier on the cliched dialogue (some of it
unintentionally funny) and allowed some room for character
development. Also, producer Denis Holt and director Daniel
M. Petrie appear to have been more interested in letting Miss
Hayward parade about in Fabiani gowns than in telling a
story. The result is so static and one dimensional that even
the most susceptible soap-opera fans will fail to become emo-
tionally involved until the final tear-laden moments, Michael
Craig is the handsome doctor, already a widower, who be-
comes a two-time loser in love. Even though his back is usual-
ly to the camera, the promising British performer manages to
hold his own in romantic scenes with the star. Edward Judd,
one of Miss Hayward's early lovers, and Diane Baker, her
sister, are shadowy figures that pass briefly through the plot.
Miss Hayward settles down with her doctor-husband for a
few months of quiet ecstacy on a hilltop overlooking a Cornish
fishing village. When she senses her imminent demiss (the
symptom is fading vision), Miss Hayward packs Craig off
to deliver a baby and lets a 10-year-old lad (Robert Bacon),
who thinks she's drunk, lead her to the bedroom where she
expires peacefully, blissfully happy.

United Artists. 100 rrtinutes. Susan Hayward Michael Craig, Diane Baker,
Edward Judd. Produced by Denis Holt. Directed by Daniel M. Patrie.

Film BULLETIN October 14, 1943 Page 23

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

May

BLACK ZOO Eastmancolor, Panavision. Michael Gough,
Jeanne Cooper, Rod Lauren, Virginia Grey. Producer
Herman Cohen. Director Robert Gordon. Horror story.
88 min. 5/13/43.

PLAY IT COOL Billy Fury, Helen Shapiro, Bobby Vee.
Producer David Deutsch. Director Michael Winner.
Musical, 74 min. 7/8/63.

June

55 DAYS AT PEKING Technirama, Technicolor.
Charlton Heston, David Niven, Ava Gardner, Flora
Robson, Harry Andrews, John Ireland. Producer Samuel
Bronston. Director Nicholas Ray. Story of the Boxer
uprising. 150 min. 4/29/63.

August

GUN HAWK, THE Rory Calhoun, Rod Cameron, Ruta
Lee, Rod Lauren. Producer Richard Bernstein. Direc-
tor Edward Ludwig, Outlaws govern peaceful town of
Sanctuary.

September

CRY OF BATTLE Van Heflin, Rita Moreno, James Mac-
Arthur. Producer Joe Steinberg. Director Irving Lerner.
Three people caught in vicious guerilla war.

SHOCK CORRIDOR Peter Breck, Constance Towers,
Gene Evans, James Best, Hari Rhodes. Producer-direc-
tor Samuel Fuller. A Leon Fromkess-Sam Firks Produc-
tion. A suspense drama. 101 min. 7/22/63.

November

GUNFIGHT AT COMANCHE CREEK Color. Panavision.
Audie Murphy, Ben Cooper, Colleen Miller, DeForrest
Kelly, Jan Merlin. Producer Ben Schwalb. Director
Frank McDonald. Private detective breaks up outlaw
gang.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen, Tuesday Weld, Tony Bill, Tom Poston, Chris
Noel, Ed Nelson. Producer Martin Jurow. Director
Ralph Nelson. Peacetime Army comedy.

Coming

IRON KISS, THE A Leon Fromkess-Sam Firks produc-
tion. Producer-director Samuel Fuller.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

STRANGLER. THE Victor Buono, David McLean, Davey
Davison. Producers Samuel Bischoff, David Diamond.
Director Burt Topper.

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

WAR MADNESS Tony Russell, Baynes Barron, Judy Dan.

AMERICAN INTERNATIONAL

May

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
ball. Luana Anders. Producer-Director Roger Corman.

Action drama. 84 mm.

June

DEMENTIA #13 IFilmgroup) William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK. THE CONQUEROR (Formerly Miracle of the
Vikingl. Color, CinemaScope. Cameron Mitchell,
Kessler Twins. Action drama. 90 min.

July

TERROR, THE (Filmgroup) Color, Vistascope. Boris Kar-
loff. Sandra Knight. Horror. 81 min.

August

BEACH PARTY Color, Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funicello.
Producer James H. Nicholson. Director William Asher.
Teenage comedy. 100 min. 7/22/43.

September

HAUNTED PALACE, THE Color, Panavision. Vincent
Price, Debra Paget, Lon Chaney. Producer-director
Roger Corman. Edgar Allan Poe classic. 85 min.
9/2/63.

October

SUMMER HOLIDAY Technicolor, Technirama. Cliff
Richard, Lauri Peters. Teenage musical comedy. 100
min.

"X"— THE MAN WITH THE X-RAY EYES Ray Milland,
Diana Van Der Vlis, John Hoyt, Don Rickles. Science

fiction. 80 min.

November

PYRO— THE MAN WITHOUT A FACE Color. Barry
Sullivan, Martha Myer. Horror drama. 93 min.

December

GOLIATH AND THE SINS OF BABYLON Color and
Techniscope. Mark Forest, Scilla Gabel, John Crevron.
GOLIATH AND THE SLAVE QUEEN Color, Scope. Mark
Forest, Scilla Gabel, John Chevon. Action comedy.

January

COMEDY OF TERRORS. THE Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff, Basil Rathbone, Joyce
Jameson. Horror, comedy.

SOME PEOPLE IColor) Kenneth More, Ray Brooks,
Annita Wills.

February

SOME PEOPLE Color. Kenneth More, Ray Brooks, Annika
Wills. Teenage Musical.

UNDER AGE Anne MacAdams, Judy Adler, Roland
Royter. Teenage drama.

March

MUSCLE BEACH PARTY Color, Panavision. Frankie
Avalon, Annette Funicello. Teenage musical.

Coming

BIKINI BEACH Color, Panavision. Frankie Avalon, An-
nette Funicello, Harvey Lembeck. Teenage Comedy.
BLACK SABBATH Color. Boris Karloff, Mark Damon.
Horror.

DUNWICH HORROR Color. Panavision. Science Fiction.
GENGHIS KHAN 70mm roadshow.

INCUBUS Leticia Roman, John Saxon, Producer-director
Mario Dava. Suspense horror.

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester, Harvey
Lembeck. Horror comedy.

MAGNIFICENT LEONARDI. THE Color, Cinemascope.
Ray Milland.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

RUMBLE Color. Frankie Avalon, Annette Funicello. Teen-
age drama.

SAMSON & THE GLADIATORS. Color; Scope. Mark
Forrest, Josi Creci, Erno Crisa. Action comedy.

UNEARTHLY, THE John Neville, Philip Stone, Gabriella
Lucudl. Science fiction.

WHEN THE SLEEPER AWAKES Color. Vincent Price.
Producers Julian Wintle, Leslie Parkyn. H. G. Wells

classic.

June

SAVAGE SAM Brian Keith, Tommy Kirk, Kevin Cor-
coran Marta Kristen, Dewev Martin. Jeff York. Pro-
ducer Walt Disney. Director Norman Tokar. Tale of the
pursuit of renegade Indians who kidnap two boys and
a girl. 110 min. 6/10/63.

July

SUMMER MAGIC Hayley Mills, Burl Ives, Dorothy Mc-
Guire, Deborah Walley, Peter Brown, Eddie Hodges.
Director James Neilson. Comedy musical. 109 min.
7/8/63.

October

20J0O0O LEAGUES UNDER THE SEA Re-release.
FANTASIA Re-release.

November

INCREDIBLE JOURNEY Emile Genest, John Drainie,
Sandra Scott. Producer Walt Disney. Director Fletcher
Markle. Based on book by Sheila Burnford. Adventure
drama. 90 min.

December

SWORD IN THE STONE, THE. Producer Walt Disney.
Director, Wolfgang Reitherman. Full-length animated
feature. 80 min.

June

JASON AND THE ARGONAUTS (Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Kovak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic. 104 min. 6/10/63.

JUST FOR FUN Bobby Vee, The Crickets, Freddie
Cannon, Johnny Tillotson, Kerry Lester, The Tornadoes.

72 min.

July

L-SHAPED ROOM. THE Leslie Caron, Tom Bell. Pro-
ducer James Woolf, Richard Attenborough. Director
Bryan Forbes. Drama. 125 min. 7/22/63.

13 FRIGHTENED GIRLS Murray Hamilton, Joyce Tay-
lor, Hugh Marlowe. Producer-director William Castle.
Mystery. 89 min.

August

GIDGET GOES TO ROME James Darren, Cindy Carol,
Jobv Baker. Producer Jerrv Bresler. Director Paul
Wendkos. Teenage romantic comedy. 101 min. 8/5/63.

September

IN THE FRENCH STYLE Jean Seberg, Stanley Baker.
Producers Irwin Shaw, Robert Parrish. Director, Par-
rish. Romantic drama. 105 min. 9/30/63.

THREE STOOGES GO AROUND THE WORLD IN A
DAZE, THE. The Three Stooges. Producer-director
Norman Maurer. Comedy. 94 min. 9/2/63.

October

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins. Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

MANIAC Kerwin Mathews, Nadia Gray.

OLD DARK HOUSE, THE Tom Poston, Robert Moreley,

Joyce Greenfell.

RUNNING MAN, THE Laurence Harvey, Lee Remick,
Alan Bates. Producer-director Carol Reed. Suspense
melodrama. 103 min. 9/16/63.

November

UNDER THE YUM YUM TREE Jack Lemmon. Carol Lyn-
ley, Dean Jones, Edie Adams. Producers David Swift,
Fred Brisson.

December

CARDINAL, THE Tom Tryon, Romy Schneider, Carol
Lynley, John Saxon. Producer-director Otto Preminger.

Coming

BEHOLD A PALE HORSE Gregory Peck, Anthony Quinn.

CONGO VIVO Jean Seberg, Gabriele Ferzetti.

DR. STRANGELOVE: OR HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers,
Sterling Hayden, George C. Scott, Keenan Wynn. Pro-
ducer-director Stanley Kubrick. Comedy.

LILITH Warren Beatty, Jean Seberg. Producer-director
Robert Rossen.

LONG SHIPS, THE Richard Widmark, Sidney Poitier.
Producer Irving Allen.

STRAIT-JACKET Joan Crawford, Anne Helm. Producer
William Castle.

SWINGIN' MAIDEN. THE (Formerly The Iron Maiden)
Michael Craig, Anne Helm, Jeff Donnell.

VICTORS, THE Vincent Edwards, Melina Mercouri,
Jeanne Moreau, Romy Schneider. Producer-director
Carl Forman.

aBSEIiEEGEMI

June

DAVID AND LISA Keir Dullea. Janet Margolin. How-
ard Da Silva. Producer Paul M. Heller. Director Frank
Perry. Drama about two emotionally disturbed young-
sters. 94 min. 1/7/63.

Film BULLETIN — THIS IS YOUR PRODUCT

OCTOBER SUMMARY

During the past fortnight United Artists
has joined Columbia in offering four
new releases to Exhibitors for the month
of October, bringing the total available
product to a strong 23. M-G-M and
20th-Fox each have three new films
scheduled. Embassy, American Interna-
tional and Paramount all promise two.
Listing only one release for the month
are Universal, Warner Brothers and Con-
tinental. No new product for October
has been announced by either Allied
Artists or Buena Vista.

YOUR SHADOW IS MINE Jill Haworth. Michael Ruhl.
A European girl, raised by an Indo-Chinese family, has
to choose between her native sweetheart and the
society of her own people. 90 min.

July

THIS SPORTING LIFE Richard Harris, Rachel Roberts.
Producer Karel Reisz. Director Lindsay Anderson. Dra-
ma. 12? min. 7/22/63.

August

LORD OF THE FLIES James Aubrey, Tom Chapin,
Hugh Edwards. Producer Lewis Allen. Director Peter
Brooks. Dramatization of William Golden's best selling
novel. 90 min. 9/2/63.

NEVER LET GO Richard Todd, Peter Sellers, Elizabeth
Sellers. Producer Peter de Sarigny. Director John
Guillevmin. Crime melodrama. 90 min. 6/24/63.

September

HANDS OF ORLAC, THE Mel Ferrer, Christopher Lee,
Dany Carrel, Lucille Saint Simon. Producers Steven
Pallos, Donald Taylor. Director Edmond Greville.
Mystery. 86 min.

October

BILLY LIAR. Tom Courtenay.

November

BLACK LIKE ME James Whitmore.

MEDITERRANEAN HOLIDAY 70 mm color. Travelogue
narrated by Burl Ives.

December

LADIES WHO DO Robert Morley.

May

BEAR, THE I English-dubbed ! Renato Rascel, Francis
Blanche, Gocha.

July

FREDERICO FELLINIS "8Vz" Marcello Mastroianni,
Claudia Cardinale, Anouk Aimee, Sandra Milo. Pro-
ducer Angelo Rizzoli. Director Federico Fellini. Drama.
135 min. 7/8/63.

GENTLE ART OF MURDER, THE (Formerly Crime Does
Not Pay) Edwige Feuillere, Michele Morgan, Pierre
Brasseur, Richard Todd, Danielle Darrieux. Director
Gerard Oury. Drama. 122 min.

PASSIONATE THIEF THE Anna Magnani, Ben Gazzara,
Toto. Producer Silvio Clementelli. Director Mario
Monicelli. Comedy. 95 min.

WOMEN OF THE WORLD Technicolor. Narrated by
Peter Ustinov. Director Gualtiero Jacopetti. Women as
they are in every part of the world. 107 min. 7/8/63.

September

CONJUGAL BED, THE Marina Vlady, Ugo Tognazzi.
Produces Henry K. Chroucicki, Alfonso Sansone. Direc-
tor Marco Ferreri. Comedy drama. 90 min. 9/30/63.

October

LIGHT FANTASTIC Dolores McDougal, Barry Bartle.
Producer Robert Gaffney. Director Robert McCarty.
Drama. 84 min.

ONLY ONE NEW YORK Director Pierre-Dominique
Gaisseau. Documentary.

November

GHOST AT NOON, A Brigitte Bardot, Jack Palance,
Fritz Lang, Georgia Moll.

December

THREEPENNY OPERA Sammy Davis, Jr., Curt Jurgens,
Hildegarde Neff. Director Wolfgang Staudte. Screen
version of Bertolt Brecht and Kurt Weill cla«sic.

Current Releases

BERNADETTE OF LOURDES IJanus Films) Daniele Ajoret
Nadine Atari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE ILopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLACK FOX, THE ICapri Films) Produced, directed
and written by Louis Clyde Stoumen. 89 min. 4/29/63.

BLOODY BROOD, THE ISutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR, A I Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

BURNING COURT, THE ITrans-Lux) Nadja Tiller, Jean-
Claude Brialy, Perrette Pradier. Producer Yvon
Guezel. Director Julien Duvivier.

CLEOPATRA'S DAUGHTER (Medallion) Color, Total-
scope. Debra Paget. Robert Alda. 93 min.

( Film

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

DAY THE SKY EXPLODED, THE (Excelsior] Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR. THE (Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL'S HAND. THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE (Ultra Pictures) Anthony Quinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS (Crown International)
Technicolor, Totalvision. Yoko Tani, Oldrick Lukes. 81
min.

FIVE DAY LOVER. THE IKinasley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigert.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE ISutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FORCE OF IMPULSE ISutton Pictures) Tony Anthony.
J. Carrol Nash, Robert Alda, Jeff Donned, Lionel
Hampton. 82 min.

FRENCH GAME, THE IWilshire International) Franciose
Brion, Jean-Louise Trintignant. Producer Marceau-
Cocinor. Director Jacques Doniol-Valcroze. French im-
port .86 min. 9/30/63.

GIRL HUNTERS, THE IColorama). Mickey Spillane,
Shirley Eaton, Lloyd Nolan. Producer Robert Fellows.
Director Roy Rowland. Mickey Spillane mystery. 103
min. 6/10/63.

GONE ARE THE DAYS (Hammer Bros.) Ruby Dee,
Ossie Davis. Producer-director Nicholas Webster. 100
min. 9/16/63.

GREENWICH VILLAGE STORY. THE (Shawn-lnterna-
tional) Robert Hogan, Melinda Prank. Producer-direc-
tor Jack O'Connell. Drama. 95 min. 8/19/63.

HAND IN THE TRAP (Angel Films) Elsa Daniel. Fran-
cisco Rabal. Director Leopoldo Torre Nilsson. Horror.
90 min. 7/22/63.

HEAD. THE (Trans-Lux) Horst Frank, Michael Simon.
Director Victor Trivas. Horror. 95 mm. 7/8/63.

HORROR HOTEL (Trans-Lux) Denis Lotis, Christopher
Lee, Betta St. John, Patricia Jessel. Producer Donald
Taylor. Director John Moxey. 76 min. 7/8/63.

IMPORTANT MAN. THE ILopert) Toshiro Mifune. Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

LAFAYETTE (Maco Film Corp.) Jack Hawkins, Orson
Welles, Vitrorio De Sica. Producer Maurice Jacquin.
Director Jean Oreville. 110 min. 4/1/63.

LA NOTTE BRAVA I Miller Producinq Co.) Elsa Mar-
tinelli. Producer Sante Chimirrl. Director Mauro Bolog-
nini. 96 min.

LA POUPEE (Gaston Hakim Productions International I
Zbigniew Cybulski, Some Teal. Director Jacques Bara-
tier. French farce. 90 min. 9/16/63.

LAST OF THE VIKINGS (Medallion) Color, Totalscope.
Cameron Mitchell, Edmond Purdom. 102 min.

LAZARILLO (Union Films) Marco Paoletti, Juan Jose
Menendez. An Hesperia Films Production. Director
Cesar Ardavin. Tale of a 12-year-old rogue-hero's
efforts to survive in 16th century Spain. 100 min.
5/13/63.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

MAGNIFICIENT SINNER (Film-Mart, Inc.) Romy
Schneider, Curt Jergens. Director Robert Siodmak. 91
min. 4/29/63.

MARRIAGE OF FIGARO, THE (Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin. Director Jean Meyer. French import.
105 min. 2/18/63.

MONDO CANE (Times Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/63.

MOUSE ON THE MOON. THE Eastmancolor ILopert
Pictures) Margaret Rutherford, Bernard Cribbins. Terry
Thomas. Satirical comedy. 84 min. 6/24/63.

MY HOBO (Toho) Keiji Kobayashi, Hideko Takamine.
Producer Tokyo Eiga Company. Director Zenzo Matsu-
yama. 98 min. 8/5/63.

MY NAME IS IVAN (MosFilm) Kolya Burlaiev. Director
Andrei Tarkovsky. Drama. 94 min. 8/19/63.

NIGHT OF EVIL ISutton) Lisa Gaye, Bill Campbell.
88 min.

NO EXIT IZenith-lnternational) Viveca Lindfors. Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.
ONE POTATO. TWO POTATO IBowalco Pictures) Bar-
bara Barrie, Bernie Hamilton, Richard Mulligan, Harry
Bellaver. Director Larry Peerce. Producer Sam Weston.

ORDERED TO LOVE IM. C. Distributor Release) Maria
Perschy. Producer Wolf Brauner. Director Werner
Klinger. Drama. 82 min. 7/22/63.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I 1 5 min.

RAIDERS OF LEYTE GULF (Hemisphere Pictures) Mich-
ael Parsons, Leopold Salcedo, Jennings Sturgeon. Pro-
ducer-director Eddie Romero. War melodrama. 80 min.
7/22/63.

REACH FOR GLORY (Royal Film International) Harry
Andrews, Kay Walsh, Oiiver Grimm. Producers Jud
Kinberg, John Kohn. Director Philip Leacock. Story of
youngsters in wartime. 89 min. 9/16/63.
ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

RUN WITH THE DEVIL IJillo Films) Antonella Lualdi,
Gerard Blain, Franco Fabrizi. Director Mario Camerini.
Drama. 93 min. 8/19/63.

SECRET FILE HOLLYWOOD Jonathon Kidd. Lynn Stat-
ten. 82 min.

7TH COMMANDMENT, THE Robert Clarke. Francine
York. 85 min.

SMALL WORLD OF SAMMY LEE. THE (Seven Arts)
Anthony Newley. Producer Frank Godwin. Director Ken
Hughes. 105 min. 9/16/63.

SON OF SAMSON (Medallion) Color, Totalscope. Mark
Forest, Chelo Alonso. 8? min.

STAKEOUT Ping Russell. Bill Hale, Eve Brent. 81 min.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THREE FABLES OF LOVE IJanus) Leslie Caron, Ros-
sano Brazi, Monica Vitti, Sylva Koscina, Charles
Aznavour, Jean Poiret, Michel Serrault, Ann Karina.
Producer Gilbert de Goldschmidt. Director Alessandro
Blasetti, Heave Bromberger, Rene Clair. 8/5/63.

VARAN THE UNBELIEVABLE Myron Healy. Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE I Victoria) Narration by Thomas
L. Row and Pauline Girard. Producer-director Marion
Gering. 67 min. 7/8/63.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips.
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FCR KICKS (Times Films) David Farrar. Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

METRO-GO LDWYN- MAYER

April

COME FLY WITH ME Dolores Hart, Hugh O'Brian.
Karl Boehm. Producer Anatole de Grunwald. Director
Henry Levin. Romantic comedy of airline stewardess.
109 min. 5/13/63.

May

DIME WITH A HALO Barbara Luna, Paul Langton.
Producer Laslo Vadnay. Hans Wilhelm. Director Boris
Sagal. Race track comedy. 94 min. 4/1/63.

DRUMS OF AFRICA Frankie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-the-century.
92 mm. 4/29/63.

IN THE COOL OF THE DAY CinemaScope. Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz. 90 min. 5/13/63.

SLAVE, THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites the slaves to
revolt against the Romans.

June

CATTLE KING Eastman Color. Robert Taylor. Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West. 89 min.

BULLETIN — THIS IS YOUR PRODUCT

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins
90 min.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min. 6/24/63.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh Griffith. Pro-
ducer Aaron Rosenberg. Director Lewis Milestone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 17? min. 11/12/63.

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode. Producer Sy Weintraub. Director Robert Day.
Adventure. 92 min. 7/8/63.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,
Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy. 85 min. 6/24/63.

TICKLISH AFFAIR, A I Formerly Moon Walk) Shirley

Jones, Gig Young. Producer Joe Pasternak. Director
George Sidney. Romantic comedy based on a story in
the Ladies Home Journal. 87 min. 7/8/63.

August

HOOTENANNY HOOT Peter Breck, Ruta Lee, Brothers
Four, Sheb Wooley, Johnny Cash. Producer Sam Katz-
man. Director Gene Nelson. 91 min. 9/16/63.

YOUNG AND THE BRAVE. THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis 0.
Lyon. Drama of Korean G.l.'s and orphan boy. 84 min.
5/13/63.

September

HAUNTING. THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller. 112
min. 9/2/63.

V.I.P.s, The Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama. 119 min. 8/19/63.

October

GOLDEN ARROW. THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

TIKO AND THE SHARK Producer Goffredo Lombardo.
Director F. Quilici. Filmed entirely in French Poly-
nesia with a Tahitian cast. 108 min.

TWItlGHT OF HONOR Richard Chamberlain, Nick
Adams, Joan Blackman, Joey Heatherton. A Pearlberg-
Seaton Production. Director Boris Sagal. A young
lawyer falls victim to the bigoted wrath of a small
town when he defends a man accused of murdering
the town's leading citizen. 115 min. 9/30/63.

November

GLADIATORS SEVEN Richard Harrison, Loredana Nus-
ciak. Producers Cleo Fontini, Italo Zingarelli. Director
Pedro Lazaga. Seven gladiators aid in overthrowing
a tyrant of ancient Sparta. 92 min.

MGM'S BIG PARADE OF COMEDY Great stars of the
past in memorable comedy moments from great MGM
films of the past.

WHEELER DEALERS. THE James Garner, Lee Remick.
Producer Martin Ransohoff Director Arthur Hiller.
Story of a Texan who takes Wall Street by storm. 106
min. 9/30/63.

December

THE PRIZE Paul Newman, Edward G. Robinson, Elke
Sommer. Producer Pandro Berman. Director Mark
Robson. Based on the Irving Wallace bestseller.

January

CHILDREN OF THE DAMNED Ian Hendry, Alan Bader.

(Science fiction!.

SUNDAY IN NEW YORK (MGM-Seven Arts) Cliff
Robertson, Jane Fonda, Rod Taylor. Producer Everett
Freeman. Director Peter Tewksbury. The eternal ques-
tion: should a qirl or shouldn't she, prior to the
nuptials?

February

GLOBAL AFFAIR A Bob Hope, Lilo Pulver. Producer
Hall Bartlett. Director Jack Arnold. Comedy.

NIGHT MUST FALL Albert Finney, Mona Washbourne.
Producer Karl Reisz, Albert Finney. Director Karl Deisz.
Psychological suspense thriller.

OF HUMAN BONDAGE IMGM-Seven Artsl Kim
Novak, Laurence Harvey. Producer James Woolf. Di-
rector Henry Hathaway. Film version of classic novel.

Coming

CORRIDORS OF BLOOD Boris Karloff, Betta St. John,
Finlay Currie. Producer John Croydon. Director Robert
Day Drama. 84 min. 6/10/63.

COUNTERFEITERS OF PARIS Jean Gabin, Martine
Carol. Producer Jacques Bar. Director Gilles Grangier.

99 min.

DAY AND THE HOUR, THE I Formerly Today We Live)
Simon>! Signoret, Sluart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and

infidelity in wartime.

FOUR DAYS OF NAPLES. THE Jean Sorel, Lea Messari,
Producer Goffredo Lombardo. Director Nannl Loy.

Film

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HOW THE WEST WAS WON Cinerama. Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/ 1 8/6 i .

MURDER AT THE GALLOP Margaret Rutherford, Robert
Morley, Flora Robson. Producer George Brown. Direc-
tor George Pollock. Agatha Christie mystery. 81 min.
7/22/63.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

WEREWOLF IN A GIRL'S DORMITORY Barbara Lass.
Carl Schell. Producer Jack Forrest. Director Richard
Benson. Horror show. 84 min. 6/10/63.

March

PAPA'S DELICATE CONDITION Color. Jackie Gleason,
Glynis Johns. Producer Jack Rose. Director George
Marshall. Comedy-drama based on childhood of silent
screen star Corinne Griffith. 98 min. 2/18/63.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cliff

Robertson, David Janssen. Producer Gant Gaither.
Director Gower Champion. Broadway star adopts six
abandoned children. 105 min. 3/18/63.

May

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director Ritt.
Drama set in modern Texas. 122 min. 3/4/63.

June

DUEL OF THE TITANS CinemaScope, Eastman color.
Steve Reeves, Gordon Scott. Producer Alessandro
Jacovoni. Director Sergio Corbucci. The story of
Romulus and Remus, the twin brothers who founded
the city of Rome.

NUTTY PROFESSOR, THE Technicolor. Jerry Lewis,
Stella Stevens. Producer Ernest D. Glucksman. Direc-
tor Jerry Lewis. A professor discovers a youth-
restoring secret formula. 105 min. 6/10/63.

July

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific. 108 min. 8/5/63.

August

COME BLOW YOUR HORN Technicolor. Frank Sinatra,

Barbara Rush, Lee J. Cobb. Producer Howard Koch.
Director Bud Yorkin. A confirmed bachelor introduces
his young brother to the playboy's world. 112 min.
6/24/63.

October

NEW KIND OF LOVE. A Technicolor. Paul Newman.
Joanne Woodward, Thelma Ritter, Maurice Chevalier.
Producer-director Melville Shavelson. Romantic com-
edy. 105 min. 9/2/63.

WIVES AND LOVERS Janet Leigh, Van Johnson, Shelley
Winters, Martha Hyer. Producer Hal B. Wallis. Direc-
tor John Rich. Romantic comedy. 102 min. 9/2/63.

November

ALL THE WAY HOME Robert Preston, Jean Simmons.
Pat Hingle. Producer David Susskind. Director Alex
Segal. Film version of play and novel.

FUN IN ACAPULCO Technicolor. Elvis Presley, Ur-
sula Andress. Producer Hal B. Wallis. Director Rich-
ard Thorpe. Musical-comedy.

December

WHO'S BEEN SLEEPING IN MY BED? Panavision,
Technicolor. Dean Martin, Elizabeth Montgomery, Carol
Burnett. Producer Jack Rose. Director Daniel Mann.

Comedy.

WHO'S MINDING THE STORE? Technicolor. Jerry
Lewis, Jill St. John, Agnes Moorehead. Producer Paul
Jones. Director Frank Ta sill in . Comedy.

Coming

BECKET Technicolor. Richard Burton, Peter O'Toole.
Producer Hal B. Wallis. Director Peter Glenville. Film
version of Jean Anouilh's play.

CARPETBAGGERS. THE Technicolor. Panavision 70.
George Peppard, Carroll Baker. Producer Joseph E.
Levine. Director Edward Dmytryk. Drama based on the
best-seller by Harold Robbins.

LADY IN A CAGE Olivia de Havilland, Ann Southern.
Producer Luther Davis. Director Walter Grauman.
Horror drama.

LOVE WITH THE PROPER STRANGER Natalie Wood,
Steve McQueen. Producer Alan J. Pakula. Director
Robert Mulligan. A young musician falls in love with
a Macy's sales clerk.

PARIS WHEN IT SIZZLES Panavision. Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Douglas.
Fredric March, Ava Gardner. Producer Edward Lewis.
Director John Frankenheimer. A Marine colonel un-
covers a militay plot to seize control of the U.S. gov-
ernment.

20TH CENTURY-FOX

March

HOUSE OF THE DAMNED CinemaScope. Ronald Foster,
Merry Anders. Producer-Director Maury Dexter. Archi-
tect inspects haunted house and runs across circus of
freaks. 62 min.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

April

NINE HOURS TO RAMA CinemaScope, DeLuxe Coler.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63.

May

YELLOW CANARY, THE CinemaScope. Pat Boone, Bar-
bara Eden. Producer Maury Dexter. Director Buzz Kulik.
Suspense drama. 93 min. 4/15/63.

June

STRIPPER. THE I Formerly A Woman in July) Cinema-
Scope. Joanne Woodward, Richard Beymer, Gypsy Rose
Lee, Claire Trevor. Producer Jerry Wald. Director
Franklin Schaffner. Unsuccessful actress seeks happi-
ness. 95 min. 4/29/63.

July

LONGEST DAY. THE CinemaScope. John Wayne. Rich-
ard Todd, Peter Lawford, Robert Wagner, Tommy
Sands, Fabian, Paul Anka, Curt Jurgens, Red Buttons,
Irina Demich, Robert Mitchum, Jeffrey Hunter, Eddie
Albert, Ray Danton, Henry Fonda, Edmond O'Brien,
Robert Ryan. Producer Darryl Zanuck. Directors Gerd
Oswald, Andrew Marton, Elmo Williams, Bernhard
Wicki, Ken Annakin. 180 mm.

August

LASSIE'S GREAT ADVENTURE DeLuxe Color. June Lock-
hart Jon Provost. Producer Robert A. Golden. Director
William Beaudine. Lassie and his master get lost in
Canadian Rockies. 103 min.

OF LOVE AND DESIRE DeLuxe Color. Merle Oberon.
Steve Cochran, Curt Jurgens. Producer Victor Stoloff.
Jirector Richard Rush. Brother tries to break up sister's
romance. 97 tmin. 9/16/63.

September

CONDEMNED OF ALTONA. THE CinemaScope. Sophia
Loren, Maximilian Schell, Fredric March, Robert Wag-
ner. Producer Carlo Ponti. Director Vittorio De Sica.
Adaped from Jean-Paul Sartre's stage success. 114 min.
9/16/63.

A FAREWELL TO ARMS. Re-release.

THE YOUNG SWINGERS CinemaScope. Rod Lauren,
Molly Bee. Producer-Director Maury Dexter.

October

LEOPARD THE CinemaScope, DeLuxe Color. Burt Lan-
caster, Alain Delon, Claudia Cardinale. Producer Gof-
fredo Lombardo. Director Luchino Visconti. Based on
famous best-seller detailing disintegration of Italian
nobility. 165 min. 8/19/63.

MARILYN CinemaScope, DeLuxe Color. Screen clips
from Marilyn Monroe's films with narration by Rock
Hudson. 83 min.

THUNDER ISLAND Cinemascope. Gene Nelson. Fay
Spain. Producer-director Jack Leewood. 65 min.

November

TAKE HER. SHE'S MINE CinemaScope, DeLuxe Color.
James Stewart, Sandra Dee. Producer-Director Henry
Koster. Daughter's escapades at college cause comic
disturbance to father.

Coming

CLEOPATRA Todd-AO Color. Special handling. Elizabeth
Taylor, Richard Burton, Rex Harrison. Producer Walter
Wanger. Director Joseph Mankiewicz. Story of famous
queen. 221 min. 6/24/63.

MOVE OVER. DARLING CinemaScope, DeLuxe Color.
Doris Day, James Garner, Polly Bergen. Producers
Aaron Rosenberg, Martin Melecher. Director Michael
Gordon. Romantic comedy of man with two wives.

WINSTONE AFFAIR. THE CinemaScope. Robert Mitch-
um, France Nuyen.

BULLETIN — THIS IS YOUR PRODUCT

J

UNITED ARTISTS

March

May

FIVE MILES TO MIDNIGHT Sophia Loren. Anthony
Perkins, Gig Young, Jean-Pierre Aumont. Producer-
director Anatole Litvak. Suspense drama about an
American in Europe who schemes to defraud an insur-
ance company. 110 min. 3/4/63.

LOVE IS A BALL Technicolor, Panavision. Glenn Ford,
Hope Lange, Charles Boyer, Producer Martin H. Poll.
Director David Swift. Romantic comedy of the interna-
tional set. Ill min. 3/4/63.

April

I COULD GO ON SINGING Eastmancolor, Panavision.
Judy Garland, Dick Bogarde, Jack Klugman. Producers
Stuart Millar, Lawrence Turman. Director Ronald
Neame. Judy returns in a dramatic singing role. 99
min. 3/18/63.

May

DR. NO Technicolor. Sean Connery, Ursula Andresj,
Joseph Wiseman, Jack Lord. Producers Harry Saltz-
man, Albert R. Broccoli. Director Terence Young. Action
drama based on the novel by Ian Fleming. Ill min.
3/18/63.

June

AMAZONS OF ROME Louis Jourdan. Sylvia Syms.

BUDDHA Technicolor, Technirama. Kojiro, Hongo,
Charito Solis. Producer Masaichi Nagata. Director
Kenji Misumi. Drama dealing with the life of one of
the world's most influential religious leaders. 134 min.
7/22/63.

CALL ME BWANA Bob Hope, Anita Ekberg, Edie
Adams. Producers Albert R. Broccoli, Harry Saltzman.
Director Gordon Douglas. Comedy. 103 min. 6/10/63.

DIARY OF A MADMAN Vincent Price, Nancy Kovak.
Producer Robert E. Kent. Director Reginald Le Borg.
Horror mystery of a man possessed by a horla. 94 min.
3/4/63.

July

GREAT ESCAPE. THE Deluxe Color, Panavision. Steve
McOueen, James Garner, Richard Attenborough. Pro-
ducer-director John Sturges. Based on true prisoner of
war escape. 168 min. 4/15/63.

IRMA LA DOUCE Technicolor, Panavision. Jack Lem-
mon, Shirley MacLaine. Producer-director Billy Wilder.
Comedy about the "poules" of Paris, from the hit
Broadway play. 142 min. 6/10/63.

August

CARETAKERS, THE Robert Stack, Polly Bergen, Joan
Crawford. Producer-director Hall Bartlett. Drama
dealing with group therapy in a mental institution. 97
min. 8/19/63.

TOYS IN THE ATTIC Panavision. Dean Martin, Geral-
dine Page, Yvette Mimieux, Gene Tierney. Producer
Walter Mirisch. Director George Roy Hill. Screen
version of Broadway play. 90 min. 7/8/63.

September

LILIES OF THE FIELD Sidney Poitier, Litia Skala. Pro-
ducer-director Ralph Nelson. Story of ex-GI and Ger-
man refugee nuns who build a chapel in the Arizona
desert. 94 min. 9/2/63.

October

JOHNNY COOL Henry Silva, Elizabeth Montgomery.
Producer-director William Asher. Chrislaw Productions.
101 min.

MY SON, THE HERO Color. Pedro Armendariz, Jacque-
line Sassard. Producer Alexander Mnouchkine. Directed
by Doccio Tessari. Spoof on Gods and heroes. Ill min.
9/30/63.

STOLEN HOURS Color. Susan Hayward, Michael Craig,
Diane Baker. Mirisch-Barbican film presentation. Di-
rected by Daniel Petrie. 97 min.

TWICE TOLD TALES Color. Vincent Price, Mari Blan-
chard. Producer Robert E. Kent. Director Sidney Salkow.
Based on famous stories of Nathaniel Hawthrone 119
mm.

November

ITS A MAD. MAD. MAD, MAD WORLD. Cinerama,
lecnmcolor. Spencer Tracy, Milton Berle, Sid Caesar
Buddy Hackett, Ethel Merman, Mickey Rooney, Dick
Shawn, Phil Silvers, Terry-Thomas, Jonathan Winters.
Producer-director Stanley Kramer. Spectacular comedy.

MCLINTOCKI Color. John Wayne, Maureen O'Hara
Yvonne De Carlo, Patrick Wayne, Chill Wills, Jack
Kruschen Producer Michael Wayne. Director Andrew
t. McLaglen. 127 min.

December

KINGS OF THE SUN Color. Yul Brynner, George Cha-
kiris. Producer Lewis Rachmil. Director J. Lee Thomp-
son. A Mirisch Company Presentation.

Coming

CEREMONY, THE Laurence Harvey, Sarah Miles, Rob-
ert Walker, John Ireland. Producer director Laurence
Harvey. 108 min.

H

Film

PARANOIC Janette Scott, Oliver Reed, Sheilah Burrell.
Producer Anthony Hinds. Director Freddie Francis.
Horror. 80 min. 4/15/63.

SHOWDOWN (Formerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director

R. G. Springsteen. Western. 79 min. 4/15/63.

June

LIST OF ADRIAN MESSENGER, THE George C. Scott,
Dana Wynter, Clive Brook, Herbert Marshall. Producer
Edward Lewis. Director John Huston. Mystery. 98
min. 6/10/43.

SWORD OF LANCELOT (Formerly Lancelot and Guini-
verel Technicolor. Panavision. Cornel Wilde, Jean
Wallace, Brian Aherne. Producers Cornel Wilde, Ber-
nard Luber. Director Wilde. Legendary tale of love and
betrayal. 115 min. 5/13/63.

TAMMY AND THE DOCTOR Color. Sandra Dee. Peter
Fonda, Macdonald Carey. Producer Ross Hunter. Direc-
tor Harry Keller. Romantic comedy. 88 min. 5/13/63.

July

GATHERING OF EAGLES. A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann. 116 min.

KING KONG VS. GODZILLA Color. Michael Keith,
Harry Holcomb, James Yagi. Producer John Beck.
Director Ray Montgomery. Thriller. 90 min. 6/10/63.

August

FREUD: SECRET PASSION (Formerly Freud) Mont-
gomery Clift, Susannah York. 120 min.

THRILL OF IT ALL. THE Color. Doris Day, James Gar-
n«r, Arlene Francis. Producers Ross Hunter, Martin

Melecher. Director Norman Jewison. Romantic comedy.
108 min. 6/10/63.

TRAITORS, THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson. 71 min.

September

KISS OF THE VAMPIRE Eastman Color. Clifford Evans,
Edward DeSouza, Jennifer Daniels. Producer Anthony
Hinds. Director Don Sharpe. 88 min. 8/5/63.

October

FOR LOVE OR MONEY (Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon. 108
min. 8/5/63.

November

DARK PURPOSE Eastman Color. Shirley Jones, Rossano
Brazzi, George Sanders, Micheline Presle, Georgia
Moll. Producer Steve Barclay. Director George Mar-
shall.

December

CHARADE Technicolor, Panavision. Cary Grant, Audrey
Hepburn, Walter Matthau, James Coburn. Producer-
Director Stanley Donen. Suspense, action and comedy.
I 14 min. 9/30/63.

Coming

BEDTIME STORY (Formerly King of the Mountain!
Color. Marlon Brando, David Niven, Shirley Jones.
Producer Stanley Shapiro. Director Ralph Levy.

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN. M.D. Color. Gregory Peck, Tony
Curtis, Angie Dickinson, Bobby Darin, Eddie Albert.
Producer Robert Arthur. Director David Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

HE RIDES TALL I Formerly The Gun Handl Tony Young,
Dan Duryea, Jo Morrow, Madlyn Rhue. Producer Gor-
don Kay. Director R. G. Springsteen.

ISLAND OF THE BLUE DOLPHINS (Color) Celia Kaye,
George Kennedy. Producer Robert B. Radnitz. Director
James B. Clark.

MAN'S FAVORITE SPORT? Color. Rock Hudson, Paula
Prentiss, Maria Perchy. Producer-director Howard
Hawks.

WILD AND WONDERFUL (Formerly Monsieur Cognac)
Color. Tony Curtis, Christine Kaufmann, Larry Storch,
Marty Ingles. Producer Harold Hecht. Director Michael
Anderson.

WARNER BROTHERS

May

ISLAND OF LOVE (Formerly Not On Your Lifel) Tech-
nicolor, Panavision. Robert Preston. Tony Randall,
Giorgia Moll. Producer-Director Morton Da Oosta.
Comedy set in Greece. 101 min. 5/13/63.

SUMMER PLACE, A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda.
Maureen O'Hara. Producer-director Delmer Daves.
Modern arama of a mountain family. 119 min. 3/4/63.

September

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama. 112 min. 8/19/63.

October

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Producer William Fadiman. Direc-
tor Phil Karlson. Adventure drama. 98 min. 8/19/63.

November

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr. 126 min. 9/16/63.

PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens, Ty Hardiji. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort.

December

4 FOR TEXAS Technicolor. Frank Sinatra, Dean
Martin, Anita Ekberg, Ursula Andress. Producer-direc-
tor Robert Aldrich. Big-scale western with big star
cast.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

CHEYENNE AUTUMN IFormerjy The Long Flight) Spen-
cer Tracy, James Stewart, Richard Widmark, Carroll
Baker, Dolores Del Rio, Sal Mineo. Producer Bernard
Smith. Director John Ford. Super-adventure drama.

DEAD RINGER Bet*e Davis. Karl Maiden, Peter Law-
ford. Producer William H. Wright. Director Paul Hen-
reid. Miss Davis plays a dual role of twin sisters in
this shocker.

DISTANT TRUMPET, A Technicolor. Panavision. Troy
Donahue, Suzanne Pleshette, Diane McBain. Producer
William H. Wright. Director Raoul Walsh. Epic adven-
ture of Southwest.

ENSIGN PULVER (formerly Mister Pulver and the
Captain) Technicolor. Robert Walker, Burl Ives, Walter
Matthau, Millie Perkins, Tommy Sands. Producer-
director Joshua Logan. Comedy sequel to "Mister
Roberts".

FBI CODE 98 Jack Kelly. Ray Denton. Producer Stanley
Niss. Director Leslie H. Martinson. Dramatic action
story.

GREAT RACE. THE Technicolor. Burt Lancaster, Jack
Lemmon, Lee Remick. Producer Martin Jurow. Director
Blake Edwards. Story of greatest around-the-world
automobile race of all time.

INCREDIBLE MR. LIMPET. THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

KISSES FOR MY PRESIDENT Fred MacMurray, Polly
Bergen. Producer-director Curtis Bernhardt. Original
comedy by Robert G. Kane.

OUT OF TOWNERS, THE Color. Glenn Ford. Geraldine
Page, Angela Lansbury. Producer Martin Manulis. Di-
rector Delbert Mann. Comedy-drama about a small-
town "postmistress".

ROBIN AND THE 7 HOODS Technicolor-Panavision.
Frank Sinatra, Bing Crosby, Dean Martin, Sammy
Davis. Jr., Joey Bishop. Producer Gene Kelly. Director
Gordon Douglas.

YOUNGBLOOD HAWKE Suzanne Pleshette. James Fran-
ciscus. Producer-director Delmer Daves. From Herman
Wouk's best-selling novel.

DEPENDABLE SERVICE!

CLARK
TRANSFER

Member National Film Carriers

New York, N. Y: .Circle 6-0815
Philadelphia, Pa.: CEnter 2-3100
Washington, D. C: DUpont 7-7200

BULLETIN — THIS IS YOUR PRODUCT

A

Dazzling HOLIDAY DISPLAYS

INCOMPARABLY SPARKLING AND EYE-CATCHING

ALL DISPLAYS S I L K - S C R E E N E D
ON HEAVY ROLL-BOARD STOCK

BULLETIN

Opinion of the Indmstry

UNECONOMIC FILM TERMS
MUST BE RE EXAMINED

OCTOBER 28, 1963

A No-Profit
Policy for
Theatres
Cannot Profit
Distributors

U

tewpomt

eviews

THE CARDINAL
Film of Distinction

0

UNDER THE YUM YUM TREE
THE INCREDIBLE JOURNEY
ANY NUMBER CAN WIN
CRY OF BATTLE
TWICE TOLD TALES

Hlkkk

bade wet
has tke mst

wait

VPff VVff V1 WW w

BULLETIN

— CCUfM

Wtet They're hiking About

□ □ □ In the Movie Business □ □ □

'V.I.P.s' ORDERLY RELEASE. The Ed Hyman
thesis of Orderly Distribution about which
there is much solemn agreement but precious
little action by the film companies, has gained a
notable case history by the early autumn
release of hot-grossing "The V.I.P.s."
Theatremen are agabble with admiration for
M-G-M's timing for so special and prized a
product. Here is merchandise that most
distributors would surely have ticketed for
a holiday release. In breaking with convention,
president Robert H. O'Brien has provided a
compelling object lesson in considering
exhibition's needs.

■

'CARPETBAGGER' GETS DRESSED.

Showman Joe Levine's assertion that
leading lady Carol Baker's altogether shall
remain altogether invisible ends the hottest
nudity issue in years. While it is accurate to
say that Miss Baker was recorded in her total
splendor, Levine exclaims that this does not
mean he intends using the naked scene in the
movie after all. Miss Baker's state of undress
shall be limited to a shot of the back, from hips
up. Tame stuff. Although Levine recants, the
celebrated tableau has received several tons
of newsprint and sufficient notoriety to ignite
the film's opening dates with a whoosh,
including a multi-page color spread in the
current Saturday Evening Post. In keeping
with his patented flair for exploiting the
exploitable, Levine again appears one-up
on everyone — except, of course, the censor.
Levine, however, has yet to reckon with a
public, up to its eye-balls in Miss Baker's
unswathed form. Will the titillated ticket buyer
— at least those to whom nudity is turnstile bait
— accept the foul play of this strip tease in
everse? It is easy to promise; not so easy
to take away. The sole winner of the little
contretemps turns out to be the one guy with
an inside position in the entire doings, again
the censor.

BUSINESS REPORT. It's no trade secret that
attendance has run downhill since Labor Day,
following a strong summer session. A
protracted mild turn of the weather for much
of the nation favored drive-ins handsomely
during October, but the conventional houses
are experiencing a poor early fall season.
Theatre executives pin most of the rap on the
greatest harvest of new TV entries in memory.
Mere size of the crop has kept the public
homebound, trying first this, then that, then
another. Downbeat critical commentary on
all but a few first-time TV candidates can
be viewed as preceding public apathy, and
a movie upturn is foreseen.

■

FESTIVAL BOYCOTT BROKEN. The puzzling
reaction of U.S. picture makers toward film
festivals, including those held in the U.S.
itself, has reverted to saner lines with the
showing of Carl Forman's Columbia release,
"The Victors," at the seventh annual San
Francisco event. Though entered on an "out
of competition" basis, the picture's presence
there marks a break-through in the absurdly
protective armor Hollywood has hung about
itself to fend off exposure of its work before
international juries. Just why Yankee picture
makers tread so gingerly is hard to
comprehend. Some observers claim it is a
fright of the harsh judgment standards which
underlie the festivals. Some studio heads have
privately admitted that they are chary of
entering a contest that pits expensive American
product against the relatively modest entries
from abroad — a case of the U.S. having less
to gain, more to lose. A few enterprising movie
men, however, are all for festivals, declaring
that foreign producers enter only their best
merchandise for judgment, and that we, too,
can follow suit. In a given year the U.S. is
capable of entering an even dozen or more
films of artistic distinction, they contend, and
they point to the recent New York Lincoln
Center affair as evidence of exceptional public
interest in the whole festival idea. Why not
aggrandize our best product? they ask. Art
film patrons are a multiplying breed with
hungry appetites, as apt to turn to U.S. films
as foreign entries.

Film BULLETIN October 28. I?&3 Pag* 3

'Free9 Men Take Notice of 'Pay9 Threat

Television — the free system
— has acted like a slumbering
giant in regard to Pay-TV. Ex-
cept for an occasional flick of
their huge paw, as though swip-
ing at an annoying mosquito,
the networks have evinced little
concern about the looming
threat of the pay system. That
is, until an imposing array of
interests on the West Coast re-
cently organized Subscription
Television, Inc., with plans to
raise some $23 million from the
public to finance wired feevee
in Los Angeles and San Fran-
cisco. Now, free TV appears to
be sitting and talking up.

4 Pay-TV will not succeed'

The following comments are excerpted
from a talk, titled "The Economics of
Serving the Public", delivered at Reed Col-
lege by Hugh M. Beville, Jr., vice president,
planning & research, of NBC.

In the final analysis the problem of
commercials is really the problem of
who is to pay the programming bill.
There is of course a proposed alterna-
tive system that would place the costs
squarely on the viewer. Pay-TV ex-
periments are now under way in Hart-
ford and Toronto, while a third is
pending in Denver. Plans have recently
been announced for a new enterprise
that would set up a working system
in Los Angeles and San Francisco. Pay-
TV therefore merits discussion. In cast-
ing some light on its potential effects
we may also illuminate some of the
values of our present commercial
service.

The costs of establishing a pay-TV
system, whether it is wired into the
home or broadcast over the air, are
enormous. A recent study by the Stan-
ford Research Institute estimates that
capital outlays to serve fifteen million

pay-TV subscribers would amount to
nearly 2 billion. The amortization of
such an investment, added to the even
more immense costs of programming,
would weigh heavily on the subscriber
who must ultimately pay for them. The
proponents of pay-TV, who once
quoted such modest prices as 25 or 50
cents per program, have gradually
raised their sights as they have closed
in on the target. A recent press report
covering the proposed operations in
Los Angeles and San Francisco put the
price list as follows: an initial installa-
tion fee of $10, a basic monthly service
charge of more than $4, and these
program levies — $1 for a first-run
movie, $3 for a Giants or Dodgers
major league baseball game, $3.50 for
a professional football game, $5 for a
Broadway show and $7.50 for an opera.

At these prices, it is hardly surprising
that estimates place the annual cost of
pay-TV at over $400 per subscriber.
Even if we accept the more attractive
sum of $120, which has been quoted
as the "magic figure" in some pay-TV
circles, we must contrast it with $38,
which is the actual total the average
American household now spends on
all admissions- — movies, theater, opera,
concerts and sports events. Or compare
it with the $79 average home expendi-
ture for telephone service. Clearly the
average American household does not
enter into the pay-TV scheme of things.
Our own evaluation is that fewer than
ten per cent of American families would
be willing or able to meet the expenses
of subscribing to pay-TV. The remain-
ing 90 per cent of Americans, as we
shall see, would be deprived of any
television service worthy of the name.

If the promoters of pay-TV seem
unconcerned about the relatively limited
potential of their audience, it is because
they are convinced they could turn a
profit with only a small fraction of the
total television public — a profit, in-
deed, which would permit them to out-
bid the networks for key talent and
programming. As an example, they like
to point out that if NBC's PETER
PAN had played to a pay-TV audience
equal to only one quarter of the 22
million homes that watched its first
telecast, it would have brought in
$1,375,000 at a price of only 25 cents

per home. Top-rated weekly network
programs which now reach ten million
homes would yield far more revenue
for the producer, if viewed in only one
million pay-TV homes at 50 cents each.

With its greater income, pay-TV
would be able to lure away commercial
television's most popular attractions —
major league baseball, professional and
college football, top-rated variety,
comedy and dramatic shows. It's no sur-
prise to us that the new West Coast
enterprise plans to initiate its opera-
tions with the Dodgers and Giants
games. Thus West Coast baseball fans
(Continued on Page 12)

'Engraved monopoly'

John W. Kulge, president and board
chairman of Metromedia, Inc., made
these remarks recently upon accepting
the annual Man of the Year auard
from The Pulse, Inc.

If the FCC were to allow Pay-
TV in the United States, and if
it were highly successful, the pub-
lic will end up, you and I, doing
exactly what it implies, paying
for television and in historical
perspective, that decision would go
down in communications history
as a lack of statesmanship- judg-
ment in administrative law. If we
think we have monopoly today in
television, Pay TV would be a
monopoly engraved and the full
weight of its meaning will be-
come a hard reality. Television
has informed and entertained,
has moved mountains of goods
and services. It has helped the
standard of living in the United
States as no other medium has in
the past — or I, for one, can en-
vision for the future. We would
be dilettantes to tamper with it. If
Pay TV were a reality on the one
hand and free television were
limited in the number of commer-
cials on the other, this would be
a conscious or unconscious way
for a government agency to de-
stroy the world's greatest medium.

Page 4 Film BULLETIN October 28. 1963

V,

OCTOBER 28, 1963

tewpotnts

28. 1963 / VOLUME 31, NO. 22

A No-Profit Policy
For Exhibition Profits iVo One

The question surely will seem im-
pertinent to some film men, but its
pertinence demands an answer: Is it
the designed purpose of certain film
companies to freeze out the lower-
grossing film house, or are the policies
contributing to this end the result of
deficient executiveship at the top sales
level?

If the query has the tone of that old
saw, when did you stop beating your
wife?, it nonetheless applies to a situa-
tion that is becoming commonplace in
our industry.

Distributors, trapped by the upward
swirl of film-making costs — a reflection
of incompetence in production man-
agement— seem to have taken the ap-
proach that what profligate producers
waste must be recouped by squeezing it
out of exhibition.

And what of exhibition's capacity to
pay off the bloated costs of production ?
This seems to matter little to some
executives who make film sales policy.

Of course, there are some houses
which, on the basis of their grossing
potential in relation to overhead, can
make a profit on the 40-50-60 percent
terms that have become the rule. But
the fact that thousands of theatres can-
not meet these often harsh terms and
exist profitably seems to escape the
attention of sales managers who are
riding high on today's sellers' market
with an unblinking disregard of exhi-
bition's problems. Have they failed to
notice that practically every major thea-
tre circuit in the country has found it
expedient to trim its theatre holdings
and swing into diversified ventures in
order to balance the teetering exhibi-
tion business? Has it escaped their
attention that thousands of film houses
have gone by the board, and that thou-
sands of others survive only as "mar-
ginal" operations, fighting to keep
their doors open?

The hard-boiled distributor might

say these houses aren't worth saving.
But ask the man who owns one. Ask
the man who has spent a lifetime in
this business and has his whole stake
in the brick and mortar of his theatre.

It does not suffice to reply that this
is a "bleeding heart" plea on behalf
of businessmen who have always cried
wolf. The wolf, we all know, has bat-
tered down many a theatre door in the
past decade. Nor do we appeal to the
film companies to operate their business
as a charity. It's a call for common
business sense and a realization by
film men of the tenuous economic con-
dition confronting many of their cus-
tomers. The alternative could bring
some government agency on the scene
to impose more impractical rules on
the operating procedures of our busi-
ness.

The proposal by Allied States to erect
a massive film buying cooperative must
surely raise a few doubts about its prac-
ticality. Whatever the project's merits,
it was the voice of independent exhibi-
tion raised in anger and some despair.
The idea put forward at the convention
by Wilbur Snaper was born of a hope,
a desperate one, that independent thea-
tremen, acting through their collective
resources, might compel the film sellers
to halt policies that are placing lower-

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 1239 Vine
Street, Philadelphia 7, Pa., LOcust 8-0950, 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Helen Per-
rone, Publication Manager; Norman Klinger,
Business Manager; Robert Heath, Circulation Man-
ager. BUSINESS OFFICE 550 Fifth Avenue, New
York, 36, N. Y., Circle 5-0124; John Ano. N. Y.
Editorial Representative. Subscription Rates:
ONE YEAR, $3.00 in the U S: $5.00
$4.00; Europe, $5.00. TWO YEARS, $5.00
in the U. S.; Canada, Europe, $9.00

grossing theatres in further jeopardy.
Unconscionable and inordinate terms
are being demanded of them by certain
of the film companies, and being un-
able to meet these demands, such thea-
tres are being deprived of some of the
scarce top-draw product available.

It is impossible to fathom the reason-
ing of film executives who fix no-profit
terms for customers. The disbarment
of many lower-grossing, marginal the-
atres from the industry's best product
is a short-sighted policy that can only
have an adverse effect on every seg-
ment of the industry. The theatres lose
revenue, the distributors lose revenue,
the producers lose revenue. And the
public — let's not forget that important
element — are robbed of the privilege of
enjoying a good movie and acquiring
a favorable image of motion picture
entertainment that might encourage
more movie-going.

When the best that the industry has
to offer is concealed from public view
as a result of unrealistic, uneconomic
film terms which ignore the capacity to
pay of thousands of theatres, this is a
form of nose-cutting that spites the face
of our whole industry. Applying harsh
sales terms like a bastinado will not beat
the pack into compliance; it will only
prove costly.

Inflexible percentage terms dictated
by hard-headed home office executives
unconversant with local situations and
aloof from any personal interest in the
welfare of established customers has
become a festering trade problem. It
displays illogical executiveship un-
worthy of multi-million dollar corpora-
tions. We suggest the presidents of the
offending film companies speak to their
general sales managers, and explain to
them that their function is to generate
maximum income. A no-profit policy
for theatres cannot profit production or
distribution.

MO WAX.

Film BULLETIN October 28. 1943 Page 5

The Vieu> tfwtt OuUi<(e

by ROLAND PENDARIS

Our Lagging Showmanship

A friend of mine with 30 years of professional cynicism
about the movies told me the other day about what he regarded
as the most encouraging development for the film business in a
generation. "When they start arguing about censorship," he
said, "it means the public is interested again. It happened in
the early 1920 s. It happened when the depression and the
Legion of Decency looked as though they were going to level
the industry between them. Any time people get that con-
cerned about movies they end up going to see more movies."

There is only one thing wrong with this observation, at
least only one thing of immediate pertinence. The flaw in the
reasoning is that people are "that concerned about movies"
these days. The fact of the matter is that only a few people
axe concerned at all. Only a few people are talking it up.
1 happen to be one of those people. This column has from
time to time expressed my concern over the lack of family
pictures or the occasional over-emphasis on tales of nudity.
In addition, there has been occasion to express concern that the
vast silent and largely non-moviegoing public would become
even less moviegoing because the industry failed to heed the
danger signals. So now we come to the biggest danger signal.

Colleague Adam Weiler was moved to observe recently that
the way for the movies to get a better image is to put more
good films on the theatre screen, which is as true as Gene
Autry's horse. But like Trigger, it doesn't tell the whole story.
Even a good picture needs to be sold. And to sell something
to the public, you've got to make them care. You've got to
have them receptive to moviegoing. The trouble is that not
enough of them read enough about enough movies in enough
newspapers or magazines. Not enough of them care.

This isn't just my opinion. It is obviously the opinion of a
great many editors around the country. Except for the Taylor-
Burton brouhaha, there really isn't a movie star whose breath-
less career rates high in the editors' estimates of reader atten-
tion. If Hedda Hopper or Louella Parsons and company are
being read the way they used to be they certainly aren't being
talked about the same way. When the movie industry complains
that newspaper editors favor television, the thought should
occur that they may be reflecting the tastes of their readers.

M ►

Despite the "nobody cares" premise of this present essay, it
is not my intention to key these observations to a note of
gloom. There's no point in pointing out clouds unless you
know where to find a few silver linings. The continuing dis-
interest in the movies is of course in part a reflection of
increased public interest in other leisure activities. But it is
also a reflection of aggressive marketing competition. And that
is the clue to the silver lining.

Television, bowling, travel — all are ingeniously and con-
tinuously promoted with growing battalions of promotion ex-
perts and growing budgets for ballyhoo activities. Public inter-
est is cultivated assiduously and expertly. I throw no rocks at
the motion picture companies. I think that their publicists are
ingenious, their advertising men wise, their exploitation people
slick — but, in a very real sense, they are all outnumbered.

The movie industry neither has enough promotional per-
sonnel nor spends enough money to compete as it should
against its rivals. Only in the past couple of years, for example,
has the film business made any real use of television as an
advertising medium, a whole entertainment generation after

such other advertisers as the tobacco and soap companies.
(And, if you want to be technical, the biggest advertiser of all
is television itself; if you calculate on rate-card rates, the pro-
motional announcements the various networks make on their
own air add up to millions upon millions of dollars each year.)

►

The motion picture industry used to be the pace setter in
ingenious showmanship ideas. What has happened? When a
company is willing to spend the money, the ideas are still there
ready for mining. But it's rare indeed that a company has a
knowledgeable staff of anything like its 1946 size to do the job
and it's a fact that an even larger staff would be needed today
(there's television now in addition to radio as a news outlet,
for example.)

When I was still in the movie business the advertising
writers of the industry were all openly yearning to move over
to agencies and into regular commercial advertising. Many of
them did. They did so because they felt there was more money
and more creative opportunity outside the movie advertising
field — and this was at a time when the movie industry was at
its peak!

There is no lack of advertising talent in the movie business
today. Indeed, I suspect that the film industry is still function-
ing as a feeder today for the advertising agencies and the
commercial advertisers. And the reason is that motion pictures
themselves are not the advertisers they should be. They don't
create enough different ads, they don't run as many ads as they
might, they limit the scope of their own talents.

In an era when advertising and publicity budgets go up and
up for other businesses, they fail to go up proportionately for
movie companies — which means that in comparative terms they
are going down. If people are less interested in the movies, one
reason is because movie companies apparently are less interested
in interesting people through advertising and publicity. I in-
clude all kinds of advertising and publicity in this charge. I
believe that the average movie advertisement today, for ex-
ample, is being stretched beyond its proper limits. I think
that in too many cases the same basic ad is being used for trade
papers, newspapers and television too. This is fine for theme
material as strong as the "Cleopatra" campaign, but not as a
general rule for every picture that comes along. I believe that
even among trade papers there are differences which might well
be reflected in different advertisements for a picture.

But most of all I believe that motion picture promotion de-
pends upon pounding a point home. You can have the most
ingenious ads in the world, but they have to be seen to be
appreciated. You have to buy the space; if you're a publicity
man you have to finagle it. Either way, in the last analysis,
you've got to keep hitting the public with your message time
and time again. Otherwise you're dead on that magic moment
when Joe Patron and his wife look at the title on the theatre
marquee and say blankly to each other, "I never heard of it."

Advertising and publicity won't do the trick for very long if
the pictures themselves disappoint the public. The final test is
always on the screen itself. But just recently there have been a
couple of pictures which the critics loved but which came into
release virtually unknown. They were dying horribly at the
boxoffice until the critics themselves started beating the pub-
lictiy drums. When the publicity picked up, so did business.

So let's not kid ourselves that news stories about censorship
controversies are a substitute for publicity. Nothing is.

Page 6 Film BULLETIN October 28, 1963

:

Tom Tryon (right) is elevated to a Cardinal by Cardinal Glennon (John Huston)

FILM OF DISTINCTION

'The Cardinal" Will Have Broad Appeal

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on

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Scc4i*e44 Rati*? GOO Plus

Despite religiosity, Preminger production is entertain-
ment, most of it first class, Will be powerful grosser in
heavily populated Catholic areas, but figures strongly
in all markets. Sumptuous production.

"The Cardinal" is a film which commands respect. It faces
squarely, with uncompromising honesty, the great moral issues
of our day, and in the depiction of Church diplomacy and
doctrine it hedges not from controversy. With public interest
in the internal workings of the Roman Catholic hierarchy and
its role in world affairs ever increasing, this Otto Preminger
production, Columbia's Christmas release, is assured of strong
appeal among people of all faiths. Despite its religiosity, it is
basically entertainment, most of it first class.

In the limited number of roadshow engagements scheduled
for several metropolitan cities, it should score hefty grosses for
moderate length runs. In general release, it figures to be a
powerful draw in the areas with heavy Catholic populations.
In the broader, general market, it will do well above normal
business. Sophisticated audiences, however, may decry the sugar
coating that crams this adaptation of Henry Morton Robinson's
bestseller so chock-full of irrelevant sentiment and nostalgia
that some of the characters are robbed of dimensionality and
the narrative of believability.

Even so, "The Cardinal" is an extraordinary achievement.
Preminger's masterly direction keeps the film of constant inter-
est as it moves from Boston to Rome, Georgia, Vienna and
other points, and Robert Dozier's episodic screenplay, covering
two-and-a-half decades, often manages to stir the intellect. The
well-chosen cast offers only minor marquee value, but Tom

Tryon, Viennese actress Romy Schneider, and rising starlet
Carol Lynley all have the makings of important boxoffice
names. Technical credits are without flaw and the film has
been sumptuously mounted in Panavision (70mm for road-
showings) and Technicolor. The musical score by Jerome
Moross, augmented by liturgical works, is discreet and effective.

Dramatically, the greatest heights are reached early in the
story as Tryon, a parish priest, refuses to give his sister (Miss
Lynley) absolution in the confessional for having slept with her
Jewish fiance, driven from their engagement party by religious
bigotry. Unrepentant, Miss Lynley, abandoned by her lover,
sinks to the depths of skid-row depravity. Pregnant by an un-
known man, her life is sacrificed for her child's when Tryon,
forced by religious principals, refuses to condone a doctor's
recommendation of a craniotomy. The intimacy with which
these scenes are presented will disturb all audiences, as will
Tryon's decision, although the film, in a later scene (in which
Miss Lynley reappears as the illegitimate daughter), makes
clear the w isdom of his choice.

In the character of the priest, Preminger also has not com-
promised with reality. Trained and ordained in Rome, Tryon
is pictured as an overly-ambitious, self-centered noviate with
aspirations of power and high office. It is left to John Huston
as Cardinal Glennon of Boston to cut the young priest down
to size. But Glennon, too, is ambitious and one senses in his
at times overbearing autocracy a desire to fulfill through the
younger man his own unsatisfied ambition — greater recognition
of the U. S. hierarcy in Vatican affairs. Huston's portrayal is
sheer brilliance. The noted director, in his first acting assign-
ment, manages to infuse his difficult role with subtly implied,
never stated depths and a wise firmness that makes his place in

( Continued on Page / -/ )

Film BULLETIN October 28, 1963 Page 7

One of the most talented and impor-
tant gents in this business is Mr. Carl
Foreman, who not only knows how to
make good boxoffke pictures, but also
is a man who believes that movies are
a vital part of the American culture.

Mr. Foreman has lectured at Yale
and now contemplates giving talks at
Ohio State University and Northwest-
ern University. His aim, recently an-
nounced, is to develop support for his
advocacy of government subsidy in the
production and exhibition of motion
pictures. He thinks that this type of aid
is the key to survival of the industry.

He feels badly that there are not
more American film festivals like the
one in San Francisco where his new
film, "The Victors" will be the only
American feature exhibited to the cul-
tural buffs of that city.

Furthermore, he would like to see
the government endow post-graduate
schools designed to teach young per-
sons the know-how of making pictures.

Mr. Foreman is a serious thinker and
passionately devoted to the medium.
He believes that more artistry could be
introduced in the industry if the finan-
cial risks were cushioned and if more
creative talent were developed. It's dif-
ficult to argue against such a proposi-
tion and if Mr. Forman and other crea-
tive craftsmen did not have to confront
the ledgers and balance sheets they cer-
tainly could turn in some interesting
experiments.

►

I think Mr. Foreman's case would
be much more impressive if he also
suggested that salaries and participa-
tion deals for producers-directors (like
himself), stars, and writers be made
a little more realistic in view of the
many problems besetting the industry.

I have no idea what Mr. Foreman
has earned from his last five pictures.
I hope his take was substantial, mainly
because he turned in a generally good
job. But he should be reminded that a
fine picture like "David and Lisa" cost
a little under $300,000 and is earning
a substantial profit, despite the fact it
will have a more limited play-off than
more costly films. But "David and
Lisa" was more or less a cooperative,
as well as creative enterprise, and no
one connected with this production had
any concern with figuring out schemes
to lower the tax brackets.

There is no doubt in my mind that
Mr. Foreman is not interested in the
"two swimming pools" standard of liv-
ing and that he could easily adjust his
regimen to a modest income level. The
same would apply to any other crea-

ADAM WEILER

CARL FOREMAN'S IDEAS ABOUT
A SUBSIDY AND NEW TALENT
. . . SHOWMAN J. L. WARNER

tive producer who has a similar zest to
enhance the cultural values of Ameri-
can pictures.

If such talents as Mr. Foreman, who
have excellent track records, really got
together and decided to thumb their
noses at all the hooey surrounding the
making of pictures and formed a tight
little company to do all the things he
advocates (except getting dough from
Uncle Sam), I am confident that we
would get more fine pictures. At the
same time, the plight of the exhibitor
would be greatly relieved, because, as
Mr. Foreman admitted, exhibition, as
well as the other elements of the busi-
ness, is in jeopardy.

If Mr. Foreman established such a
group, he also could do a great deal in
the development of much-needed talent
in the fields of producing, directing,
acting and writing. Such initiative un-
doubtedly would inspire other studios
to do the same constructive type of job.

As a matter of fact, Mr. Foreman
could train talented young persons even
without change of orientation. What
would prevent him from writing into
his deals a clause that would enable
him to do just this and to defray this
additional overhead by subtracting it
from his own share of the picture's
profits?

We need zealous spokesmen like Mr.
Foreman and I, for one, would like to
believe that his extra-curricular think-
ing has made some impression around
the film colony.

In the meantime, Jack L. Warner,
who has always been ahead of the
parade, and who understands the odds
at the gaming table as well as at the
studio, has announced in large ads in
the daily press that "My Fair Lady" is
well under way. Mr. Warner reports
in the ad, "It is obviously no secret
that filming has begun on 'My Fair

Lady' and that for the past weeks we
have been deluged with requests for
all sorts of information about the pic-
ture".

But wait a minute. Mr. Warner
states that he has decided to publish
periodically "a colorful, informative,
highly-readable 'My Fair Lady' news-
letter, directly from the set of the
picture."

Anyone who sends in the coupon can
get this photographic souvenir at inter-
vals until the picture is completed.

In the field of showmanship, this bit
is certainly tops. Mr. Warner is not
one to sit back and assume that "My
Fair Lady", for all its unprecedented,
sensational stage success, is pre-sold.
The recent newspaper ads ran into a
tidy sum, but just think of the interest
generated.

We constantly hear so much talk
about developing a new generation of
showmen. It's about time we pay some
attention and respect to the likes of
Jack L. Warner, who always gives the
impression that he is not as young as
he is going to be.

■< ► ►

Frank Sinatra is a fascinating per-
sonality and performer. Now that he
has been appointed special assistant to
J. L. Warner to consult on all matters
pertaining to Warner Bros, studio op-
erations, the company has acquired an
asset in a protean talent, a record com-
pany and a scrappy little fellow. Once
he made his dazzling come-back in
"From Here To Eternity", Sinatra kept
soaring as a boxoffice attraction until
he reached the stage to justify the
establishment of his own corporate
entity.

Without a doubt, he will find fertile
ground in the Burbank milieu, where
his enthusiasm will find a close affinity
to his inventive boss.

■< ► ■< ►

Spyros Skouras was ahead of his time
when some years back he got hold of
Eidophor, which would have given the-
atres a good jump on large screen,
color, closed-circuit television. And
Nathan Halpern makes sense when he
says that Eidophor could do more than
anything else to beat Pay-TV before it
ever got started.

On the theory that the masses seek-
ing entertainment still like to get out of
the living room and move around a bit,
there is no reason why they won't take
Pay-TV on a large screen in the theatres
rather than indulge in the coin variety
at home. Exhibitors certainly should do
everything possible to join together in
developing such programs.

Page 8 Film BULLETIN October 28, 1943

ALLIED CONVENTION

^Showcase', Buying Pool Aired

Although it showed little in the way
of actual accomplishment, National
Allied's annual confab, a four-day bash
at New York's Americana Hotel, had
enough volatile moments to provide
theatre owners with plenty of food
for thought. The most anticipated and
best attended of the business sessions,
a debate on the "Premiere Showcase"
plan of release, turned out to be a
tepid and fruitless affair made note-
worthy only by the failure of repre-
sentatives from United Artists or 20th
Century-Fox — leaders of the distribu-
ting plan — to attend or contribute to
the meeting. More than a few exhibi-
tors took this as an indication of the
failure of the "Showcase" pattern to
catch on or reap profits.

After a day of registration, get-ac-
quainted activities and partying, con-
ventioneers eased slowly into business
sessions Tuesday (21). In the keynote
address, board chairman Marshall H.
Fine exhorted exhibitors to concen-
trate "vigorously" on the major prob-
lems they could do something about —
bunched up releasing patterns at holi-
day periods and competition from films
shown on television. For the most part,
delegates nodded placidly in agreement,
but when Fine brought up the pos-
sibility of merger with that other
exhibitor organization, TOA, they
snapped to attention. "Most of us, in-
cluding myself, believe that day will
come, be it sooner or later, when this
event will in fact occur." Without
pausing, Fine went on, "But in hon-
esty, and speaking only for the present,
I cannot see how this will benefit
exhibition that much more than the
current system of two fine national or-
ganizations, working closely in mutual
respect and concert, for the same over-
all aims and ideas." Murmers of dissent
were drowned by applause as the meet-
ing quickly swung into the morning's
major addresses on trade practices.

Following a long list of gripes against
distributors who demand too large a
share of the pie and against the canni-
balistic devouring of recent features by
television, former national president
Wilbur Snaper, of New Jersey Allied,
stepped to the rostrum and roused the
delegates with the suggestion that Allied
members pool together to form a
buyers' organization. "With bargaining
power up to $2,500,000 they couldn't
strangle us one by one," he asserted.
Under Snaper's plan, negotiations
would be made for one film at a time
for Allied Theatres. (Brought up again
at later sessions, Allied directors were
at first reluctant to discuss the possibili-
ties, but on Wednesday afternoon, con-
vention chairman Irving Dollinger re-
vealed that a number of attorneys had

Tuesday afternoon's meeting, a ques-
tion-and-answer discussions on the mor-
ning's issues, developed into a sort of
group therapy clinic, until exhibitor
Paul Vogel arose and angrily declared
that he had been hearing the same
speeches for 17 years. "There's a lot
of talk, but no action. Let's do some-
thing about tthis." Before Vogel had
finished his tirade, a lanky, laconic
Jimmy Stewart sort of maverick ambled
toward a center microphone and pa-
tiently waited his turn. Beginning
slowly, shyly, he identified himself as
Kenneth Winograd of western Penn-
sylvania and, apologizing for his lack
of oratorical abilities he plunged into
an eloquent filibuster. "Although I'm
a relative newcomer to these conven-
tions, already I am tired of tears and
threats that we can't — or don't — back
up. Are we or are we not a national
trade organization?" Before anyone had

been consulted and considered the plan
"feasible, with reservations." Dollinger
promised that further action would be
taken on the possibilities of the scheme
and that unit members would be polled
for their opinions.)

On Tuesday, convivial producer-dis-
tributor Joseph E. Levine hosted a
luncheon at which the air of camara-
derie was not completely reciprocated
by his guests, due to exhibitor resent-
ment against the precipitous sale of
such recent Levine product as "Two
Women" and "Divorce, Italian Style"
to television. However, later in the day
it was revealed that Levine has insti-
tuted a "5 year delay" on TV release
for his current product and, for this,
the showman was given a hearty round
of applause.

a chance to answer, he continued,
"Could it be that we can't accomplish
our primary purpose because we repre-
sent only a small portion of exhibitors?
Maybe the time has come to seriously
explore a merger with TOA. Not hat
in hand, but an honest hand in hand
endeavor."

Some delegates nodded approval,
but on the dais the suggestion was
met with cool silence. Winograd con-
tinued: "It is time to rid ourselfs of
disunity and to adopt sound practices
of the business world." Concluding, he
opined that "most distributors' policies
are made on the assumption that we are
fools who fight with each other. Now
is the time to show them that we are
not."

Silencing the applause. Chairman
Dollinger responded quickly and in-
cisively. The exhibitor's rem. irks, he

(Continued on Page 10)

Surprise pitch far TOA merfi€>r

Film BULLETIN October 28. I?43 Page ?

ALLIED CONVENTION

(Continued from Page 9)
declared, were completely out of order.
"This is not the proper time nor the
place to bring up such subject," Dol-
ling reprimanded. As the afternoon's
session wore on, exhibitors, most of
them long-time Allied members, par-
aded to the microphone with so many
words of praise for the organization
that finally, about 4:30, Dollinger re-
marked, perhaps with unintended
irony, "I never saw such a happy
bunch of victims in my life."

At Wednesday morning's session,
Charles E. McCarthy, executive vice
president of COMPO, spoke of his
organization's aims in making the pub-
lic more aware of the Bill of Rights
and of threats against its basic free-
doms. Exhibitors talked on their thea-
tre's role in community relations, mod-
ernizations, and gimmicks that could be
used to attract patrons. Bob Solomon,
of Solomon Adverising Agencty in
Detroit, offered exhibitors an example
of what could be done with ad-agency
and distributor cooperation. With the
aid of color slides, he outlined a suc-
cessful multiple first-run campaign con-
ducted by a group of independent sub-
urban theatres.

SELL PICTURES-FERGUSON

However, it was the address given
by Hank Pollack of Wisconsin that
apparently caused outspoken Robert
Ferguson, Columbia vice president in
charge of advertising and publicity, to
junk his prepared speech and ad-lib a
rebuke to exhibitors who fail to take
advantage of distributor know-how.
What ired Ferguson most was Pollack's
comments on TV trailers, so poor, ac-
cording to the exhibitor, that he often
was forced to compile new ones from
stills. Ferguson defied anybody to pre-
pare better trailers than those available
from Columbia. Stating that merchan-
dising is only a Madison Avenue word
for "showmanship," he pointed out
that it requires keen training and ex-
tensive work. "I've been at a lot of
these meetings, but Eve not met many
of your merchandising or advertising
people. My conclusion is that you don't
have them. But, you gentlemen some-
times don't realize that you can't
change ads overnight, or that if you
put 'Parking at Joe's' in the right hand
corner you are killing an ad."

The Columbia exploitation chief
went on to praise Solomon's campaign

in Detroit and suggested that "maybe"
ad agencies should pick up the jobs
that exhibitors are too busy to do. "I
can hear you say I can't afford it. I
say that you can't afford not to." He
expressed the belief that many top-
calibre men could be obtained on a
part-time basis from the staffs of local
high schools or colleges. In conclud-
ing, Ferguson pointed out that he had
heard much about selling customers
on theares but not a single word on
selling pictures. "We are spending a
fantastic amount to sell a particular pic-
ture. Yet when we sell a film to 12,000
theatres only 4,000 take trailers. Now
we (the distributors) ask something of
you. Your theatre has the responsibility
"to let the public know where that
picture is playing."

At a luncheon sponsored by Ameri-
can-International Pictures, its two
youth-minded leaders, president James
H. Nicholson and vice-president Sam-
uel Z. Arkoff, spoke briefly and with

Leading off the final day's session on
Thursday was the "Premiere Show-
case" debate. Moderator Wilbur Snaper
made it clear from the outset which
side he was on and at one point re-
marked "If all theatres went 'Show-
case' you'd have the damnedest mess."
He also charged that with "Premiere
Showcase" attractions there is no rela-
tionship between the value of a picture
and the terms by which it is offered to
exhibitors.

Favoring the plan, Brooklyn inde-
pendent exhibitor Sam Horwitz said
that "Showcase" was a logical out-
growth of the public's move to the
suburbs and that it resulted in increased
business and enhanced good will by
making major pictures available to
local areas the same time they play
Broadway. "The exhibitor gains busi-
ness, is able to charge higher prices,
and his increased profits can be chan-
neled into improving the physical con-
dition of the theatre." He also declared
that it gives sub-run theatres a larger
choice of product, enabling them to
reject poor product that has failed on
the major circuits in favor of "Show-
case" pictures on either first or second
runs.

Meyer Ackerman, independent opera-

optimism on the future of motion pic-
tures. However, even while waiters
were clearing off the tables, a note
of pessimism was injected by independ-
ent producer Ely A. Landau. Declaring
that motion pictures were the greatest
"wasteland" in the entertainment world,
he decried that almost unbelievable
"lethargy, callousness, resignation, hide-
bound tradition, lack of innovation and
forward thinking, and bandwagons-
manship" that charactersizes the film
industry. Landau urged exhibitors to
analyze, experiment and discover what
will bring people back into theatres.

Also speaking at the afternoon ses-
sion was Paul N. Lazarus, Jr., execu-
tive vice president of Samuel Bronston
Productions, who ballyhooed spectacles
and roadshow attractions as the back-
bone of the industry. He also predicted
that independent producers will devel-
op new methods of bringing films to
the marketplace.

tor of a number of New York area
theatres, took the negative, character-
izing the plan as "how to secede from
business without really trying." He
charged that "Showcase" was offered
to exhibitors pre- formed, poorly con-
ceived, and based on the principal of
fewer theatres and longer runs. "The
'Premiere Showcase' plan, as projected
today", Ackerman declared, "would
destroy the time-tested audience-
proved system of released and distribu-
tion by new systems neither approved
nor accepted by customers, thereby de-
stroying the image of the neighborhood
playhouse. What happens to the weekly
moviegoer driven away from his favor-
ite theatre by runs lasting three or
four weeks, sometimes even longer?"

Many films that would ordinarily
play as second features were released
as "Showcase" attractions at top terms
and were forced on patrons at higher
prices in second-run houses, according
to Ackerman. The plan's cornerstone
is blind bidding he said. "Its form of
'big chair buying' is an open invitation
to place exhibitors at each others'
throats." He also charged that the
"Showcase" plan "aggravates the or-
derly flow of release and deprives the
exhibitor of the responsibility of run-
ning his own theatre by dictating the

Praise and pan far %Shawease' plan.

Page 10 Film BULLETIN October 28, 1943

ALLIED CONVENTION

AWARD TO AIP HEADS. Allied's Producer of the Year Award
went jointly to the two chief executives of American Interna-
tional Pictures, James H. Nicholson and Samuel Z. Arkoff.
Above, at the Awards luncheon: convention chairman Irving
Dollinger, Allied president Jack Armstrong, Arkoff. Nicholson.

amount, manner and media of adver-
tising.-'

Both Ackerman and moderator Sna-
per concurred that the plan creates
labor union problems and that it has
unsettling affects on theatre grosses and
runs. Snaper revealed that "even the
Department of Justice has stuck its
nose into this" with personal inquiries
on the matter. Although other exhibi-
tors at the convention seemed intensely
interested in the debate, few of them
had had experience with "Showcase".
There was widespread disappointment
that no officials of United Artists or
20th Century-Fox, the first companies
to utilize the release pattern, were pres-
ent to clarify the many cloudy issues.

George Stern of Pittsburgh, who has
had limited experience with the "Show-
case" scheme, voiced the opinion that
"the best plan would be to cooperate
and see what happens." He expressed
the fear, however, that it would encour-
age blind bidding. Another exhibitor
who had played "Showcase" product,
Sid Cohen of Buffalo, revealed that
in his area there was no bidding, even
with such product as "The Great
Escape" and "Dr. No," but that while
he was doing "quite well" with these
features, his opposition was breaking
records with "blockbusters" like "Mu-
tiny On The Bounty" and "The Long-
est Day" — films which Stern was offered
but had to pass up because of "Show-
case" commitments.

ARMSTRONG HITS PLAN

Allied president Jack Armstrong of
Ohio attacked the plan as "destroying
runs and gobbling up playing time at
a period when we need orderly flow
of product," and Alden Smith of De-
troit contended that, while big thea-
tres can take care of themselves, "you
in the lower groups can't exist if this
'Showcase' idea spreads."

It was up to Edith Marshall, opera-
tor of five theatres in the Bronx, to
sum up the feelings of most delegates,
however. "We have to give it a chance.
Right now we feel that if it's good for
our situations then the plan is great.
If not, it's bad." From her own ex-
periences with "Showcase" product,
Miss Marshall reported increased pro-
fits, but feels that there is still room
for improvement, since often the films
are undersold by breaking too fast.
"When 'Premiere Showcase' can settle

down to a slower, better planned pat-
tern utilizing glamour, anticipatory sus-
pense, and a timing that suits the value
of the picture, we will be better able
to judge its potential."

The meeting was adjourned for the
1963 Allied Awards' luncheon, spon-
sored by National Screen Service.
Named as producers of he year, AIP
chiefs James H. Nicholson and Samuel
Z. Arkoff praised exhibitors for their
cooperation and Nicholson remarked
that "we could not be successful with-
out the friendships we have in this
room." Their motto, he declared, is
"How to Succeed in Business Without
Really Crying." Also at the luncheon,
Mel Gold, National Screen Service
general sales manager, unveiled (with
the aid of three comely lassies) the
company's new line of theatre acces-
sories for the Christmas-New Year's
season. Henry "Hi" Martin, Universal
general sales manager, presented to
Sidney J. Cohen, president of Allied
Theatres of New York, an award for
his efforts on behalf of the Will Rogers
Hospital and O'Donnell Research Lab-
oratories at Saranac Lake, N. Y.

At the final business session, Nicolas
Reisini, president and board chairman
of Cinerama, took a look into the fu-
ture and urged exhibitors to "be daring"
in order to "co-exist" with both free
and pay TV. Saying that exhibitors
have "introduced only two new things
to the Exhibition Art — popcorn and
air conditioning," he urged them to
consider wall-to-wall screens, one-color
schemes that would not clash with
women's fashions as most gaudy, dis-
cordantly lighted theatres of today do,
and new architectural schemes such as
Cinerama's geodesic dome form. Fol-
lowing Mr. Reisini's address, geodesic
dome architect John McNamara ex-
plained the "in-depth" concept of the
form. In response to a question from
the floor, he revealed that "it would
not be practical to convert conventional

theatres to dome installations."

Closed-circuit television came in for
an airing by Nathan L. Halpern, presi-
dent of Theatre Network Television,
Inc. He envisioned the theatre of to-
morrow as supplementing movie fare
with "special" entertainment events,
industry and political meetings, and
scientific and educational seminars on
a global basis via satellite communica-
tions.

BRANDT HONORED

The convention was climaxed on
Thursday evening by a banquet, spon-
sored by Coca Cola, at which Harry
Brandt, president of Independent Thea-
tre Owners of New York, was honored
as "Showman Of The Year." In ac-
cepting the award, Mr. Brandt charac-
terized the motion picture industry as
"the greatest in the world" and pointed
to its many charitable endeavors, un-
surpassed by any other business in the
world. Mayor Robert F. Wagner took
a few moments out from trying to
settle a local milk strike to give a brief
tribute to showman Brandt. Entertain-
ment was supplied by an all-star stage
presentation, "A History Of The
Movies," written and produced by Mor-
ton Sunshine.

In a closed meeting, all officers of
the Allied States Association were un-
animously re-elected by the board of
directors, and William M. Wetsman,
Detroit, was selected as a vice president
for the first time. Incumbent officers
are Jack Armstrong, president; Marshall
H. Fine, chairman of the board, Ben
Marcus, chairman of the executive com-
mittee; Milton H. London, executive
director; George Stern, James L. Whit-
tle, Harrison D. Wolcott. \ ice presi-
dent; Edward E. Johnson, secretary;
Harry B. Hendel, treasurer. Mr. Wets-
man will serve as chairman for 1964 s
convention to be held at Detroit, Octo-
ber 19 to 22.

Film BULLETIN October 28, 1963 Pag* 11

TREE' MEN TAKE NOTIEE DF PAY THREAT

Pay-TV Runs Counter to i*ubliv Interest — Seville

(Continued from Page 4)

will be privileged to pay for games
that are now free attractions elsewhere.
If successful, this will encourage base-
ball owners in other cities to switch
from free to pay-TV. The cycle that
built the free television system would
suddenly be thrown into reverse. As
their key programs and stars slipped
away, the networks would find their
audiences falling off. This loss of cir-
culation would lead advertisers to cur-
tail their television expenditures, which
in turn would further weaken the eco-
nomic foundations of the networks.
One of the first results would be a
sharp reduction in the live coverage of
events, news programs, and special in-
formation and cultural programming
which, as we have seen, are now sup-
ported to a major degree by the ad-
vertising income from more popular
attractions.

Promise of 'Highbrow' Stuff

Would any of this informational and
cultural loss be replaced by the pay-TV
systems? Well, the promoters of pay-
TV have made much of its potential
for such offerings. One leading pay-TV
executive has promised what he de-
scribes as the "highbrow" stuff — the
best of the Met, the Vienna State Or-
chestra, La Scala Opera, Sadler's Wells
Ballet, the Bolshoi Ballet." These at-
tractions, which have occasionally ap-
peared on free television, are by no
means suited to the economics of pay-
TV, whose operators would be driven
by the necessity to make their huge
investment pay off. They would hardly
be expected to give expensive facilities
to a Menotti opera or a Bolshoi Ballet
when they know that a Kim Novak
movie or a Bob Hope variety show or
a DR. KILDARE would attract ten times
the number of viewers and revenue. Ex-
periments in pay-TV have shown that,
while "The Consul" received only a
six per cent tune-in of subscribers and
a piano recital only two per cent, the
movie "Notorious Landlady" drew 58
per cent and the "World of Suzie
Wong" drew 63 per cent. The lessons
of these experiments would scarcely be
lost on businessmen as enterprising as

those who are preparing for pay-TV.

Informational programming would
fare even worse. In pay-TV's toll
booth there would be scant room for
costly news departments like those of
the networks, or for coverage of con-
ventions, elections and space flights, or
for religious and cultural programs,
none of which is economically self-
sustaining. Unlike today's networking,
where a total comprehensive balanced
schedule is presented, the economics of
pay-TV are similar to those of the
motion picture business. Each presenta-
tion would be produced to stand or
fall on its own economic feet and
each producer would aim for a profit
on his particular show. We could ex-
pect from pay-TV about as many docu-
mentaries as we have seen in the past
from the Hollywood film studios. In a
neat reversal of the current trend,
popular entertainment would no longer
support information programs, it would
supplant them.

Now what about the thesis that pay-
TV would make programs available
without commercials. In the first place,
even though this argument is used in
trying to get subscribers, pay-TV pro-
moters have been very careful not to
make any such commitments for the fu-
ture. Moreover, we know that when
and if pay-TV ever reaches the one
million mark, major advertising agen-
cies fully expect that they will be able
to use this medium. The explanation
is simple. If by sponsorship a program
can be offered to subscribers for 50
cents rather than $1, the pay-TV opera-
tor may be able to expand his audience
and his revenue. And probably like
the experience of "The Reader's Digest,"
when it started accepting ads in lieu of
increasing its subscription rates, few
subscribers would seriously object be-
cause their own outlays would be re-
duced.

Who Could Afford It?

For all these reasons we at NBC be-
lieve that pay-TV would run directly
counter to the public interest. American
viewers, who have spent some $20 bil-
lion for their television receivers, would

find that their vast investment to receive
a free service was being employed to
their disadvantage. The overwhelming
majority — perhaps 90 per cent — of
viewers who could not afford pay-TV,
would be out of the service area of
w ired systems, would be disenfranchised
of any but the most ineffective and un-
rewarding of television services. The
minority who could afford pay-TV
would find not only that they were
being deprived of informational and
cultural programming, but that they
are paying for many popular attractions
they had once received free of charge.
Very little, if anything, in the way of
new program attractions, especially in
the cultural field, is likely to be pre-
sented. And in the end economic pres-
sures would almost certainly bring the
"sponsor's message" to pay-TV.

Networks Would Go 'Pay'

If pay-TV should ever reach a point
where it posed a tangible threat to the
survival of the networks as we know
them, NBC would have no alternative
but to enter the field. We believe that
our facilities, our skilled personnel, our
financial resources, our knowledge of
networking and our experience with
programming and talent would make
us an important competitor in this field.
And if pay-TV is even half as profit-
able as some television promoters pro-
ject, it could be a far better business
for us than networking is today. At the
same time I feel we can predict with
confidence that NBC will not be forced
into such a move.

We are convinced that pay-TV will
not succeed. We believe that the Amer-
ican viewing public, which in the long
run will determine the issue, will reject
the idea of converting a medium oper-
ating in the public interest to one
solely dedicated to private profits; a
medium for all Americans to a diver-
sion for the privileged few. We are
confident too that those who are im-
patient with television as it is will come
to realize that the way to better pro-
gramming is not through pay-TV, any
more than the way to better reading is
to convert the public library into a
bookstore.

Page 12 Film BULLETIN October 28, 1963

MERCHANDISING

EXPLOITATION DEPARTMENT W

RKO Circuit Sparks 'Sammy Lee',
Adds 'Violent', Plots Big Campaign

Anthony Newley, star of "The Small Violent World of
Sammy Lee," addressing RKO' merchandising meeting.

How much difference can the addi-
tion of one word in the title of a film
make to the movie-goer? The answer
is — plenty! At least the showmen of
RKO Theaters believe so.

In a massive promotional effort, the
circuit has changed the title of "The
Small World of Sammy Lee" to "The
Small VIOLENT World of Sammy
Lee" — with an additional tag line,
"Small-Time Hustler". Regarded orig-
inally an art house film, RKO thus
hopes to open up a wider market by
thus titling the film to appeal to the
general trade.

RKO vice president Matty Polon
told a merchandising meeting of the
circuit's management staff that exploita-

tion, and promotion (including an in-
centive of cash prizes for the RKO
theater managers who put on the best
campaign), they hope to make
SAMMY LEE "a household word".
Edward S. Feldman, vice-president in
charge of advertising and publicity for
Seven Arts (distributor of the film),
and RKO president Harry Mandel ex-
pressed optimism about the campaign.

The film, starring Anthony Newley,
star of "Stop the World, I Want To
Get Off", opens Wednesday (30th)
on the entire RKO New York circuit.
The campaign features extensive radio,
TV and newspaper coverage, teaser
ads, unusual theater fronts, radio trans-
criptions to be used in the lobbies and
merchant promotion.

CoL Aims "Yum Yumm at Stwlvnts

Robert S. Ferguson, Columbia Pic-
tures vice-president and promotion
chiefs has announced that more than
3,500,000 students in 170 of the best
colleges and universities throughout
the U.S. will see in their campus news-
papers a large and lighthearted text-
and-pictures ad written in "campus
language" and called "From Campus
to Campus — from Coast to Coast —
They All Love That Yum Yum," pub-
licizing "Under The Yum Yum Tree".

In addition to the surface advertis-
ing, Columbia is instituting a word-of-
mouth campaign with a series of sneak
previews. These are designed to expose
the film to opinion makers in 40 major
markets. Set to break from 10 to 14
days prior to the scheduled openings,
prominent local citizens will be invited
to these "red carpet" previews. They
will include civic officials, college and
university administrators, campus lead-
ers and student government heads.

Rosenfield Promises
Aid to Theatremen

In order to back up their opinion
that distributors "have too often failed
to give exhibitors the practical, mean-
ingful materials to enable a successful
promotion," 20th Century-Fox is de-
termined to give theatremen all pos-
sible assistance in exploiting "Take
Her, She's Mine."

Jonas Rosenfield, Jr., vice-president
and director of advertising-publicity-
exploitation, said, "We are packaging
the sort of merchandising program (to
the tune of $5,000 plus per theatre)
and leadership that Fox intends to give
to exhibition hereafter."

In a tie-in with Ingenue magazine,
5,000 news releases about the award
have been mailed to high school edi-
tors and faculty supervisors through-
out the country. Fox is also making
available 500,000 cosmetic kits, con-
taining an assortment of perfumes and
cosmetics from prominent manufac-
turers, for distribution via radio and
TV promotions.

As an integral part of the exploita-
tional package, Fox has instituted area-
wide ballad-singing contests, with each
theater staging its own immediate com-
petition and culminating in a final con-
test covering the metropolitan area.

Other speakers at the showmanship
session were sales chief Joseph M.
Sugar, ad director Abe Goodman, crea-
tive advertising consultant William
H. Schneider, and Jerry Berger.

Joseph M. Sugar, 2()th-Fox vice-president,
and Century Theatres executive Martin New-
man admire lobby display for "Take Her.
She's Mine" at recent merchandising meeting
for New York exhibitors.

Film BULLETIN October 28. 1 963 Page 13

The Incredible Journey"

Su&UeM, *Rati«? ©GO

Disney has "sleeper" in this exciting live-action animal
adventure. Good holiday attraction for family, action
trade.

Walt Disney has a good boxoffice contender for the Thanks-
giving holiday — a blue ribbon adaptation of Sheila Burnford's
tribute to animal courage. By Disney standards, this as yet un-
heralded film is a "sleeper", for it undoubtedly will take its
place among the master's timeless favorites, perhaps his first
live-action story to so succeed. The millions, adults and children
alike, who cherish Miss Burnford's endearing bestseller, will join
those meeting the Labrador retriever, bull terrier, and Siamese
cat for the first time in responding with laughter and tears to the
trio's incredible journey. In addition, this handsomely mounted
Buena Vista release has captured in Technicolor both the
rugged grandeur of the Canadian Rockies and the awesome,
ever-threatening perils that its beauties conceal. Director Flet-
cher Markle has worked wonders with his three four-legged
stars and with three disarmingly natural moppets who make
brief appearances. Ex-cowboy star Rex Allen supplies an effec-
tive narration. The screenplay by James Algar, who also co-pro-
duced with Disney, closely follows the original story of the
three family pets who, left in the temporary care of a friend,
believe they have been abandoned and embark on a 250-mile
journey across the wilderness to get back to their original home.
Luath, the retriever, is the headstrong leader. Old Bodger, the
aging bull terrier, tries to hide fears that he is too weak to com-
plete the journey, but he is unable to fool Tao, the sensitive
Siamese, who brings food and consolation to him and tires to
slow down their young leader. Although they encounter many
perils, the friends are separated only once when Tao is caught
in swirling river rapids. Rescued by a lonely Finnish girl (Syme
Jago), the furry creature soon catches up with her companions.
Throughout the rugged trek, never is the film marred by vio-
lence or brutality that might prove frightening to younger chil-
dren. After all hope for the animals' return is lost, a bark, a
meow, and a weary woof heralds a reunion with loving young-
sters (Marion Finlayson, Ronald Cohoon) in a scene that will
leave few among the audience dry-eyed.

Buena Vista. 80 minutes. Narrated by Rex Allen. Produced by Walt Disney and
James Algar. Directed by Fletcher Markle.

"Twice Told Tales"

'Su4itte44 "Rating Q Plus

Ineptly produced horror trilogy. Vincent Price provides
mild marquee value, but reception will be poor.

Moviegoers not familiar with the works of Nathaniel Haw-
thorne may mistake the title, "Twice Told Tales", for an admo-
nition of overly-familiar screen fare. It's just as well, for the
venerable old story teller has been treated most foully in this
inept trilogy, only one of which was culled from the title work.
Vincent Price offers mild boxoffice allure for this United Artists
release to be assured scattered bookings in drive-ins and action
houses, but public response will not be encouraging. Price hams
it up in three villainous roles, while the supporting cast, con-
sisting of usually reliable performers, appear to be reading their
lines from cue-cards. Written by Robert E. Kent in comic book
style, and directed in haste by Sidney Salkow, Kent's Techni-
colored Admiral Pictures production is further marred by crude
special effects and by shoddy camera-work which permits a mic-
rophone to dangle over a tombstone. "Dr. Heidegger's Experi-
ment," from the title work, has Price and Sebastian Cabot suc-

cessfully performing rejuvenation experiments on themselves
and, later, bringing back to life sexy Mari Blanchard, dead for
nearly four decades. Jealousy leads the two men to fight and
their life-giving formula is accidently destroyed. Before then
can whip up a new batch, poor Miss Blanchard decomposes and
Price and Cabot expire, withered old men. "Rappachini's Daugh-
ter" presents Price as a mad scientist who has doctored his
daughter (Joyce Taylor) into a poisonous vegetable so that no
evil can harm her. Alas, pure-minded Brett Halsey develops an
antitode to act on her venomous veins, destroying, in its appli-
cation, himself, the poison, and the girl. A remorseful Price
kills himself, but he reappears in the final offering, a bowlder-
ized variation on "The House Of The Seven Gables." Price, the
last of a cursed family, will stop at nothing to find a treasure
hidden in the cellar. He even buries alive his pretty bride
(Beverly Garland) in a tomb with a family skeleton, but she is
rescued by Richard Denning who takes her from the house just
before it crumbles down about the evil Price.

United Artists. 119 minutes. Vincent Price, Sebastian Cabot, Brett Halsey, Beverly
Garland, Richard Denning, Joyce Taylor. Produced by Robert E. Kent. Directed by
Sidney Salkow.

"THE CARDINAL"

(Continued from Page 7)

high office seem understandable, even inevitable.

When Huston obtains a post in the Vatican diplomatic corps
for the young priest Tryon refuses and tells him that he intends
to leave the priesthood because he is unable to reconcile his
responsibility for his sister's death with his vocational call. The
Cardinal persuades him to take a year's leave of absence before
making a final decision. During the sabbatical, Tryon falls in
love with a Viennese student, Romy Schneider, and after
months of idyllic romance, he is once again forced to make a
major decision. This time his faith is secure and he returns to
Rome convinced of his calling.

Soon he becomes immersed in the problems of an American
Negro priest (Ossie Davis) whose church has been burned by
the Ku Klux Klan and his efforts on behalf of his countryman
results in his promotion to rank of Bishop. With his new
power, he is sent to Vienna to try to persuade the Viennese
Cardinal (Joseph Meinrad) to withdraw his support of the
Nazis, but the Cardinal does not see the errors of his ways
until religious riots break out throughout Austria. With Europe
on the eve of World War II, Tryon is appointed a Cardinal
and is reassigned to the United States. He pledges himself to a
never-ending fight to unify the Church and to promote relig-
ious and political freedoms.

Throughout the story there are numerous subplots, many
of them little more than vignettes, and it is here that the film
fails most often as drama. Burgess Meredith's portrayal of a
kind-hearted, fatally ill priest, who considers himself a failure
in his calling, is marred by excessive maudlinity, as is the role
given Jill Haworth as the selfless high-school girl who serves
him. Murray Hamilton as a Ku Klux Klansman seeking for-
giveness for his violent acts appears in a tasteless and treacly
episode that provides jarring contrast to the film as a whole,
and a musical interlude by Bobby Morse and his "Adorabelles"
is both unnecessary and mood destroying. In small roles, Raf
Vallone and Tullio Carminati as Vatican Cardinals; Cecil
Kellaway, a Boston priest; John Saxon, the Jewish fiance, and
Dorothy Gish, Cameron Prud'Homme, Bill Hayes, and Maggie
McNamara, members of Tryon's family, provide fine and varied
portrayals.

Columbia. 175 minutes. Tom Tryon, Romy Schneider, Carol Lynley, Jill Haworth,
Raf Vallone, John Saxon, Josef Meinrad, Burgess Meredith, Ossie Davis, Dorothy
Gish, Tullio Carminati, Maggie McNamara, Bill Hayes, Cecil Kellaway, John
Huston, Bobby Morse. Produced and directed by Otto Preminger.

Page 14 Film BULLETIN October 28, 1943

I:

h
k
k

I

"Under the Yum Yum Tree"

Satinet* &<Ui«$ O O Plus

Sour lemmon vehicle will disappoint his fans. Sexy com-
edy just never jells into good fun. Exploitable, but word-
of -mouth will be unfavorable.

Underdeveloped and weary though it is, there is enough box-
office power in star Jack Lemmon for this sex-farce to register
above-average grosses in metropolitan non-action situations, but
not in class markets. Columbia's showmanship may get it off to
a good start, but word-of-mouth will drag it down in short
order. Lemmon squeezes all the juice he can out of the seedy
role of a lecherous peeping torn, but the character is so unsym-
pathetic that it is certain to disappoint his many fans. His major
support, Carol Lynley and Dean Jones, aren't much help either.
As a college couple living together and trying to decide whether
or not to "yum yum" before marriage, they appear so naive as
to make the problem thoroughly rhetorical. There are some
bright spots though when Imogene Coca and Paul Lynde cavort
as house servants, and Edie Adams gets in some good licks as a
marriage counsellor who has never had a successful marriage.
The Frederick Brisson-David Swift production has been slickly
mounted and prettily photographed in Eastman color by Pathe,
but the screenplay by Lawrence Roman and David Swift, from
Roman's play, lacks sophistication and wit. Swift's direction
belies his name and is so exaggerated that it weakens much of
the intended humor. Lemmon is the proprietor of "The Cen-
taur," an apartment development tenanted entirely by young
women, all victims of his amatory oowers. When Miss Lynley
and her roommate rent the apartment vacated by Miss Adams,
Lemmon naturally assumes that she is sharing the flat with an-
other girl. Entering the apartment with a pass key, he finds
Jones in the shower and learns of the couple's "compatability
without sex" experiment. Determined to get rid of his rival,
Lemmon devises a series of feverish activities that will keep
Tones too tired to even think of sex. While Jones is sleeping,
Lemmon will make his conquest. Drunkenly peering through
windows and keyholes, he finally spies Miss Lynley in an alco-
holic stunor and seizes his opportunity. His victim turns out to
be Miss Adams who had returned to the aoartment to guard the
innocent Miss Lynlev's honor. |ones finds the landlord in Miss
Lynlev's bed and assumes the worst. After all the misunder-
standings are cleared, everybody — even his maintenance staff
(Miss Coca, Lynde) — walks out on Lemmon. However, the
incurable rogue is already at work plotting the downfall of his
next victims — a busload of pubescent schoolgirls.

Columbia. I 10 minutes. Jack Lemmon, Carol Lynley, Dean Jones, Edie Adams. Pro-
duced by Frederick Brisson and David Swift. Directed by David Swift.

"Any Number Can Win"

Sudutett 1Qati*t4 O O Plus

Taut, engrossing "Rififi"-type crime thriller from France.
Will please art, class and action audiences.

Jean Gabin and Alain Delon bring new freshness to an <>ld
("Rififi") theme as they mastermind a billion franc robbery in
this taut French thriller guaranteed to win wide favor with art
house and class patrons. In dubbed form, this M-G-M release
will serve as an above-average booking in metropolitan markets,
particularly action houses, and a satisfactory dualler in the gen-
eral market. The casino at Cannes is the objective of the heist
so audiences are afforded an eye-filling view of the resort's
most famous wonders — the bikini-clad beauties, and Jacques
Bar's plush production exudes an intriguing aura of decadent
wealth not unlike that found in "La Dolce Vita." Under Henri
Verneuil's able direction, the screenplay by Verneuil, Michel

Audiard, and Albert Simonin (from John Trinian's novel) never
gets in the way of the action and moves slickly along a familiar
path until its sudden, surprise climax. Gabin, the aging, tired
con-man, and Delon, youthful and agile, complement each other
beautifully. When the elder evolves the plan, he realizes that he
needs a younger man to carry out the more strenuous facets of
the operation and selects ex-prison mate Delon. The younger
man brings to the scheme some ideas of his own and also strikes
up a romance with Carla Malier, a member of the casino's bal-
let troupe, so as to learn the location of a backstage trap door
to the roof. On the evening of the robbery, Delon enters the
roof through the trap door then slithers through an air condi-
tioning shaft to an elevator which leads to the vault. The heist
accomplished, the vain Delon statches the money and then re-
turns to the casino for a night of merry making. Gabin deplores
the youth's impulsiveness and daring and warns that it may
lead to their downfall. Delon, in turn, considers his associate a
senile old fool. Each, unsure of the other's abilities, nervously
waits out the final moments before the treasure can safely be
taken from the resort.

M-G-M. 112 minutes. Jean Gabin, Ahin Delon. Produced by Jacques Bar. Directed
by Henri Verneuil.

"Cry of Battle"

Some good action, but story weakness will hold it down
to lower slotting. Van Heflin mild marquee asset.

Action-charged battle scenes will help this modest wartime
melodrama achieve fair success in action markets, but elsewhere
the Allied Artists release is too vapid and unmotivated to rise
above lower-slot bookings in the general market. Van Heflin,
Rita Moreno and James MacArthur offer mild boxoffice value
but fail to rise above their material. To its credit, this Petra-
monte Production, shot on-location in the Philippines, has fine
technical assets, and director Irving Lerner has supplied some
interesting, if arty, touches, especially in a rape scene enacted
in a pig-stye. Producer Joe Steinberg apparently intended to
present a philosophic portrait of the ugly American (Heflin) on
foreign soil, stressing his bigotry, false national pride, and lack
of conscience, but Bernard Gordon's screenplay (from a novel
by Benjamin Appel) is so cliche-ridden that Heflin emerges only
as a brutish bore, while Miss Moreno and MacArthur, the forces
of good, seem no more than a couple of not-too-bright kids. The
story opens with Japanese attack on Pearl Harbor. MacArthur,
the immature son of an American tycoon, is rescued by the Phil-
ippine underground and is hidden in a native shack. He is about
to adjust to his new life when Heflin, a soldier of fortune, turns
up, rapes a native girl, and then induces his countryman to run
away with him, reasoning that they must stick together because
anything foreign is enemy. Togetherness becomes increasingly
difficult as Heflin murders and massacres his way across the
countryside, then lays aside his prejudice long enough to bed-
down with Miss Moreno, a native guerrilla girl in love with
MacArthur. After a series of ideological arguments, guerrilla
battles, and fights over Miss Moreno's freely-given favors, Mac-
Arthur realizes that her promiscuity was her onlj means of sur-
vival, and, rising to manhood, he puts an end to Heflin's nefari-
ous activities with a bullet.

Allied Artists. 99 minutes. V-n Heflin, R'ta Moreno. James MacArthur. Produced
by Joe Steinberg Directed by Irving Lerner.

Film BULLETIN October 28. 1 963 Page 15

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

June

55 DAYS AT PEKING Technirama, Technicolor.
Charlton Heston, David Niven, Ava Gardner, Flora
Robson, Harry Andrews, John Ireland. Producer Samuel
Bronston. Director Nicholas Ray. Story of the Boxer
uprising. 150 min. 4/29/63.

August

GUN HAWK, THE Rory Calhoun, Rod Cameron, Ruta
Lee, Rod Lauren. Producer Richard Bernstein. Direc-
tor Edward Ludwig. Outlaws govern peaceful town of
Sanctuary. 92 min. 10/14/63.

September

CRY OF BATTLE Van Heflin, Rita Moreno, James Mac-
Arthur. Producer Joe Steinberg. Director Irving Lerner.
Three people caught in vicious guerilla war.

SHOCK CORRIDOR Peter Breck, Constance Towers,
Gene Evans, James Best, Hari Rhodes. Producer-direc-
tor Samuel Fuller. A Leon Fromkess-Sam Firks Produc-
tion. A suspense drama. 101 min. 7/22/63.

October

WAR IS HELL Tony Russel, Baynes Barron, Judy Dan.
Producer-director Burt Topper. Korean War story.

November

GUNFIGHT AT COMANCHE CREEK Color. Panavision.
Audie Murphy, Ben Cooper, Colleen Miller, DeForrest
Kelly, Jan Merlin. Producer Ben Schwalb. Director
Frank McDonald. Private detective breaks up outlaw
gang.

STRANGLER, THE Victor Buono, David McLean, Davey
Davison. Producers Samuel Bischoff, David Diamond.
Director Burt Topper.

YEAR OF THE TIGER Marshall Thompson. Action in
Viet Nam.

December

LIFE IN DANGER Derren Nesbitt, Julie Hopkins. An
unusual suspense drama.

NOW IT CAN BE TOLD Robert Hutton, Martin Benson,
Peter llling, Sandra Dome. An espionage thriller.

Coming

IRON KISS, THE A Leon Fromkess-Sam Firks produc-
tion. Producer-director Samuel Fuller.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

NEVER PUT IT IN WRITING. Pat Boone. Producer-direc-
tor Andrew Stone.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen, Tuesday Weld, Tony Bill, Tom Poston, Chris
Noel, Ed Nelson. Producer Martin Jurow. Director
Ralph Nelson. Peacetime Army comedy.

THE THIN RED LINE, THE Keir Dullea, Jack Warden.
Producer Philip Yordan, Director Andrew Marton.

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

May

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama. 84 mm.

June

DEMENTIA #13 IFilmgroupl William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK, THE CONQUEROR (Formerly Miracle of the
Vikingl. Color, CinemaScope. Cameron Mitchell,
Kessler Twins. Action drama. 90 min.

July

TERROR, THE IFilmgroupl Color, Vistascope. Boris Kar-
loff. Sandra Knight. Horror. 81 min.

August

BEACH PARTY Color, Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funicello.
Producer James H. Nicholson. Director William Asher.
Teenage comedy. 100 min. 7/22/63.

September

HAUNTED PALACE, THE Color, Panavision. Vincent
Price, Debra Paget, Lon Chaney. Producer-director
Roger Corman. Edgar Allan Poe classic. 85 min.
9/2/63.

October

SUMMER HOLIDAY Technicolor, Technirama. Cliff
Richard, Lauri Peters. Teenage musical comedy. 100
min.

"X" — THE MAN WITH THE X-RAY EYES Ray Milland,
Diana Van Der Vlis, John Hoyt, Don Rickles. Producer-
director Roger Corman. Science fiction. 80 min.
10/14/63.

November

PYRO— THE MAN WITHOUT A FACE Color. Barry
Sullivan, Martha Myer. Horror drama. 93 min.

RUMBLE Color. Frankie Avalon, Annette Funicello. Teen-
age drama.

December

GOLIATH AND THE SINS OF BABYLON Color and
Techniscope. Mark Forest, Scilla Gabel, John Chevron.
SAMSON AND THE SLAVE QUEEN Color, Scope. Mark
Forest, Allen Steele, Pierre Brice. Action comedy.

January

COMEDY OF TERRORS, THE Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff, Basil Rathbone, Joyce
Jameson. Horror, comedy.

February

SOME PEOPLE Color. Kenneth More, Ray Brooks, Annika
Wills. Teenage Musical.

UNDER AGE Anne MacAdams, Judy Adler, Roland
Royter. Teenage drama.

March

MUSCLE BEACH PARTY Color, Panavision. Frankie
Avalon, Annette Funicello. Teenage musical.

Coming

BIKINI BEACH Color, Panavision. Frankie Avalon, An-
nette Funicello, Harvey Lembeck. Teenage Comedy.

DUNWICH HORROR Color. Panavision. Science Fiction.
GENGHIS KHAN 70mm roadshow.

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester, Harvey
Lembeck. Horror comedy.

MAGNIFICENT LEONARDI, THE Color, Cinemascope.
Ray Milland.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

UNEARTHLY STRANGER, THE John Neville, Philip Stone,
Gabriella Lucudi. Science fiction.

WHEN THE SLEEPER AWAKES Color. Vincent Price.
Producers Julian Wintle, Leslie Parkyn. H. G. Wells

classic.

June

SAVAGE SAM Brian Keith, Tommy_ Kirk, Kevin Cor-
coran Marta Kristen. Dewev Martin. Jeff York. Pro-
ducer Walt Disney. Director Norman Tokar. Tale of the
pursuit of renegade Indians who kidnap two boys and
a girl. 110 min. 6/10 /63.

July

SUMMER MAGIC Hayley Mills, Burl Ives, Dorothy Mc-
Guire, Deborah Walley, Peter Brown, Eddie Hodges.
Director James Neilson. Comedy musical. 109 min.
7/8/63.

October

20,0000 LEAGUES UNDER THE SEA Re-release.
FANTASIA Re-release.

November

INCREDIBLE JOURNEY Emile Genest, John Drainie,
Sandra Scott. Producer Walt Disney. Director Fletcher
Markle. Based on book by Sheila Burnford. Adventure
drama. 90 min.

December

SWORD IN THE STONE. THE. Producer Walt Disney.
Director, Wolfgang Reitherman. Full-length animated
feature. 75 min. 10/14/63.

June

JASON AND THE ARGONAUTS (Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Kovak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic. 104 min. 6/10/63.

JUST FOR FUN Bobby Vee, The Crickets, Freddie
Cannon, Johnny Tillotson, Kerry Lester, The Tornadoes.

72 min.

July

L-SH APED ROOM, THE Leslie Caron, Tom Bell. Pro-
ducer James Woolf, Richard Attenborough. Director
Bryan Forbes. Drama. 125 min. 7/22/63.

13 FRIGHTENED GIRLS Murray Hamilton, Joyce Tay-
lor, Hugh Marlowe. Producer-director William Castle.
Mystery. 89 min.

August

GIDGET GOES TO ROME James Darren, Cindy Carol,
Joby Baker. Producer Jerrv Bresler. Director Paul
Wendkos. Teenage romantic comedy. 101 min. 8/5/63.

September

IN THE FRENCH STYLE Jean Seberg, Stanley Baker.
Producers Irwin Shaw, Robert Parrish. Director, Par-
rish. Romantic drama. 105 min. 9/30/63.

THREE STOOGES GO AROUND THE WORLD IN A
DAZE, THE. The Three Stooges. Producer-director
Norman Maurer. Comedy. 94 min. 9/2/63.

October

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

MANIAC Kerwin Mathews, Nadia Gray.

OLD DARK HOUSE, THE Tom Poston, Robert Moreley,

Joyce Greenfell.

RUNNING MAN. THE Laurence Harvey, Lee Remick,
Alan Bates. Producer-director Carol Reed. Suspense
melodrama. 103 min. 9/16/63.

November

UNDER THE YUM YUM TREE Jack Lemmon. Carol Lyn-
ley, Dean Jones, Edie Adams. Producers David Swift,
Fred Brisson.

December

CARDINAL, THE Tom Tryon, Romy Schneider, Carol
Lynley, John Saxon. Producer-director Otto Preminger.

Coming

BEHOLD A PALE HORSE Gregory Peck, Anthony Quinn.

CONGO VIVO Jean Seberg, Gabriele FerceHi.

DR. STRANGELOVE: OR HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers,
Sterling Hayden, George C. Scott, Keenan Wynn. Pro-
ducer-director Stanley Kubrick. Comedy.

LILITH Warren Beatty, Jean Seberg. Producer-director
Robert Rossen.

LONG SHIPS, THE Richard Widmark, Sidney Poitier.
Producer Irving Allen.

STRAIT-JACKET Joan Crawford, Anne Helm. Producer
William Castle.

SWINGIN1 MAIDEN, THE (Formerly The Iron Maiden)

Michael Craig, Anne Helm, Jeff Donnell.

VICTORS, THE Vincent Edwards, Melina Mercouri,
Jeanne Moreau, Romy Schneider. Producer-director
Carl Forman.

June

DAVID AND LISA Keir Dullea, Janet Margolin, Hoi
ard Da Silva. Producer Paul M. Heller. Director Fru
Perry. Drama about two emotionally disturbed youn
sters. 94 min. 1/7/63.

Film BULLETIN — THIS IS YOUR PRODUCT

YOUR SHADOW IS MINE Jill Haworth, Michael Ruhl.
A European girl, raised by an Indo-Chinese family, has
to choose between her native sweetheart and the
society of her own people. TO mil*.

July

THIS SPORTING LIFE Richard Harris, Rachel Roberts.
Producer Karel Reisz. Director Lindsay Anderson. Dra-
ma. 12? min. 7/22/63.

August

LORD OF THE FLIES James Aubrey, Tom Chapin,
Hugh Edwards. Producer Lewis Allen. Director Peter
Brooks. Dramatization of William Golden's best selling
novel. 90 min. 9/2/63.

NEVER LET GO Richard Todd, Peter Sellers, Elizabeth
Sellers. Producer Peter de Sarigny. Director John
Guillevmin. Crime melodrama. 90 min. 6/24/63.

September

HANDS OF ORLAC, 'HE Mel Ferrer, Christopher Lee,
Dany Carrel, Lucille baint Simon. Producers Steven
Pallos, Donald Taylor. Director Edmond Greville.
Mystery. 86 min.

October

BILLY LIAR. Tom Courtenay. 96 min.

November

LADIES WHO DO Robert Morley. 85 min.

December

DEVIL, THE Alberto Sordi.

manna*

May

BEAR, THE lEnglish-dubbed) Renato Rascel, Francis
Blanche, Gocha.

July

FREDERICO FELLINI'S "Vh" Marcello Mastroianni,
Claudia Cardinale, Anouk Aimee, Sandra Milo. Pro-
ducer Angelo Rizzoli. Director Federico Fellini. Drama.
135 min. 7/8/63.

GENTLE ART OF MURDER, THE IFormerly Crime Does
' Not Pay) Edwige Feuillere, Michele Morgan, Pierre
Brasseur, Richard Todd, Danielle Darrieux. Director
Gerard Oury. Drama. 122 min.

PASSIONATE THIEF THE Anna Magnani, Ben Gazzara,
I Toto. Producer Silvio Clementelli. Director Mario
Monicelli. Comedy. 95 min.

WOMEN OF THE WORLD Technicolor. Narrated by
Peter Ustinov. Director Gualtiero Jacopetti. Women as
they are in every part of the world. 107 min. 7/8/63.

September

CONJUGAL BED, THE Marina Vlady, Ugo Tognazzi.
Producer Henry K. Chroucicki, Alfonso Sansone. Direc-
tor Marco Ferreri. Comedy drama. 90 min. 9/30/63.

October

LIGHT FANTASTIC Dolores McDougal, Barry Bartle.
Producer Robert Gaffney. Director Robert McCarty.
Drama. 84 min.

ONLY ONE NEW YORK Director Pierre-Dominique
Gaisseau. Documentary.

November

GHOST AT NOON. A Brigitte Bardot, Jack Palance,
Fritz Lang, Georgia Moll.

December

THREEPENNY OPERA Sammy Davis, Jr., Curt Jurgens,
Hildegarde Neff. Director Wolfgang Staudte. Screen
version of Bertolt Brecht and Kurt Weill classic.

■i:i.nj^i.n,.f

Current Releases

BERNADETTE OF LOURDES (Janus Films) Daniele Ajoret
Nadine Atari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY. THE ILopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLACK FOX, THE ICapri Films) Produced, directed
and written by Louis Clyde Stoumen. 89 min. 4/29/63.

BLOODY BROOD. THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR. A (Medallion) Pierre Fres-
nay. Michel Auclair. 72 min.

BURNING COURT. THE ITrans-Luxl Nadja Tiller, Jean-
Claude Brialy, Perrette Pradier. Producer Yvon
Guezel. Director Julien Duvivier.

CLEOPATRA'S DAUGHTER IMedallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

DANGEROUS CHARTER Technicolor, Panavision. Chris
^Warfield, Sally Fraser, Richard Foote, Peter Forster.
/ 76 min.

DAY THE SKY EXPLODED. THE (Excelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR. THE (Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL'S HAND. THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FATAL DESIRE (Ultra Pictures) Anthony Ouinn, Kerima,
May Britt. Excelsa Film Production. Director Carmine
Gallone. Dubbed non-musical version of the opera
"Cavalleria Rusticana." 80 min. 2/4/63.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS (Crown International)
Technicolor, Totalvision. Yoko Tani, Oldrick Lukes. 81
min.

FIVE DAY LOVER. THE IKinqsley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FORCE OF IMPULSE (Sutton Pictures) Tony Anthony.
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

FRENCH GAME, THE IWilshire International) Franciose
Brion, Jean-Louise Trintignant. Producer Marceau-
Cocinor. Director Jacques Doniol-Valcroze. French im-
port .86 min. 9/30/63.

GIRL HUNTERS. THE IColorama). Mickey Spillane,
Shirley Eaton, Lloyd Nolan. Producer Robert Fellows.
Director Roy Rowland. Mickey Spillane mystery. 103
min. 6/10/63.

GONE ARE THE DAYS (Hammer Bros.) Ruby Dee,
Ossie Davis. Producer-director Nicholas Webster. 100
min. 9/16/63.

GREENWICH VILLAGE STORY, THE (Shawn-Interna-
tional) Robert Hogan, Melinda Prank. Producer-direc-
tor Jack O'Connell. Drama. 95 min. 8/19/63.

HAND IN THE TRAP (Angel Films) Elsa Daniel, Fran-
cisco Rabal. Director Leopoldo Torre Nilsson. Horror.
90 min. 7/22/63.

HEAD. THE (Trans-Lux) Horst Frank, Michael Simon.
Director Victor Trivas. Horror. 95 mm. 7/8/63.

HORROR HOTEL ITrans-Lux) Denis Lotis, Christopher
Lee, Betta St. John, Patricia Jessel. Producer Donald
Taylor. Director John Moxey. 76 min. 7/8/63.

IMPORTANT MAN. THE ILopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

LAFAYETTE IMaco Film Corp.) Jack Hawkins, Orson
Welles, Vittorio De Sica. Producer Maurice Jacquin.
Director Jean Oreville. 110 min. 4/1/63.

LA NOTTE BRAVA I Miller Producing Co.) Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LA POUPEE (Gaston Hakim Productions International)
Zbigniew Cybulski, Sor.ne Teal. Director Jacques Bara-
tier. French farce. 90 min. 9/16/63.

LAST OF THE VIKINGS (Medallion) Color. Totalscope.
Cameron Mitchell, Edmond Purdom. 102 min.

LAZARILLO (Union Films) Marco Paoletti, Juan Jose
Menendez. An Hesperia Films Production. Director
Cesar Ardavin. Tale of a 12-year-old rogue-hero's
efforts to survive in 16th century Spain. 100 min.
5/13/63.

LES PAJtlSIENNES (Times Films) Dany Saval. Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE IMedallion) John Agar, Greta Chi. 83 min.

MAGNIFICIENT SINNER (Film-Mart, Inc.) Romy
Schneider, Curt Jergens. Director Robert Siodmak. 91
min. 4/29/63.

MARRIAGE OF FIGARO. THE (Pathe Cinema) Georges
Descrieres, Yvonne Gaudeau, Jean Piat. Producer
Pierre Gerin. Director Jean Meyer. French import.
105 min. 2/18/63.

MONDO CANE (Times Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/63.

MOUSE ON THE MOON. THE Eastmancolor ILopert
Pictures) Margaret Rutherford, Bernard Cribbins. Terry
Thomas. Satirical comedy. 84 min. 6/24/63.

MY HOBO IToho) Keiji Kobayashi, Hideko Takamine.
Producer Tokyo Eiga Company. Director Zenzo Matsu-
yama. 98 min. 8/5/63.

MY NAME IS IVAN IMosFilm) Kolya Burlalev. Director
Andrei Tarkovsky. Drama. 94 min. 8/19/63.

NIGHT OF EVIL (Sutton) Lisa Gaye, Bill Campbell.
88 min.

NO EXIT (Zenith-International) Viveca Lindfors, Rita
Gam, Morgan Sterne. Producers Fernando Ayala,
Hector Olivera. Director Tad Danielewski. 1/7/63.

ONE POTATO, TWO POTATO IBowalco Pictures) Bar-
bara Barrie, Bernie Hamilton, Richard Mulligan, Harry
Bellaver. Director Larry Peerce. Producer Sam Weston.

ORDERED TO LOVE IM. C. Distributor Releasel Maria
Perschy. Producer Wolf Brauner. Director Werner
Klinger. Drama. 82 min. 7/22/63.

PURPLE NOON ITimes Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I I 5 min.

NOVEMBER SUMMARY

An early tabulation of the November
release schedule shows a total of 18
films listed with a possibility of more
to come. M-G-M will offer three re-
leases. Following closely is United
Artists and Paramount, promising two
features. Each of the other major com-
panies— 20th-Fox, Universal, Columbia,
Embassy, Allied Artists, American Inter-
national, Continental and Buena Vista
— list one property for the month.

RAIDERS OF LEYTE GULF [Hemisphere Pictures) Mich-
ael Parsons, Leopold Salcedo, Jennings Sturgeon. Pro-
ducer-director Eddie Romero. War melodrama. 80 mm.
REACH FOR GLORY IRoyal Film International) Harry
Andrews Kay Walsh, Oliver Grimm. Producers Jud
Kinberg, John Kohn. Director Philip Leacock. Story of
youngsters in wartime. 89 min. 9/16/63.
ROMMEL'S TREASURE IMedallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

RUN WITH THE DEVIL IJillo Films) Antonella Lualdi,
Gerard Blain, Franco Fabrizi. Director Mario Camerini.
Drama. 93 min. 8/19/63.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

7TH COMMANDMENT. THE Robert Clarke, Francine
York. 85 min.

SMALL WORLD OF SAMMY LEE. THE ISeven Arts)
Anthony Newley. Producer Frank Godwin. Director Ken
Hughes. 105 min. 9/16/63.

SON OF SAMSON IMedallion) Color, Totalscope. Mark
Forest. Chelo Alonso. 89 min.

STAKEOUT Ping Russell. Bill Hale. Eve Brent. 81 min.
THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THREE FABLES OF LOVE (Janus) Leslie Caron, Ros-
sano Brazi, Monica Vitti, Sylva Koscina, Charles
Aznavour, Jean Poiret, Michel Serrault, Ann Karina.
Producer Gilbert de Goldschmidt. Director Alessandro
Blasetti, Heave Bromberger, Rene Clair. 8/5/63.

TOM JONES ILopert) Albert Finney, Susannah York,
Hugh Griffin, Edith Evans. Producer-director Tony
Richardson. Film adaptation of Fieldings classic. 131 min.
10/14/63.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Victoria) Narration by Thomas
L. Row and Pauline Girard. Producer-director Marion
Gering. 67 min. 7/8/63.

VIOLENT MIDNIGHT ITimes Films Eng.) Lee Phillips.
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION ITimes Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FCR KICKS ITimes Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

METRO-GOLDWYN -MAYER

May

DIME WITH A HALO Barbara Luna. Paul Langton.
Producer Laslo Vadnay, Hans Wilhelm. Director Boris
Sagal. Race track comedy. 94 min. 4/1/63.

DRUMS OF AFRICA Fr*nkie Avalon. Producers Al Zim-
balist, Philip Krasne. Director James B. Clark. Drama
of slave-runners in Africa at the turn-of-lhe-century.

92 min. 4/29/63.

IN THE COOL OF THE DAY CinemaScope. Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling
novel by Susan Ertz. 90 min. 5/13/63.

SLAVE, THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites the slaves to
revolt against the Romans.

June

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure story of the West. 89 min.

CORRIDORS OF BLOOD Boris Karloff, Betta St. John,
Finlay Currie. Producer John Croydon. Director Robert
Day Drama. 84 min. 6/10/63.

Film BULLETIN — THIS IS YOUR PRODUCT

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the Intelligence of Dolphins.

90 min.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min. 6/24/63.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh Griffith. Pro-
ducer Aaron Rosenberg. Director Lewis Milestone.
Sea-adventure drama based on triology by Charles
Noroff and James Norman Hall. 179 min. 11/12/63.

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode. Producer Sy Weintraub. Director Robert Day.
Adventure. 92 min. 7/8/63.

WEREWOLF IN A GIRL'S DORMITORY Barbara Lass,
Carl Schell. Producer Jack Forrest. Director Richard
Benson. Horror show. 84 min. 6/10/63.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,
Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy. 85 min. 6/24/63.

TICKLISH AFFAIR, A I Formerly Moon Walk) Shirley

Jones, Gig Young. Producer Joe Pasternak. Director
George Sidney. Romantic comedy based on a story in
the Ladies Home Journal. 87 min. 7/8/63.

August

HOOTENANNY HOOT Peter Breck, Ruta Lee, Brothers
Four, Sheb Wooley, Johnny Cash. Producer Sam Kati-
man. Director Gene Nelson. Musical comedyt 91 min.
9/16/63.

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy. 84 min.
5/13/63.

September

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller. 112
min. 9/2/63.

V.I.P.s, The Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama. 119 min. 8/19/63.

October

GOLDEN ARROW, THE Technicolor. Tab Hunter, Ros-
sana Podesta. Producer Silvio Clementelli. Director
Antonio Margheriti. Adventure fantasy.

TIKO AND THE SHARK Producer Goffredo Lombardo.
Director F. Quilici. Filmed entirely in French Poly-
nesia with a Tahitian cast. 108 min.

TWIMGHT OF HONOR Richard Chamberlain, Nick
Adams, Joan Blackman, Joey Heatherton. A Pearlberg-
Seaton Production. Director Boris Sagal. A young
lawyer falls victim to the bigoted wrath of a small
town when he defends a man accused of murdering
the town's leading citizen. 115 min. 9/30/63.

November

GLADIATORS SEVEN Richard Harrison, Loredana Nus-
ciak. Producers Cleo Fontini, Italo Zingarelli. Director
Pedro Lazaga. Seven gladiators aid in overthrowing
a tyrant of ancient Sparta. 92 min.

MGM'S BIG PARADE OF COMEDY Great stars of the
past in memorable comedy moments from great MGM
films of the past.

WHEELER DEALERS. THE James Garner, Lee Remick.
Producer Martin Ransohoff Director Arthur Hiller.
Story of a Texan who takes Wall Street by storm. 106
min. 9/30/63.

December

THE PRIZE PauJ Newman, Edward G. Robinson, Elke
Sommer. Producer Pandro Berman. Director Mark
Robson. Based on the Irving Wallace bestseller.

January

CHILDREN OF THE DAMNED Ian Hendry, Alan Bader.
(Science fiction).

SUNDAY IN NEW YORK (MGM-Seven Arts) Cliff
Robertson, Jane Fonda, Rod Taylor. Producer Everett
Freeman. Director Peler Tewksbury. The eternal ques-
tion: should a qirl or shouldn't she, prior to the
nuptials?

February

GLOBAL AFFAIR A Bob Hope, Lilo Pulver. Producer
Hall Bartlett. Director Jack Arnold. Comedy.

NIGHT MUST FALL Albert Finney, Mona Washbourne.
Producer Karl Reisz, Albert Finney. Director Karl Reisz.
Psychological suspense thriller.

OF HUMAN BONDAGE (MGM-Seven Arts) Kim
Novak, Laurence Harvey. Producer James Woolf. Di-
rector Henry Hathaway. Film version of classic novel.

Coming

COUNTERFEITERS OF PARIS Jean Gabin, Martine
Carol. Producer Jacques Bar. Director Gilles Grangier.
99 min.

DAY AND THE HOUR. THE I Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

FOUR DAYS OF NAPLES. THE Jean Sorel, Lea Messari,
Producer Goffredo Lombardo. Director Nanni Loy.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HOW THE WEST WAS WON Cinerama, Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/63.

MURDER AT THE GALLOP Margaret Rutherford, Robert
Morley, Flora Robson. Producer George Brown. Direc-
tor George Pollock. Agatha Christie mystery. 81 min.
7/22/63.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

flzcmnxncxB

April

MY SIX LOVES Technicolor. Debbie Reynolds, CUff

Robertson, David Janssen. Producer Gant Gaither.
Director Gower Champion. Broadway star adopts six
abandoned children. 105 min. 3/18/63.

May

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Rirt. Director Rltt.
Drama set in modern Texas. 122 min. 3/4/63.

June

DUEL OF THE TITANS CinemaScope, Eastman color.
Steve Reeves, Gordon Scott. Producer Alessandro
Jacovoni. Director Sergio Corbucci. The story of
Romulus and Remus, the twin brothers who founded
the city of Rome.

NUTTY PROFESSOR, THE Technicolor. Jerry Lewis,
Stella Stevens. Producer Ernest D. Glucksman. Direc-
tor Jerry Lewis. A professor discovers a youth-
restoring secret formula. 105 min. 6/10/63.

July

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific. 108 min. 8/5/63.

August

COME BLOW YOUR HORN Technicolor. Frank Sinatra,
Barbara Rush, Lee J. Cobb. Producer Howard Koch.
Director Bud Yorkin. A confirmed bachelor introduces
his young brother to the playboy's world. 112 min.
6/24/63.

October

NEW KIND OF LOVE, A Technicolor. Paul Newman,
Joanne Woodward, Thelma Ritter, Maurice Chevalier.
Producer-director Melville Shavelson. Romantic com-
edy. 105 min. 9/2/63.

WIVES AND LOVERS Janet Leigh, Van Johnson, Shelley
Winters, Martha Hyer. Producer Hal B. Wallis. Direc-
tor John Rich. Romantic comedy. 102 min. 9/2/63.

November

ALL THE WAY HOME Robert Preston, Jean Simmons.
Pat Hingle. Producer David Susskind. Director Alex

Segal. Film version of play and novel.

FUN IN ACAPULCO Technicolor. Elvis Presley, Ur-
sula Andress. Producer Hal B. Wallis. Director Rich-
ard Thorpe. Musical-comedy.

December

WHO'S BEEN SLEEPING IN MY BED? Panavision,
Technicolor. Dean Martin, Elizabeth Montgomery, Carol
Burnett. Producer Jack Rose. Director Daniel Mann.

Comedy.

WHO'S MINDING THE STORE? Technicolor. Jerry
Lewis, Jill St. John, Agnes Moorehead. Producer Paul
Jones. Director Frank Tashlin. Comedy.

Coming

BECKET Technicolor. Richard Burton, Peter O'Toole.
Producer Hal B. Wallis. Director Peter Glenville. Film
version of Jean Anouilh's play.

CARPETBAGGERS, THE Technicolor. Panavision 70.
George Peppard, Carroll Baker. Producer Joseph E.
Levine. Director Edward Dmytryk. Drama based on the
best-seller by Harold Robbins.

LADY IN A CAGE Olivia de Havilland, Ann Southern.
Producer Luther Davis. Director Walter Grauman.
Horror drama.

LOVE WITH THE PROPER STRANGER Natalie Wood,
Steve McQueen. Producer Alan J. Pakula. Director
Robert Mulligan. A young musician falls in love with
a Macy's sales clerk.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel,
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Douglas,
•Fredric March, Ava Gardner. Producer Edward Lewis.
Director John Frankenheimer. A Marine colonel un-
covers a militay plot to seize control of the U.S. gov.
ernment.

20TH CENTURY-FOX

March

HOUSE OF THE DAMNED CinemaScope. Ronald Foster,
Merry Anders. Producer-Director Maury Dexter. Archi-
tect inspects haunted house and runs across circus of
freaks. 62 min.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

April

NINE HOURS TO RAMA CinemaScope, DeLuxe Coler.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson. Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63.

May

YELLOW CANARY. THE CinemaScope. Pat Boone, Bar-
bara Eden. Producer Maury Dexter. Director Buzz Kulik.
Suspense drama. 93 min. 4/15/63.

June

STRIPPER. THE (Formerly A Woman in July) Cinema-.
Scope. Joanne Woodward, Richard Beymer, Gypsy Rose
Lee, Claire Trevor. Producer Jerry Wald. Director
Franklin Schaffner. Unsuccessful actress seeks happi-
ness. 95 min. 4/29/63.

July

LONGEST DAY. THE CinemaScope. John Wayne, Rich-'
ard Todd, Peter Lawford, Robert Wagner, Tommy
Sands, Fabian, Paul Anka, Curt Jurgens, Red Burtons,
Irina Demich, Robert Mitchum, Jeffrey Hunter, Eddie
Albert, Ray Danton, Henry Fonda, Edmond O'Brien,
Robert Ryan. Producer Darryl Zanuck. Directors Gerd
Oswald, Andrew Marton, Elmo Williams, Bernhard
Wicki, Ken Annakin. 180 min.

August

LASSIE'S GREAT ADVENTURE DeLuxe Color. June Lock-
hart, Jon Provost. Producer Robert A. Golden. Director
William Beaudine. Lassie and his master get lost in
Canadian Rockies. 103 min.

OF LOVE AND DESIRE DeLuxe Color. Merle Oberon,
Steve Cochran, Curt Jurgens. Producer Victor Stoloff.
director Richard Rush. Brother tries to break up sister's
romance. 97 min. 9/16/63.

September

CONDEMNED OF ALTONA. THE Sophia Loren, Maxi-
milian Schell, Freddie March, Robert Wagner. Producer
Carol Ponti. Director Vittorio De Sica. Adapted from
Jean-Paul Sartre's stage success. 114 min. 9/16/63.

A FAREWELL TO ARMS. Re-release.

THE YOUNG SWINGERS CinemaScope. Rod Lauren,
Molly Bee. Producer-Director Maury Dexter.

October

LEOPARD THE CinemaScope, DeLuxe Color. Burt Lan-
caster, Alain Delon, Claudia Cardinale. Producer Gof-
fredo Lombardo. Director Luchino Visconti. Based on
famous best-seller detailing disintegration of Italian
nobility. 165 min. 8/19/63.

MARILYN CinemaScope, DeLuxe Color. Screen clips
from Marilyn Monroe's films with narration by Rock
Hudson. 83 min.

THUNDER ISLAND Cinemascope. Gene Nelson. Fay
Spain. Producer-director Jack Leewood. Action drama.
65 min. 10/14/63.

November

TAKE HER, SHE'S MINE CinemaScope, DeLuxe Color.
James Stewart, Sandra Dee. Producer-Director Henry
Koster. Daughter's escapades at college cause comic
distrubance to father. 98 min. 10/14/63.

December

MOVE OVER. DARLING CinemaScope, DeLuxe Color.
Doris Day, James Garner, Polly Bergen. Producers
Aaron Rosenberg, Martin Melcher. Director Michael
Gordon. Romantic comedy of man with two wives.

Coming

CLEOPATRA Todd-AO Color. Special handling. Elizabeth
Taylor, Richard Burton, Rex Harrison. Producer Walter
Wanger. Director Joseph Mankiewicz. Story of famous
queen. 221 min. 6/24/63.

MAN IN THE MIDDLE (Formerly The Winstone Affair!
CinemaScope. Robert Mitchum, France Nuyen.

Film BULLETIN — THIS IS YOUR PRODUCT

UNITED ARTISTS

May

DR. NO Technicolor. Sean Conneiy, Ursula Andrews,
Joseph Wiseman, Jack Lord. Producers Harry Saltz-
man, Albert R. Broccoli. Director Terence Young. Action
drama based on the novel by Ian Fleming. I I I min.
3/18/63.

June

AMAZONS OF ROME Louis Jourdan. Sylvia Syms.

BUDDHA Technicolor, Technirama. Kojiro, Hongo,
Charito Solis. Producer Masaichi Nagata. Director
Kenji Misumi. Drama dealing with the life of one of
the world's most influential religious leaders. 134 min.
7/22/63.

CALL ME BWANA Bob Hope, Anita Ekberg, Edie
Adams. Producers Albert R. Broccoli, Harry Saltzman.
Director Gordon Douglas. Comedy. 103 min. 6/10/63.

DIARY OF A MADMAN Vincent Price, Nancy Kovak.
Producer Robert E. Kent. Director Reginald Le Borg.
Horror mystery of a man possessed by a horla. 96 min.
3/4/63.

July

GREAT ESCAPE, THE Deluxe Color, Panavision. Steve
McQueen, James Garner, Richard Attenborough. Pro.
ducer-director John Sturges. Based on true prisoner of
war escape. 168 min. 4/15/63.

IRMA LA DOUCE Technicolor, Panavision. Jack Lem-
mon, Shirley MacLaine. Producer-director Billy Wilder.
Comedy about the "poules" of Paris, from the hit
Broadway play. 142 min. 6/10/63.

August

CARETAKERS, THE Robert Stack, Polly Bergen, Joan
Crawford. Producer-director Hall Bartlett. Drama
dealing with group therapy in a mental institution. 97
min. 8/19/63.

TOYS IN THE ATTIC Panavision. Dean Martin, Geral-
dine Page, Yvette Mimieux, Gene Tierney. Producer
Walter Mirisch. Director George Roy Hill. Screen
version of Broadway play. 90 min. 7/8/63.

September

LILIES OF THE FIELD Sidney Poitier, Litia Skala. Pro-
ducer-director Ralph Nelson. Story of ex-GI and Ger-
man refugee nuns who build a chapel in the Arizona
desert. 94 min. 9/2/63.

October

JOHNNY COOL Henry Silva, Elizabeth Montgomery.
Producer-director William Asher. Chrislaw Productions.
Gangland melodrama. 101 min. 10/14/63.

MY SON, THE HERO Color. Pedro Armendariz, Jacque-
line Sassard. Producer Alexander Mnouchkine. Directed
by Doccio Tessari. Spoof on Gods and heroes. I I I min.
» ! 9/30/63.

STOLEN HOURS Color. Susan Hayward, Michael Craig,
Diane Baker. Mirisch-Barbican film presentation. Pro-
ducer Denis Holt. Directed by Daniel Petrie. Melo-
drama. 100 min. 10/14/63.

TWICE TOLD TALES Color. Vincent Price, Mari Blan-
chard. Producer Robert E. Kent. Director Sidney Salkow.
Based on famous stories of Nathaniel Hawthrone. 119
min.

November

IT'S A MAD, MAD. MAD, MAD WORLD. Cinerama.
Technicolor. Spencer Tracy, Milton Berle, Sid Caesar,
Buddy Hackett, Ethel Merman, Mickey Rooney, Dick
Shawn, Phil Silvers, Terry-Thomas, Jonathan Winters.
Producer-director Stanley Kramer. Spectacular comedy.

MCLINTOCK! Color. John Wayne, Maureen O'Hara,
Yvonne De Carlo, Patrick Wayne, Chill Wills, Jack
Kruschen. Producer Michael Wayne. Director Andrew
V. McLaglen. 127 min.

December

KINGS OF THE SUN Color. Yul Brynner, George Cha-
kiris. Producer Lewis Rachmil. Director J. Lee Thomp-
son. A Mirisch Company Presentation.

Coming

CEREMONY, THE Laurence Harvey, Sarah Miles, Rob-
ert Walker, John Ireland. Producer director Laurence
Harvey. 108 min.

mnnsnmrn

May

PARANOIC Janette Scott, Oliver Reed, Sheilah Burrell.
Producer Anthony Hinds. Director Freddie Francis.
Horror. 80 min. 4/15/63.

SHOWDOWN (Formerly The Iron Collar) Audie Mur-
phy, Kathleen Crowley. Producer Gordon Kay. Director
R. G. Springsteen. Western. 79 min. 4/15/63.

June

LIST OF ADRIAN MESSENGER, THE George C. Scott,
^Dana Wynter, Clive Brook, Herbert Marshall. Producer
, Edward Lewis. Director John Huston. Mystery. 98
I mm. 6/10/63.

SWORD OF LANCELOT (Formerly Lancelot and Guini-
verel Technicolor. Panavision. Cornel Wilde, Jean
Wallace, Brian Aherne. Producers Cornel Wilde, Ber-
nard Luber. Director Wilde. Legendary tale of love and
betrayal. I 15 min. 5/13/63.

TAMMY AND THE DOCTOR Color. Sandra Dee, Peter
Fonda, MacDonald Carey. Producer Ross Hunter. Direc-
tor Harry Keller. Romantic comedy. 88 min. 5/13/63.

September

July

GATHERING OF EAGLES. A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann. 116 min.

KING KONG VS. GODZILLA Color. Michael Keith,
Harry Holcomb, James Yagi. Producer John Beck.
Director Ray Montgomery. Thriller. 90 min. 6/10/63.

August

FREUD: SECRET PASSION (Formerly Freud) Mont-
gomery Clift, Susannah York. 120 min.

THRILL OF IT ALL. THE Color. Doris Day, James Gar-
ner, Arlene Francis. Producers Ross Hunter, Martin

Melecher. Director Norman Jewison. Romantic comedy.
108 min. 6/10/63.

TRAITORS, THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson. 71 min.

September

KISS OF THE VAMPIRE Eastman Color. Clifford Evans,
Edward DeSouza, Jennifer Daniels. Producer Anthony
Hinds. Director Don Sharpe. 88 min. 8/5/63.

October

FOR LOVE OR MONEY (Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon. 108
min. 8/5/63.

November

DARK PURPOSE Eastman Color. Shirley Jones, Rossano
Brazzi, George Sanders, Micheline Presle, Georgia
Moll. Producer Steve Barclay. Director George Mar-
shall.

December

CHARADE Technicolor, Panavision. Cary Grant, Audrey
Hepburn, Walter Matthau, James Coburn. Producer-
Director Stanley Donen. Suspense, action and comedy.
I 14 min. 9/30/63.

Coming

BEDTIME STORY IFormerly King of the Mountain)
Color. Marlon Brando, David Niven, Shirley Jones.
Producer Stanley Shapiro. Director Ralph Levy.

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN, M.D. Color. Gregory Peck, Tony
Curtis, Angie Dickinson, Bobby Darin, Eddie Albert.
Producer Robert Arthur. Director David Miller.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

HE RIDES TALL (Formerly The Gun Hand) Tony Young,
Dan Duryea, Jo Morrow, Madlyn Rhue. Producer Gor-
don Kay. Director R. G. Springsteen.

ISLAND OF THE BLUE DOLPHINS (Color) Celia Kaye,
George Kennedy. Producer Robert B. Radnitz. Director
James B. Clark.

ICING OF THE MOUNTAIN Color. Marlon Brando,
David Niven, Shirley Jones, Dody Goodman.

MAN'S FAVORITE SPORT? Technicolor. Rock-Hudson,
Paula Prentiss, Maria Perchy. Producer-director How-
ard Hawks.

WILD AND WONDERFUL (Formerly Monsieur Cognac)
Color. Tony Curtis, Christine Kaufmann, Larry Storch,
Marty Ingles. Producer Harold Hecht. Director Michael
Anderson.

WARNER BROTHERS

May

ISLAND OF LOVE (Formerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Sosta.

Comedy set in Greece. 101 min. 5/13/63.

SUMMER PLACE, A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda.
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family. 119 min. 3/4/63.

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min. 10/14/63.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama. 112 min. 8/19/63.

October

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Producer William Fadiman. Direc-
tor Phil Karlson. Adventure drama. 98 min. 8/19/63.

November

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr. 126 min. 9/16/63.

PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens, Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort. 100 min.

December

4 FOR TEXAS Technicolor. Frank Sinatra, Dean
Martin, Anita Ekberg, Ursula Andrsss. Producer-direc-
tor Robert Aldrich. Big-scale western with big star
cast.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

CHEYENNE AUTUMN IFormerly The Long Flight) Spen-
cer Tracy, James Stewart, Richard Widmark, Carroll
Baker, Dolores Del Rio, Sal Mineo. Producer Bernard
Smith. Director John Ford. Super-adventure drama.

DEAD RINGER Bette Davis, Karl Maiden, Peter Law-
ford. Producer William H. Wright. Director Paul Hen-
reid. Miss Davis plays a dual role of twin sisters in
this shocker.

DISTANT TRUMPET, A Technicolor. Panavision. Troy
Donahue, Suzanne Pleshatte, Diane McBain. Producer
William H. Wright. Director Raoul Walsh. Epic adven-
ture of Southwest.

ENSIGN PULVER (formerly Mister Pulver and the
Captain) Technicolor. Robert Walker, Burl Ives, Walter
Matthau, Millie Perkins, Tommy Sands. Producer-
director Joshua Logan. Comedy sequel to "Mister
Roberts".

FBI CODE 98 Jack Kelly, Ray Denton. Producer Stanley
Niss. Director Leslie H. Martinson. Dramatic action
story.

GREAT RACE, THE Technicolor. Burt Lancaster, Jack
Lemmon, Lee Remick. Producer Martin Jurow. Director
Blake Edwards. Story of greatest around-the-world
automobile race of all time.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

KISSES FOR MY PRESIDENT Fred MacMurray, Polly
Bergen. Producer-director Curtis Bernhardt. Original
comedy by Robert G. Kane.

OUT OF TOWNERS, THE Color. Glenn Ford, Geraldine
Page, Angela Lansbury. Producer Martin Manulis. Di-
rector Delbert Mann. Comedy-drama about a small-
town "postmistress".

ROBIN AND THE 7 HOODS Tec hnicolor- Pana vision .
Frank Sinatra, Bing Crosby, Dean Martin, Sammy
Davis, Jr. Director Gordon Douglas.

YOUNGBLOOD HAWKE Suzanne Pleshette, James Fran-
ciscus. Producer-director Delmer Daves. From Herman
Wouk's best-selling novel.

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Film BULLETIN — THIS IS YOUR PRODUCT

Bull's-Eye Circulation!

517

BANKERS & BROKERS

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Film Bulletin Reaches the Policy-Makers,
The Buyers, The Bookers of over 12,000 of
The Most Important Theatres in U.S. &) Canada!

BULLETIN

Opinion of the Industry

MR. EXHIBITOR: SUPERMARKETS
HAVE STOLEN YOUR THUNDER!

NOVEMBER 11, 1963

Return the Theatre

To Its Position
Front -and -Center

Conventions Point Up
TOA-Allied Divergence

euiews

CAPTAIN NEWMAN, M.D.
Boxoffice Winner

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WHO'S BEEN SLEEPING IN MY BED*
PALM SPRINGS WEEKEND
THE OLD DARK HOUSE
ALL THE WAY HOME
JULIE THE REDHEAD
THE HOUSEHOLDER

M G M s Great New Series!

WORLD FAMOUS
USICAL HITS!

Jerome Kern's

TILL THE CLOUDS ROLL BY"

Rodgers and Hart's

"WORDS AND MUSIC"

Kalmar and Ruby's

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Dietz and Schwartz'

"THE BAND WAGON"

Arthur Freed and Nacio Herb Brown's

"SINGIN' IN THE RAIN"

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BECAUSE YOU'RE MINE"

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What They'te hiking About

□ □ □ In the Movie Business □ □ n

ADVERTISING BLAME. Many theatremen
were disturbed by the charge of the executive
secretary of the Legion of Decency that they
are responsible for offensive motion picture
advertising. Speaking at the TOA convention,
Rt. Rev. Msgr. Thomas F. Little declared that
a large segment of the public considers films
"worse" because they are advertised in a way
to create that impression. "Why does he place
the onus on us," one exhibitor asked. "He
should have talked to the film companies,
where the advertising is created. With the
exception of the large circuits or high-grossing
first-run operators, the theatreman lacks
the manpower, and often the
know-how to re-write and re-style the
advertising material that is furnished by the
distributors. They are the ones who have
absorbed the idea that the public will only buy
something sexy. In many parts of the country,
the ads they run in the newspapers ruin
pictures for theatres catering to the family
trade." An important TOA member put it this
way: "I was shocked to hear Msgr. Little talk
to us that way on that subject. He should make
that speech to a meeting of the film company
advertising heads at the MPAA offices."

■

THE FEEVEE FRONT. With the biggest
Pay-TV threat to date looming on the west
coast, theatremen are taking a harder look at
the danger they face - and are doing
something about it. California exhibitors already
have pledged $500,000 to fight the
introduction of feevee in their state by
Subscription Television, Inc., which has
commitments with the Los Angeles Dodgers
and the San Francisco Giants to pipe their
baseball games into 20,000 homes in each
city by next July. Theatre Owners of America,
at its recent convention in New York, revealed
that member circuits were making
"substantial" contributions to the anti-feevee

fund, which it hoped to raise to $1 million.
Subscription Television, Inc. is offering
1,310,000 shares of its stock to the public at
$12 per share. This, plus an additional 390,000
shares being sold to the principals involved,
will give STV $20.4 million to finance its
project, making it a formidable menace
to theatre business.

An article in the coming issue of TV Guide
quotes Walter O'Malley, head of the Dodgers,
as saying that STV will charge subscribers
$1.50 per game. "There is no telling how the
public will react," he says. "I feel that things
will be slow at the start. We could operate in
the red three years or more. Then things could
build up, or they could flounder for years." The
two ball clubs have an escape clause which
allows them to cancel their pacts with STV if
it does not have the minimum 20,000
subscribers in the two cities by July 1.
O'Malley believes that "Pay-TV shouldn't
affect attendance as much as free TV does.
With free TV, a lot of people will never come to
the ball park. But when they have to spend
$1.50 to watch at home, many will feel that
they may as well go to the games." Horace
Stoneham, owner of the Giants, told his
company's stockholders recently that he was
"most optimistic" about the eventual success
of Pay-TV.

The Telemeter experiment in Etobicoke,
Canada, approaches the end of its fourth year
of operation in a state of quiescence. The total
number of subscribers is now estimated to be
approximately half of what it was at peak,
according to the recent survey by Audienscope,
the research firm. Famous Players Canadian
Corp. is switching its attention this season
more to the theatre form of Pay-TV. Nine
houses in the Paramount subsidiary chain
have been equipped with large screen
(Eidophor) TV to present top sports
attractions.

In Hartford, Conn., RKO-General's over-the-air
feevee system shows no conclusive trend. A
reported 3,000 subscribers (the company's
claim) are spending an average of 2 hours a
day in viewing, but management admits that
it will be at least five years before any profit
can be expected from the venture.

TOA CONVENTION

"Blind" Bidding, Selling Major Issue;
Conclaves Mark TOA-Allied Divergence

Following in the wake of National
Allied' convention, the Theatre Owners
of America converged on New York
for their annual pow wow, October
28-31. The setting, the Americana
Hotel, and the issues were the same,
although now the characteristic exhibi-
tor odor of stale cigar smoke lingered
more strongly about the convention
rooms. Supporting players — waiters,
stewards, hatcheck girls and hostesses
from the hospitality suites — all were
"held over" from the preceeding week.
But there was a difference, a change in
atmosphere and temperature that served
to point out, and to clarify for some,
the differences that separate the two
organizations.

TOA boasted a united facade and a
systematic order that was missing in
Allied sessions, but (perhaps because
of this) it lacked Allied's important
feeling of democracy at work, the town
meeting environment that enabled even
the smallest exhibitors to be heard.
This obvious burr in otherwise flawless
armor makes TOA appear to be more
a system than an organization, and
this, apparently, is the stumbling block
that forces Allied, with its many in-
dependent members, to balk whenever
merger is broached. Yet, it is becoming
increasing obvious that neither group
functions at peak efficiency under the
present set up, and that each possesses
important attributes the other lacks —
and needs, badly.

DISPLAY OF SHOWMANSHIP

The TOA show did not lack for
showmanship flair. There were ample
displays and demonstrations on view to
instruct exhibitors how they might bet-
ter their boxoffice performance and im-
prove the physical appearance of their
theatres. An interesting session was
provided by a group of promotion ex-
ecutives under the title, "How To Oil
the Ticket Machine". Devoted to the
science of showmanship, it was staged
by Robert W. Selig, of National Gen-

PRESIDENT ROWLEY

eral Corp., with the assistance of a cast
of top theatre showmen, including
Ernest Emerling of Loew's, Edward
Seguin of Balaban & Katz, M. B. Smith
of Commonwealth, John J. Corbett of
Penn-Paramount, Ronnie Otwell of
Martin Theatres, and Jack Loeks of
Grand Rapids.

National Screen Service boasted one
of the most striking displays at the
convention, a glamorous exhibit of
Holiday accessories, which was heralded
throughout the Americana halls by two
barrel-clad showgirls who urged thea-
tremen to "see it all at the NSS booths".

Only once during the four days did
TOA's gentlemanly stance falter, and
that was during Joseph E. Levine's
opening night banquet, a memorable
but somewhat pitiable grotesquerie
that evolved from the most honorable
of intentions. From the start, it was
clear that this would be no ordinary
evening. Outside the Americana, pick-
ets, their untrained voices raised in
songs of racial protest, brandished pla-
cards that proclaimed Attorney General
Robert E. Kennedy's appearance within
as featured speaker, thus luring into
the lobbies scores of autograph hunters
and idol worshippers. Within, Levine's
motif for the evening, "A World Of
Showmanship For The Showmen Of
The World," was executed through an
array of maps and, on each table, world
globes. Long before serving of food
began, the talk was all of the Attorney
General's appearance before an audi-
ence that consisted in sizable part of
visiting Southerners.

As the evening sped on, the guests

became increasingly tense. Not even
such diversions as an enticingly puber-
ulent blonde descending from a gigan-
tic chandelier, or the bon vivanting of
toastmaster George Jessel succeeded in
relaxing the crowd. Finally, the Attor-
ney General rose. The young Kennedy,
his figure dwarfed by a huge sliding
panel that, at the moment, heralded
"The Carpetbaggers," sized-up the
guilty-looking throng and launched in-
to a good-natured spiel for brother-in-
law Peter Lawford's Cosa Nostra thril-
ler, "Johnny Cool." A collective sigh
of relief, mingled with a few groans,
instantly cooled the vast ballroom.

DESEGREGATION NOT DAMAGING

With the audience on his side, Ken-
nedy, without further recourse to levity,
spoke in earnest. "The time is long
past — if indeed it ever existed — when
any opposition to civil rights could be
argued on moral grounds. Yet, there
are those who question the govern-
ment's right to regulate a private busi-
ness . . . and it is a question which
cannot easily be dismissed, if only
because it is sincerely held by so many
reasonable men, a number of whom
are here tonight."

He praised exhibitors who have al-
ready voluntarily desegregated and
pointed out that, after brief boycotts,
boxoffice receipts were not adversely
affected. "But in many parts of the
South, there remains a considerable
feeling of resistance to voluntary
change. Prostitutes, criminals, commun-
ist and fascist conspirators — these peo-
ple are free to go to the movies and
to choose their own seats, as long as
they are white. How can a Negro father
explain this intolerable situation to his
children? And how can the children
be expected to grow up with any sense
of pride in being Americans?"

After Wednesday morning, however,
delegates found a new topic for con-
( Continued on Page 13)

Page 4 Film BULLETIN November II, 1966

V,

NOVEMBER

tewpoints

R 11, 1963 / VOLUME 31, NO. 23

Return the Theatre To Its
Position* Front-and-Center

Once upon a palmy time, folks
looked upon the movie theatre as a
focal point of their community or
neighborhood life, a lush dome of he-
donism in the midst of depression, or
war, or the drabness of work-a-day
routine. Today, unfortunately, many a
movie house is, for the most part, an
also-ran specimen of real estate, over-
shadowed by the supermarket, the de-
partment store, the shopping center as
the hubs of mass attraction. Its intrin-
sic physical properties no longer charm.
No longer do people go to the movies,
as such. They go to see particular films.
Yet one wonders whether the balances
can be restored, whether a case can be
made — particular films aside — for the
movie house as something more than
four walls and a roof.

The task would appear to be abetted
by the very nature of the business for
which theatres stand: entertainment,
fun, a good time. Yet, somewhere
along the line the film houses have
abdicated the surface niceties with
which movie-going was once asso-
ciated to other more progressive and
fleetfooted retailers. The supermarkets
offer color, decor, stamps, gifts, games,
free refreshments, continuity promo-
tions, kiddie diversions, carnivals and
assorted gimmickry to build and hold a
procession of foot traffic. They have re-
placed the theatre as a nice place to go
and beat a fun business at its own
game.

For all of the supermarket hulla-
baloo— and many of the gimmicks have
worked wonders — the chief factor in
shopper loyalty, according to one study
after another, is the courtesy and
friendliness of store personnel. A fa-
mous Raymond Loevvy report asserts
that a curious condition sets in when a
shopper is given that extra bit of at-
tention. When he openly trims the
fat, winks his eye, suggests a good

method of preparation, the butcher be-
comes to the shopper "my butcher."
An ordinary market appears more col-
orful, the aisles seem wider, the shelves
more fully stocked. This is the "halo
effect" — a frame of mind which ideal-
izes a place of business because of some
demonstration of personal interest. No
matter its drawbacks, its my kind of
store. Nice people.

It is ironic that a supposedly cold,
self-service business like supermarkets
should prosper most dramatically from
personality, while theatres, whose task
it is to peddle this commodity on the
screen, seem to shy from all recourse
to it in direct contacts with patrons.
Movie going anymore is as impersonal
an experience — from the standpoint of
payee-payor relations — as a seat on the
subway. You pay your money, salt your
popcorn, take your seat, and leave.

It may be argued that the foregoing
make up the sole and exclusive func-
tions of a theatre, no more, no less.
But might it not likewise be said that
the primary function of a supermarket
is to sell food. Why then are such vast
efforts undertaken to erect a happy
and psychologically harmonious atmos-
phere for the performance of the mark-
eting chore? If food is a necessity,
rather than a mere indulgence such as

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movies, why bother with the frills? The
answer is implicit in competition — a
condition shared by the movies. It is
implicit in the known fact that a pleas-
urable backdrop is more conducive to
spending. It is implicit in the fact that
certain colors, types of displays, abund-
ant shelf stocks, merchandise eye levels,
new forms of packaging all are con-
ducive to consumption, to exacting the
fullest measure of the sales dollar in
one place at one time. It is implicit in
the proven fact that certain promotions
contribute to customer loyalty, and that
simple acts of courtesy and friendship
shape shopper attitudes that overcome
even known deficiencies.

Certainly, there must be parallels on
which theatres can draw. Of course, a
theatre's shelf is a constantly shifting
melange of goods. In this sense the ex-
hibitor is unlike his food retailing
brethren. The theatre feeds on repeat
business, on patron loyalty, on ticket
continuity. If his merchandise changes,
the theatre remains fixed. It can con-
tinue to languish as mere brick and
timber, or it can shift into an ever more
inviting posture. It can capitalize on
the drudgeries on human existence, the
suffusion of TV, the narrowing,
cloister-like walls of life too much in
the home.

A theatre is the world's likeliest re-
spoistory of lost burdens. It is a re-
fresher, a tonic, a laundromat for un-
tidy feelings. These are vaguely held
concepts which must be hardened into
accepted truths.

In a very real way, the theatre, the
figurative framework, is as important
as the picture. The setting can make
the experience. Needed are ideas and
action, a leap forward into the present.
Others have stolen our old time thun-
der. It's time to return the movie house
to its historic position in the com-
munity, front-and-center.

Film BULLETIN November II. 1 963 Page 5

The Vieu> frw OuUide

— vBEamma**— by ROLAND PENDARIS — ^— ■

Gambling and Booze in Theatres

In recent weeks I have seen two new — or at least newly
reiterated — proposals for non-motion picture use of movie
theatres. Strictly speaking, one is for non-movie use and the
other is for concurrent use. Together, or singly they suggest
to me certain delightful visions of theatre management.

The first of the suggestions stems from a campaign being
conducted by the Broadway stage houses to permit them to sell
hard drinks. Any such public policy it was suggested, might
also be extended to film theatres as well. The second suggestion
was considerably more exciting. It came from Walter Reade as
an off-shoot of the referendum in New York City on the sub-
ject of offtrack betting. Mr. Reade would like to use theatres
as offtrack betting establishments, where 2,000 or more viewers
would watch the horseraces on a closed circuit screen and
there would be betting windows linked directly with the track.
There would be a fee for watching the races, but you could
also place your offtrack bet without going inside the theatre.

Leaving aside the question of public policy involved in either
of the proposals, won't you join me in contemplation of the
prospects of selling booze and bets under the same roof as
movies? The possibilities are endless. For example, if you can
bet off the track on horseraces and watch them on the screen at
your movie theatre, why not do the same thing with the foot-
ball games and the baseball games and, of course, the big prize-
fights? Then, after that, it should be only a short step for the
Las Vegas Sports crowd to pipe in the latest thrilling action at
the world's largest permanently established crap game, with a
little roulette thrown in as a chaser.

Years ago they laughed at the people who predicted that
some day refreshment service at theatres would be automated;
but I believe that what we have done for popcorn we can do
for betting as well. The Totalisator in the orchestra is only
the start. We can have slot machines and games of chance of
all kinds. As for the liquor service, obviously the gambling
bit will help to stimulate the booze business. Then we could
sell whiffs of pure oxygen or black coffee for sobering up pur-
poses. And maybe sandwiches; hors d'oeuvres at cocktail hour
and so forth.

■< ►

What particularly intrigues me is the prospect of the kind
of job a movie manager would have under these circumstances,
Looking into a clouded crystal ball, I seem to see the diary of
a theatre manager, years from now, reading like this

11:00 A.M. — Arrived at the theatre an hour before opening
time. Found porters had already finished cleaning up discarded
pari-mutuel tickets, but new supply of quinine water had not
yet been delivered and all the ice cubes in the refrigerator had
melted because of a short circuit. Short circuit had developed
as a result of seepage from spilled glass of gin and tonic. Pat-
ron had spilled the drink while attempting to climb onto the
closed circuit screen to block another horse from passing steed
on whom he had bet.

11:30 AM — Instructed ushers to keep doors locked despite
pressure from thirsty housewives who want to drink but don't
want to drink in bars. Some of them so desperate they bring
their own olives.

11:45 AM — Narrowly averted dangerous situation when lo-
cal bank reported it had run out of nickels. Nickel slot ma-
chines are our biggest impulse buys in the hours before the

races start. Sent usher by cab to bank on other side of town
for necessary supply of change.

12:00 — Opened doors. Sold out supply of racing forms in I
three minutes. Attempted to have customers stand in line to
use slot machines but found that those closest to the machines i
were raffling off their positions and not cutting the house in.
Solved this problem by arranging side bets among patrons who I
were not themselves playing the machines yet.

12:30 PM — Bartender quit over lack of tips from women I
customers. Our bartending machine does not arrive until tomor- i
row. Pressed two ushers into service as bartenders for today i
only.

2:00 P.M. — First race of the day went off without a hitch, j
but photo-finish slowed down our traffic. Had some slight dif-
ficulty when a big winner called for drinks on the house.

5:00 PM — Had no difficulty persuading ladies to go home, l
when we ran a loss leader offer of a full TV dinner plate for j
only 39c available as they went out.

5:30 PM — Some idiot called up to ask what the movie was II
tonight. Explained to him that ours was not that kind of thea-
tre; we do show selected short subjects, but tonight's attrac-
tion is blackjack direct from Last Chance gaming tables at
Vegas. Patron said he had hoped to see Marlene Mascara and
that new star, Peter Pluperfect; I assured him both were booked ,
for personal appearances at the blackjack game.

7:45 PM — Night bartender is now back on duty. Injury from I
handbag of woman whose age he asked before serving her
seems to be nothing more than superficial skin puncture, al- ,
though pin on her corsage was fairly long. Also the two slot
machines which were clogged with subway tokens have been
repaired.

8:45 PM — Bar business was excellent during showing of
short subjects to fill time before Las Vegas goes on air; how-
ever, must speak to circuit booking office about whether shorts
in which buying of savings bonds is urged are wise for us to
encourage.

9:30 PM — Blackjack from Las Vegas went on promptly and
was well received. However it seems to me that the distributor,
is going to burn up product needlessly if he does not allow
more time for local betting action at each theatre outlet.

11:00 PM — Happy to record that the riot ended with rela-,
tively little damage ten minutes ago. At first, when the trans-
mission from Vegas failed in the middle of a round, bar
service held up remarkably well. When connection was re-
stored and no explanation of unfinished round was made,
however, there was some dispute over refunds, and when trans-
mission went out for second time it became aparent that use;
of paper cups for drinks was not sufficient protection. Ambu- '
lance service advised that while vodka in the eye is not serious,
particularly since melted ice had watered the drink, burns
from fired brandy are something else again. Have not yet estab-
lished how three slot machines were removed from premises
during riot, and am also puzzled about why police padlocked
projection booth.

9:30 AM — Received call at home from man who wants to
rent feature length movies to me. He may have something.

Booze and bets, in moderation, have made fortunes for :«
plenty of respectable businessmen. Perhaps some day they will
help make fortunes for movie businessmen. If there is going to
be legal off-track betting, a tie-in with theatre facilities might
not be a bad idea; but I must admit I don't think those same
theatres would be able to lead a double life for too long, tak-
ing bets in the afternoon and showing movies in the evening.

I have nothing against legalized gambling. It's perfectly
charming stuff, for example, at the Tivoli in Copenhagen,
probably the nicest amusement park in the world. But I notice *
that even at the Tivoli the gambling is in a hall by itself.

Page 6 Film BULLETIN November II, l?43

BOXOFFICE WINNER

"Captain Newman, M.D." Strong Blend of Popular Elements

Su4i*te44 fcatuup O O O p|us

Ingredients of strong popular fare in this comedy-
drama of life in army hospital from best-seller. Peck,
Curtis provide marquee power. Appeal will be wide.

"Universal's "Captain Newman, M.D." opens a new vein for
humor as it explores the tragicomic world of an Army hospi-
tal's psychiatric ward during wartime. A touchy, even question-
able, subject for levity, it is treated so subtly and with such
understanding that the humor never becomes "sick." Doctors,
nurses, and orderlies are portrayed as dedicated, heroic figures
who recognize the therapeutic value of laughter; especially at
one's self, in treating mental illness. Their patients emerge not
as the grotesque caricatures of recent "serious" films dealing
with mental problems, but as troubled human beings to whom
the audience can respond emotionally. The result is a comedy-
drama guaranteed to find unusually wide favor with adult audi-
ences, both male and female, everywhere. It stands a good
chance of fallling into the strong boxoffice category of such
hardy boxoffice favorites as "Mr. Roberts" and "Stalag 17".

Gregory Peck and Tony Curtis, both perfectly cast, head a
powerful marquee roster that also includes Angie Dickinson
for romantic interest, Eddie Albert, and Bobby Darin, whose
performance in a small but vital role places him among the
top contenders for an Academy Award nomination. The Brent-
wood-Reynard production by Robert Arthur ("Operation Pet-
ticoat," "That Touch of Mink") is slick and glossy in Eastman
color, perhaps a bit synthetic, but entirely appropriate to the
mood of Leo Rosten's best-selling novel and to the specta-
tor's, by now somewhat glamorized remembrance of World
War II on the home front. Under David Miller's direction, the
screenplay by Richard L. Breen and Phoebe and Henry Ephron
emerges as sheer escapist entertainment that is consistently
entertaining and moving.

Peck appears as Captain Newman, M.D., chief of neuro-
psychiatries at an Army Air Force base hospital in Arizona.
Because there is a never-ending shortage of trained men at
fighting fronts, he is in constant battle with commanding offi-
cer James Gregory who believes that the doctor is shielding a
group of malingerers and cowards. Understaffed and poorly
equipped, Peck is forced to raise sheep in the company area to
secure much-needed serums and also to pirate newly arrived
orderlies and nurses from other units. One such staffer, Curtis,
officially listed as AWOL because of his failure to report to
his assigned post, sets the doctor's whole cockeyed world in
orbit. After skimming his way through Freud ("pretty simple
stuff"), the eager and keenly intuitive orderly becomes so en-
thusiastic about his new work that he roams about the base
searching for new patients.

This, of course, is not the sort of help that Peck hoped for,
)ut when he examines Curtis' first "recruit," Bobby Darin, he
immediately realizes that the young fellow is indeed in need
}f immediate help. Darin has become an alcoholic because he
believes he is a coward for not having rescued a buddy from a
turning plane. Wtih the help of nurse Angie Dickinson, Peck
pnd Curtis convince the young airman that he acted out of
:ommon sense, not cowardice, and Darin returns to battle
/where he meets a hero's death.

Dickinson, Curtis, Peck

As they work side by side, Peck and Miss Dickinson are
drawn together romantically, each synthesizing for the other
the private dream world they envision at war's end. But there
is little time for love-making. New patients keep arriving.
Eddie Albert, the career officer for whom the burden of sending
a long succession of men to their deaths has become unbear-
able, can find no escape except in death. After his suicide,
Peck becomes plagued by doubts and in an effort to bring more
humanity to his work, he arranges for Bethel Leslie to be at the
side of her husband, battle-scarred catatonic Robert Duvall. It
soon becomes evident, however, that the woman, mentally ill
herself, is only aggravating her husband's condition.

Throughout these sometimes grim scenes the thread of com-
edy remains constant, and in the final quarter the film abandons
all seriousness as it reverts to sheer slapstick. A group of Italian
POWs are assigned to Peck's command on the Army's assump-
tion that there, at least, they can be assured of remaining under
lock and key. Curtis soon wins the prisoners' friendship and in
the hilarious climax, a Christmas party, he leads them in a
glee-club rendering of an "old American Indian folk song"
("Have Nagila "). At the celebration. Peck comes to realize
that he must not dwell with remorse over his failures or the
men that have been cured only to be sent to death in battle,
while Miss Dickinson begins to accept the fact that the man
she loves cannot be hers as long as duty calls.

Universal. I2& minutes. Gregory Peck, Tony Curtis, Anqle Dickinson, Eddie Albert.
Bobby Darin. Produced by Robert Arthur. Directed by David Millar.

Film BULLETIN November II. I?*3 Page 7

O'BRIEN

M-G-M Backs Faith
With $50 Million

A program to cost no less than $50
million and to satisfy the entertain-
ment preferences of every type of
audience was announced for 1963-64
by Metro-Goldwyn-Mayer president
Robert H. O'Brien to the company's
international sales conference at the
studio last week.

Outstanding for the coming season
are: Irving Berlin's "Say It With Mu-
sic," to be produced by Arthur Freed;
"Dr. Zhivago", to be directed by David
Lean; James Mitchner's "Caravans";
"40 Days of the Musa Dagh", to be di-
rected by Vincente Mennilli.

Fight Pay-TV Sellers,
Harling Urges Exhibs

In blunt, unvarnished terms, Philip
F. Harling, chairman of the Joint Com-
mittee Against Toll TV, charged the
film companies with biting the hand
that has fed them since movie business
was created.

Addressing the TOA Convention,
Harling asked: "How can one segment
of the industry — namely, the distribu-
tors— continue to do business, presum-
ably in good faith, with the exhibitor
and at the same time threaten them
with extinction by selling or threaten-
ing to sell to pay TV?"

The "sand-bagging tactics" of the
company's which sell to feevee, Harling
said, is induced by their desire "to make
money without great distribution costs
and without sales organization. Our
aim is to stay in business and also make
money, and if it means that we must
sight our weapons on those who could
destroy us, we should, as individuals,
have no hesitancy in using every legal
and moral means to protect our in-
terests."

Pay TV's record is one of "failure
after failure after failure", Harling de-
clared. He told the theatremen that "no
pay TV system can exist" without a
guaranteed supply of first run films.
All other entertainment media — "mo-
tion pictures, radio and free TV have
developed and created their own prod-
uct, (but) pay TV must take from all
three in order to exist."

CAST &
CREDITS
■

Report on the Industry's
PEOPLE and EVENTS

ZANUCK

Function of Studios
Is Production-Zanuck

"We are not bankers, nor promoters.
We are producers. I believe, as presi-
dent of our company, that our job is
to make pictures, and that we intend
to do."

Thus did Darryl F. Zanuck express
his credo as a filmmaker to exhibitors
attending the TOA Convention.

"We at 20th Century-Fox," he said,
'finance independent producers and dis-
tribute their pictures, but, I do not be-
lieve that fulfills our capabilities. A
motion picture company has the re-
sponsibility to produce motion pictures.
Our six recently announced roadshow
productions, to be made by our own
studios with our own people, signify
our intention to accept our responsibil-

ity as a production company."

Admitting that he has been the sub-
ject of some uncomplimentary charges,
the 20th-Fox chief executive confessed
his guilt on some scores, but added: "I
am faithful to one thing. Motion pic-
tures always have been, and are, my
first love."

He told the Convention that the pro-
posed joint studio complex was still
being discussed between 20th, M-G-M,
and Columbia, and that a final decision
on the project should be forthcoming
within the next several weeks.

S-W, U, Decca
Report on Profits

Financial reports were issued last
week by Stanley Warner, Universal and
Decca.

Stanley Warner president, S. H.
Fabian announced that the corporation's
net income for the fiscal year ended
August 31, 1963 had reached a new
high of $3,283,300. This is an increase
of $429,800 over net income for the
fiscal year ended August, 1962. The
operating profit allows for $1.61 per
share which is a profit of 210 above the
$1.40 earned per share in 1962. In addi-
tion there was a profit of $237,400 from
unusual property dispositions which is
equivalent to an added 110 per share.

For the thirty-nine weeks ended Sep-
tember 28, 1963 Universal reports net
earnings of $3,069,594, as compared to
$4,046,840 reported for the same period
in 1962. This amounts to $3.54 per
share excluding shares in the Treasury
of the Company, representing a drop
of $1.16 per share from $4.60 in 1962.

Decca reported net earnings of
$3,670,557 equal to $2.40 per share
for the nine months ended September
30, 1963. Net earnings for the corre-
sponding period of 1962 were $4,359,-
091 equal to $2.85 per share showing a
loss of 450 per share in 1963.

"How To Oil the Ticket Machine" was the theme of this showmanship session,
conducted at the TOA convention by National General's Robert Selig (at rostrum).

Page 8 Film BULLETIN November II, I?t3

A FAST MOVE ON THE OFF-TRACK

Walter Reade's $71/2 Million
Wager— Win, Place and Show

New York City voters having given overwhelm-
ing approval in last Tuesday's election to the pro-
posal for off-track betting, the idea advanced by
theatre-film entrepreneur Walter Reade, Jr. to
set up a chain of horserooms with public betting
windows and facilities for closed-circuit color
transmission of races looks like a shrewdly placed
entry.

The energetic board chairman of Walter Reade-
Sterling, Inc. champing at the bit to jockey his
company into position as bookmaker for the city,
revealed his program at a press conference and
in a full-page advertisement in the New York
Times just prior to the November 5 vote. Attrac-
tively illustrating the set-up, Reade proposed to
provide bettors lavish and convenient auditoriums
in which to indulge their yen for a wager on the
nags.

Some exhibitors see, as a side effect of Reade's
idea, advancement of theatre television.

Under the plan, a newly formed division of
WR/S, National Off-Track Viewing, Inc., would
purchase or lease existing structures (not nec-
essarily theatres) and equip them with Ediphor
installations (for large-screen color telecasting of
races as often as they are run) and with extensive
betting and refreshment areas. Pari-mutuel win-
dows would be accessible all day at no charge, but
admission, comparable to track prices, would be
required for entrance to "grandstand'- and "club-
house" viewing areas. The only source of profits
to Reade's organization is to come from the
"breakage" (odd pennies not paid to winning
bettors under the present on-track system) and
from concessions. Volume would be great enough,
Reade believes, for his system to show profits
within 5 years. An initial outlay of $7,500,000,
exclusive of the purchase or rental of auditoriums,
is envisioned and since the system will be set up
at no cost to city or state, Reade hopes for "at
least" a 5-year exclusive operating license.

The theatremen revealed that he had discussed
his program with Mayor Robert F. Wagner but
had received no commitment.

The track is muddy, however, for the idea of
legalizing betting away from established racing
plants. The ultimate decision rests with the State
Legislature, and there is considerable opposition
among political leaders, including Governor Rock-
efeller, outside of New York City. If the track
dries out, Walter Reade might be far in the lead
toward becoming New York's "official bookie."

The New York Times advertisement offered
off-track bettors the opportunity to indulge
in the pastime "with dignity, comfort and
convenience." All races (thoroughbreds by
day, trotters by night) would be telecast in
color, "from the parade of horses to the
start, to the last second across the finish
line." Pay-offs would be made immediately
after each race, or at a later date if the
bettor so desired.

THP NFW V)HK TIMTV MOMUV. V.VFVlBfcR •

IF YOU

VOTE YES FOR

OFF-TRACK RETTING
SOMETHING
EXCITING COULD
HAPPEN!

UNDER OUR PROPOSED PLAN YOU SEE THE RACES TELEVISED LIVE AND IN COLOR
DIRECT FROM THE RACE TRACKS AT CONVENIENTLY LOCATED AUDITORIUMS!

iiiditoriiims. National Off-Track Viewing: Inc., would bring you future date. ■ Inside the auditoriums would be a special club-

a direct color TV pick-up from the track. All the events televised house section, a beautiful lounge with restaurant facilities, all

live n* they happen, with the flavor of the track, from the parade climate-controlled for your utmost comfort. The end result for

of the horses to the start, to the last second across the linish line. you will be an extension of the race-track, achieved with comfort

This would, of course, l*e rain or shine telecasting, operating both and convenience. ■ Responsibility for the personnel will be under

day and night Those who follow the thoroughbreds can view the supervision and control of The Racing Commission. All

them running in the day time, while the trotters can be seen at existing rules now in effect it the race-tracks will be enforced

night. ■ Modern pari-mutuel betting machines and lute board* at each installation. This covers personnel, Security, puri-muluet

would he installed in the lobby ami in the auditorium. Tote boards regulations and rules for admission including the exclusion

will be connected directly to the Hack, and give you the Informs- of minors. ■ The auditoriums would be conveniently located

t ion at exactly the same time it is given t<i the people at the track. in all Ave boroughs. Should off-track betting Wvonic a ivalily.

No admission ticket is required to enter the lobby and to place a the city and state will thereby raise badly needed revenues to

bet. Kor admission into the spacious auditorium, all you need do service its citizens, and those who enjoy the sport of racing

to sec the day's racing is to buy a ticket. You may come in at any would be able to do so in a dignified and sporting atmosphere.

W/ONALOfFrMCKmiMM/M.

A AN AFFIUATC OF THE WALTER READE- STERLING GROUP

Film BULLETIN November II. 1963 Page 9

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United Artists' Big One for Christmas J

COLOR by DeLuxe v
PANAVISION

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STORY BY

PRODUCED BY

Printed In U.S.A.

MDTT ARNOLD and JAMES R. WEBB ELLIOTT ARNOLD LEWIS J. RACHMIL £55 «in

Although it was not exactly a bomb-
shell, the remark of Mr. Paul Vogel
at the Allied States convention must
have jarred a few nervous systems. Dur-
ing a session on trade practices, Mr.
Vogel tossed decorum to the soot on
the Avenue of Americas and said: "I've
been hearing the same thing at these
conventions for the past 17 years. Let's
do something about it."

Nothing is so disturbing as a chal-
lenge to action. Without in any way
deprecating either Allied States or
TOA, it must be said that it is much
more interesting to talk about problems
than to solve them.

In all fairness, we should not expect
too much from a convention. Both
Allied and TOA had good programs
and certainly there was nothing wrong
with the gist of the speakers from all
points of the industry compass.

Furthermore, it is most difficult to
develop a consensus with so many
voices expressing so many ideas all at
one time. There was something to the
position that both conventions assumed
in relation to methods of distribution,
but there was no noticeable admission
that the old order has changed. In
other words, most of the agitation was
for turning the clock back and little
recognition was given to the proposi-
tion that for the past twenty-five years
the entire economic structure of the
business has been revolutionized.

Of course, it is true that more pic-
tures should be produced; that it is a
dreadful thing to sell comparatively
recent product to TV; that roadshows
are a detriment to the small exhibitor
and that many pictures would do much
better if some of the obsolete clearance
policies were abolished. The distri-
butors could not answer these points
because the distributors have just as
many problems as the exhibitors, but
the distributors failed to enunciate any
of their problems.

They might have set forth a good re-
buttal merely by calling attention to the
fact that they are at the mercy of the
new methods of production and to get
pictures made on a reasonable basis
is as out of date as silent pictures.

The truth of the matter is that dis-
tributors do not control their business.
Under the system of independent pro-
duction, the problem is not getting pic-
tures completed, the big job is to get
them started.

The important stars, producers,
writers, directors really have no interest
in how many small exhibitors are
desperately fighting for survival. In
fact, it is doubtful if they have any
idea whatsoever of anything pertaining

ADAM WEILER

to the real problems of the industry.
But these are the real forces in the
business as it exists today. Without
them there would be no pictures pro-
duced, and with them pictures will be
produced according to their points of
view, without too much thought being
given to the crucial state of exhibition.

Can you really blame them? They
have their own brand of headaches.
They are gambling money, time and
reputations. Having their own produc-
tion companies not only puts them in
the driver's seat but also compels them
to decide which road to take.

I see no solution to the many prob-
lems confronting all branches of the
industry. Every responsible person in
the industry recognizes that much more
planning is required, but the know-
ledgeable people know that planning is
long-range and that improvising will
have to do the job in the meantime.

An industry executive — he was in the
public and intra-industry relations field
— once said that "crisis is the backbone
of the movie business." If this is so,
things are really looking up.

< ► M ►

The Rt. Rev. Msgr. Thomas F.
Little, executive secretary of the Na-
tional Legion of Decency, is concerned
about the industry's advertising policies.
He thinks the exhibitor "deliberately
debauches the young and innocent in
his unscrupulous pursuit of the al-
mighty dollar." Monseigneur Little ad-
vocates that the exhibitor "should do
something about his advertising" and
at the same time should assume the role
of "community teacher."

All advertising is designed to sell
something, whether it be motion pic-
tures, automobiles or toilet articles. If
this is a perversion of ethics or moral
standards, and if it means that we are
pursuing the dollar too enthusiastically,
let us put the blame on the current cul-
ture in which the dollar maintains an
important position.

~* ► ■< ►

As for the practical aspects of film
promotion, it is true that some movie
advertising has drifted to the vulgar
side, but so has much other advertising.

My complaint about our advertising is
that there is not enough of it and that
it doesn't present the true values in
many pictures.

If I had anything to do with this art
of selling movies in the face of TV
competition, I would insist that every
ad carry some reference to the superior
quality of films on the theatre screen.
Another weakness in our "sell" is the
failure to tell more of the intriguing
facts about the show. The fallacy lies
in the belief that copy has to be clear
rather than informative. Another point:
if women are the main target of our
advertising, I would think special ads
directed to women would be effective.
If a producer spends a lot of money
dressing up his feminine star, the ladies
should be told plenty about the fashion
element in the picture.

We still have no competition from
TV on the glamour side. Yet as drab as
most television is, we are just as drab
in failing to point up the glamour we
have to sell, but seldom do.

One advertising executive reminded
the TOA convention that if you want
to be in show business you have to be
a showman. This was a bit on the
trite side. What is really required is a
new definition of "showman".

A formula for showmanship? If there
were one, we would have no showman-
ship. One thing is for sure. You need
a nice big advertising budget before
you can qualify in these days of the
hard sell. Too many of the film com-
panies talk big budget, but they aren't
putting it up for showmanship.
M ► -< ►

Irving M. Levin told the San Fran-
cisco Chronicle on the eve of his S. F.
Film Festival's opening that he hoped
the public would give more support
and attention to the festival. If this
happened, then he would not have to
dig so deeply in his own jeans. The
festival director's frankness in admitting
the public's indifference to this furbe-
low was also a dig at Hollywood, which
still shows no interest in cooperating.

Columbia contributed $10,000 to this
year's festivaal, but this was a gesture
to satisfy Carl Foreman, whose "The
Victors" was entered out of competi-
tion, rather than an endorsement of
the festival itself. The hard-nosed busi-
ness men at Columbia apparently be-
lieve— like most of their film executive
contemporaries — that Mr. Levin's show,
good as it might be, has very little con-
nection with the business of selling
theatre tickets to the mass of movie-
goers. Whether this is sound business
judgment or a short-sighted view bears
some future discussion.

Piqe 12

Film BULLETIN November II, 1943

Organization's "brass" attend luncheon honoring outgoing TOA
general counsel Herman M. Levy, retiring to private practice.

TOA CONVENTION

( Continued from Page 4 )
versation, rising out of a formidably
titled "Legal Advisory Council Round-
table Meeting." Attracting about 30
exhibitors and a smattering of the trade
press, the session, closeted in an out-
of-the-way foyer, provided TOA mem-
bers their one opportunity for group
discussion. It didn't take long for the
delegates to get down to brass tacks
on "blind bidding" and "blind selling,"
and Maurice Silverman, attorney for
the anti-trust division of the Depart-
ment of Justice, and Herman Levy,
retiring TOA counsel, provided plenty
of legally-sound answers.

'BLIND' BIDDING HIT

Robert Spodick, operator of a num-
ber of Connecticut theatres, charged
that "blind bidding" discriminates
more against independent exhibitors
than the big chains. Taking "The
V.I.P.s" as a case in point, he asked:
"Can we really believe that nobody
at Radio City Music Hall saw this film
before it was booked? I also find it
hard to conceive that major chains with
people in New York, Los Angeles, and
Europe have no knowledge at all of
such films before they buy them. It
simply doesn't make sense."

Other exhibitors backed Mr. Spo-
dick's charges and, in reply, Levy
stressed that under the terms of the
most recent consent decress no legal
remedies were available. "There are
only two courses open to us. We can
have a roundtable with distributors on
a national level, or we can bring our
case before the Federal Trade Com-
mission." Cool to distributor forums,
the members expressed approval of air-
ing the problem before the FTC, and

as word of the suggestion spread about
the hotel, other exhibitors voiced op-
timism that, at last, a concerted effort
might be made to overcome the prac-
tice.

"Blind selling," the paying of cash
guarantees in advance of showings,
was condemned by Burton Jones of San
Diego, who declared, "Selling 'Cleopa-
tra' that way was the most stupid
thing ever done, and we went along
with it. Let's not be duped again."
(Warner Bros, plans to place "My
Fair Lady" on the market in this
manner, and other big product is ex-
pected to follow suit.) Levy agreed to
take the matter to the TOA board for
discussion and recommendations.

Ace Films, the exhibitor-backed or-
ganization designed to produce pic-
tures to ease the product shortage, has
finally gotten off the ground, it was
reported to the convention. Company
president Sidney Markley revealed that
seven productions are now either under
way or will be in production shortly.
All will be available for release in
1964, Markley stated, and "will be pro-
duced on a sound basis and offered at
prices you (the exhibitor) can afford
to pay."

Of the convention's many speeches,
the most notable included: 20th Cen-
tury-Fox president Darryl F. Zanuck's

disclosure that a "final determination"
on the future of the proposed Fox-
Columbia-M-G-M joint studio site at
Malibu would be made within the
month; James H. Nicholson's announce-
ment that American-International,
which he heads, would have 25 new
pictures, 16 of them top-budget (for

ZANUCK & STEMBLER

AIP) features, for release in 1964;
Carl Foreman reiteration of his plea
for a national film school and for
"revitalization," his new word for
"subsidy"; the Rt. Rev. Msgr. Thomas
F. Little's (executive secretary of the
National Legion of Decency) attack on
"contemptuous, vulgar advertising,"
and the warning by E. LaMar Sarra,
chairman of TOA's committee on state
and local legislation, of censorship
difficulties ahead because of intensified
drives for classification of adult films.

The lack of "humanism" in motion
pictures was deplored by famed attor-
ney and author Louis Nizer.

Other highlights included a "star of
the year" award to Cary Grant, "ex-
citing new star" honors to Angie Dick-
inson, and a showmanship award to
Joseph E. Levine.

At a closed board of directors meet-
ing, John H. Rowley was elected TOA
president to succeed John H. Stembler,
who becomes chairman of the board.
Mitchell Wolfson was elected treasurer
to fill the post vacated by S. H. Fabian,
retiring to lifetime executive committee
membership. Re-elected were Samuel
Pinanski, honorary chairman of the
board; Herbert F. Kincey, secretary;
Myron N. Blank, chairman of the fin-
ance committee; Joseph C. Altcrman,
assistant and administrative secretary;
George Roscoe, director of exhibitor
relations.

F-ilm BULLETIN November II. 1963 Page 13

"All the Way Home"

Agee's sensitive novel made into heavy, soapy tear-
jerker. Unlikely to meet much success in general
market outside of small town situations.

Despite its admirable intentions, Paramount's "All the Way
Home" fails in almost every department and the limited mar-
quee value of Jean Simmons and Robert Preston is not apt to
get this out of the box-office rut in most markets. Its best pros-
pects are in small town situations. The wistful, poetic quality
so necessary to the mood of the story is completely missing,
leaving only a static, heavy, soapy tear-jeaker that will fail to
hold the sophisticates it might otherwise have appealed to and
will be too slow moving for the ladies in search of a good cry.
Alex Segal's direction relies on abrupt editing and excessive
close-ups that tend to isolate the performers from their sur-
roundings, while David Susskind's production, designed to
recreate the mood of Knoxville, Tennessee, circa 1915, is
so self-consciously authentic that the audience is always acutely
aware of movie-makers at work. Preston, the fun-loving, hard
drinking father who meets an untimely death, and Pat Hingle,
his crude undertaker brother, ham flamboyantly and supply
jarring contrast to the subdued, frequently moving portrayals
of Miss Simmons as the pregnant mother, and Aline Mac-
Mahon, the wise and understanding aunt. The six-year-old boy
so crucial to earlier versions of the story is relegated to the
background, possibly because of the limited emotional range
of Michael Kearney who plays the role. The screenplay by
Philip Reisman, Jr., from Tad Mosel's play and James Agee's
Pulitzer Prize novel, "A Death in the Family," follows the
basic pattern of the earlier works, but on screen often appears
as a series of disconnected vignettes. The first half of the story
depicts the family's outings, the squabbles between husband and
wife, and the boy's hero worship of his father. Then, without
warning, the well-balanced existence is shattered by the father's
death in an automobile accident. There follow the black hours
in which the family prepares for the funeral. Feeling alone and
unwanted, the boy secretly sobs out his grief until Miss Sim-
mons, emerging from her shock and strengthened by Miss
MacMahon's stoic wisdom, tells him of the baby she is carrying,
explaining that in the child his father will live again. Hand in
hand, mother and son walk slowly home, sharing their grief
and looking forward to a brighter tomorrow.

Paramount. 103 minutes. Jean Simmons, Robert Preston. Produced by David Suss-
kind. Directed by Alex Segal.

"Julie the Redhead"

Lively, amusing French farce shoud attract fair response
in art market.

Here is a bright papier-mache farce from France that should
do well with art house audiences seeking a change of pace
from weightier European film fare. Word-of-mouth response
should help. Pascale Petit is "Julie La Rousse," the Brigitte
Bardot of the circus world, renowned in legend and cafe songs.
It is Daniel Gelin's misfortune to fall in love with her, but
since he is heir to a nail factory, the fabulous redhead would
make a suitable mistress but not a fit wife. Alas, this is not
enough for Julie, and the weak-willed Gelin marries another.
Twenty-five years later he dies, middle-aged, perhaps of a
broken heart. Here the screenplay by Paul Andreota and
Claude Boissol really takes off and, under Boissol's colorful
direction this Shawn International release provides plenty of
carnival atmosphere and light-headed diversion. Gelin, it
seems, sired a son (also Gelin), a staid, sticky fellow who
wants to be an industrial giant. Unfortunately for junior, papa

willed the nail factory to Julie, so young Gelin sets out to
buy-off the "evil woman" whose influence had been so strong
on the old man. He finds Miss Petit, young and ravishing, a
bareback rider and trapeze artist with a circus. Thinking only
of the nail factory, he engages in a series of business and
romantic maneuvers to secure the inheritance, believing that
Julie is the original redhead's daughter and thus the legal heir.
Miss Petit plays along until, on their wedding night, she ex- I
plains that she had no legal claim to the firm, but now that
she is his wife, half the company is hers. Gelin, however, sus- i
pects that she wants complete control and is plotting his mur-
der. She, in turn, feels that he is planning her demise. Before
true love conquers all, there are some wry comic interludes by
Rene-Louis Laffourgue as a circus barker who crashes high
society, and by mimic Jacques Dufilho as a bellboy.

Shawn International. 100 minutes. Pascale Petit, Daniel Gelin. Produced by
Georges Glass I Films Matignonl and Metiger and Woog. Directed by Claude
Boissol.

"The Householder"

3u4iHe44 IZatut? O Plus

Comedy from India is tame. Small market in U.S.

India's first comedy, a frail and sporadically amusing attempt
to emulate Hollywood's brand of family lunacy, will arouse
little interest among art house patrons, nor, although filmed
simultaneously in Hindu and English language versions, it is
not apt to find either class or general market bookings. Pro-
ducer Ismael Merchant has endeavored to give his film a uni-
versal appeal, but the theme of the interfering mother-in-law
needs more original treatment than it receives under James
Ivory's routine direction. The Royal Flms International re-
lease has attractive young performers in Shashi Kapoor and
Leela Naidu but they appear more attuned to drama than to
comedy. Only Durga Khote, as the mother-in-law, manages to
enliven the proceedings with her broad over-playing. The
screenplay by R. Prawer Jhabvala, from her novel, concerns a
young man (Kapoor) who, as the coffee-house Zens would
say, has trouble in "relating." He cannot seem to get along with
his superiors at the college where he teaches, his friends, or
his wife whose lack of sophistication embarrasses him. Be-
wildered and unhappy when he learns he is to become a father,
he sends for his mother but finds little empathy with her.
Moreover, the domineering woman makes life a hell-on-earth
and creates even more friction with his wife (Miss Naidu),
whom she eventually drives from the family hearth. Trying to
escape from his troubles, the young man falls in with an Ameri-
can beatnik (Ernest Castaldo), takes up Zen, and visits a
swami — all to no avail. When his wife returns, he sends his
mother packing and decides that he must face the responsibili-
ties of the householder alone.

Royal Films International. 110 minutes. Shashi Kapoor, Leela Naidu, Durgha Khote.
Produced by Ismael Merchant. Directed by James Ivory.

BULLETIN

reviews have one aim:
to give honest judgment
of entertainment merit
— and boxoffice value

Page 14 Film BULLETIN November II, 1943

"Who's Been Sleeping in My Bed?"

Sututete Satiny Q O p\us

Carol Burnett's mugging is highlight of this rather tame,
if frenetic, comedy. Should be above-average grosser.

TV comedienne Carol Burnett brings her raucous, rubber-
faced talents to the movie screen and Dean Martin has found
his most congenial foil since he turned solo. She is the logical
successor in the mugging department to that old favorite, Joan
Davis. The titillating title and suggestive ads mislead, for
"Who's Been Sleeping In My Bed?" is no more risque than
the nursery fable from which it takes its name, and is guar-
anteed safe for family audiences. Boxoffice response should be
above-average in all but the class and action markets. Jack
Rose's sumptuous Panavision and Technicolor production is
filled with gorgeous gals, but his screenplay is sadly lacking
in imagination and only the clownish conduct of Miss
Burnett and the frenetic direction of Daniel Mann, especially in
the slapstick sequences, enable this Paramount release to rise
above run-of-the-mill comedy level. Martin is the perennial
bachelor who plays cards once a week with the boys (Martin
Balsam, Richard Conte, Louis Nye, Jack Soo, Elliott Reid — all
married. He never gets to finish a game though, as his cronies'
lonely wives always seem to be in need of companionship.
Since Martin is a noble chap, he wouldn't dream of romancing
married women and spends most of his time trying to elude
their clutches. At one point he has Jill St. John, Dianne Foster,
Macha Meril, and Yoki Tani hiding in different rooms, trying
' to prevent each from discovering the presence of the others.
It's all pretty corny, but things pick up when Miss Burnett
decides to trap the elusive bachelor for her roommate, Elizabeth
Montgomery. As a "girl counterspy" in a psychiatrist's office,
Miss Burnett gets the lowdown on Martin's likes and dislikes
but, misinterpreting his amorous activities, believes that he can
be attracted only to married women. She sets up a fake wed-
ding of Miss Montgomery and a muscle-bound mate, invites
Martin. Soon, Miss Montgomery seeks protection in Martin's
arms from her brutish "husband," then arranges for a "quickie"
Mexican divorce. Martin follows the girls to Mexico and,
learning the truth, leaves them stranded without money in a
nightclub. Miss Burnett is forced to earn their way out by
staging a strip-tease number similar to one she has done on
TV. Eventually, all misunderstandings are cleared and Miss
Montgomery gets her man.

Paramount. 103 minutes. Dean Martin, Elizabeth Montgomery, Carol Burnett.
Produced by Jack Rose. Directed by Daniel Mann.

"Palm Springs Weekend"

Where the younger set will buy Troy Donahue, Connie
Stevens, Ty Hardin, this will get by. Fair weekend
attraction.

This Warner Bros, bit of romantic froth is aimed at the
younger set and it should get by as a weekend attraction in its
intended markets. The appeal will be limited to the 12-18 year
olds, and anyone else will find its effect strictly somnolent.
Troy Donahue, Connie Stevens, Ty Hardin have been paired
off with some of the studio's lesser known young players for
this not too inventive variation on "Where The Boys Are."
Michael A. Hoey's Technicolor production is technically hap-
hazard, Earl Hamner, Jr.'s screenplay is pretty juvenile, while
Norman Taurog's languid direction just allows the performers
to exhibit their familiar and limited talents. Miss Stevens
plays it safe, limiting her repertoire to fluttering her eyelashes,

but Donahue and Hardin stretch their luck a bit by attempting
to sing a couple of old songs. It's Easter week and high
school and college youngsters converge by the thousands on
swank Palm Springs for their annual rites of Spring. Among
the boys are Donahue, Hardin, Robert Conrad, and Jerry Van
Dyke. Conrad is a callow and wealthy playboy, so he doesn't
rate a girl of his own, although he makes lecherous advances
at Miss Stevens, Hardin's choice for a mate. Van Dyke is
reluctantly judoed into romance by athletic Zeme North, but
poor Donahue really has problems. He's madly in love with
Stephanie Powers, daughter of the local, very hostile police
chief (Andrew Duggan). Only after proving himself a hero
by pulling Hardin from a burning car, does Donahue get
permission to court his damsel and by this time the holiday
is almost over. By story's end, romance becomes so contagious
that even middle-aged lonely hearters Jack Weston and Carole
Cook get bitten by the Iovebug and, assumedly, all, realizing
that love can be no weekend affair, will find their way to
the altar.

Warner Bros. 100 minutes. Troy Donahue, Connie Stevens, Ty Hardin, Stephanie
Powers, Robert Conrad. Produced by Michael A. Hoey. Directed by Norman Taurog.

"The Did Dark House"

%>Udut£M, 7£<xti*4 O O Plus

Batty and fun-filled horror-comedy should make young-
sters howl and their elders chuckle.

A meeting of the minds, so to speak, of those ghoulish con-
noisseurs of cinema mayhem, William Castle and Hammer Pro-
ductions, has given birth to this exploitable Columbia release
that will be remembered more for the battiness in its belfries
than for its reliance on horror staples. The resulting silliness
will leave the kids howling (with glee), undiscriminating elders
chuckling in spite of themselves, and exhibitors doing quite well
at the boxoffice. Robert Morley and Joyce Grenfell seem to be
having such a fine time that their pleasure is contagious, while
newcomer Fenella Fielding, a vamp straight out of Charles
Addams, bewitches her way through scene-after-scene. This
leaves American tv comedian Tom Poston and pretty Janette
Scott barely noticeable as romantic leads. Castle (who also di-
rected, in a fashion) and Anthony Hinds co-produced in low-
budget style with an accent on gimmicks, and the screenplay by
Robert Dillon, supposedly adapted from a J. B. Priestley novel,
is a nonsensical mishmash that defies description or belief. Pos-
ton, an American car salesman, arrives at a secluded English
country house, falls through a trap door, discovers a bodv, and
meets the surviving members of the household. There is Mervyn
Jones, a latter day Noah, who collects baboons and tigers, two
by two, for his ark. Miss Grenfell, watches corpses pile up as
she sits happily by, knitting by the mile (sic). Morley, the most
sinister, experiments with a collection of lethal weapons. Round-
ing out the family are a pair of rotund twins, Humpty and
Dumpty (Peter Bull), and two decorative maidens, siblings of
somebody or other. Miss Scott, the sweeter of the two, has
matrimony on her mind, while Miss Fielding is quite willing to
settle for less than lasting devotion. A mute giant lurks in the
background, bodies fall out of all the expected places, trap doors
open, panels slide, voices from the dead recite nurserv rhymes,
and, while it's not a bit scary, the fun is capped by a neat and
surprising denouement.

Columbia. 86 minutes. Tom Poston, Robert Morley, Janette Scott Joyce Grenfell.
Produced by William Castle and Anthony Hinds. Directed by William Castle.

• POOR • • FAIR

• • • GOOD • • • • TOPS

Film BULLETIN November II. 1 963 Page IS

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

August

GUN HAWK. THE Rory Calhoun, Rod Cameron, Ruta
Lee, Rod Lauren. Producer Richard Bernstein. Direc-
tor Edward Ludwig. Outlaws govern peaceful town of
Sanctuary. 92 min. 10/14/63.

September

CRY OF BATTLE Van Heflin, Rita Moreno, James Mac-
Arthur. Producer Joe Steinberg. Director Irving Lerner.
Three people caught in vicious guerilla war. 99 min.
10/28/63.

SHOCK CORRIDOR Peter Breck, Constance Towers,
Gene Evans, James Best, Hari Rhodes. Producer-direc-
tor Samuel Fuller. A Leon Fromkess-Sam Firks Produc-
tion. A suspense drama. 101 min. 7/22/63.

October

WAR IS HELL Tony Russell, Baynes Barron, Judy Dan.
Producer-director Burt Topper. Korean War story.

November

GUNFIGHT AT COMANCHE CREEK Color. Panavision.
Audie Murphy, Ben Cooper, Colleen Miller, DeForest
Kelley, Jan Merlin. Producer Ben Schwalb. Director
Frank McDonald. Private detective breaks up outlaw
gang.

STRANGLER, THE Victor Buono, David McLean, Davey
Davison. Producers Samuel Bischoff, David Diamond.
Director Burt Topper. Suspense drama.

YEAR OF THE TIGER Marshall Thompson. Producer Wray
Davis, Director Marshall Thompson. Action in Viet Nam.

December

LIFE IN DANGER Derren Nesbitt, Julie Hopkins. An
unusual suspense drama.

NOW IT CAN BE TOLD Robert Hutton, Martin Benson,
Peter llling, Sandra Dome. An espionage thriller.

Coming

IRON KISS, THE Constance Towers, Anthony Eisley,
Michael Dante. A Leon Fromkess-Sam Firks production.
Producer-director Samuel Fuller.

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

NEVER PUT IT IN WRITING. Pat Boone. Producer-direc-
tor Andrew Stone.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen, Tuesday Weld, Tony Bill, Tom Poston, Chris
Noel, Ed Nelson. Producer Martin Jurow. Director
Ralph Nelson. Peacetime Army comedy.

THE THIN RED LINE, THE Keir Dullea, Jack Warden.
Producer Philip Yordan, Director Andrew Marton.

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

May

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama. 84 mm.

June

DEMENTIA #13 IFilmgroup) William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK, THE CONQUEROR (Formerly Miracle of the
Vikingl. Color, CinemaScope. Cameron Mitchell,
Kessler Twins. Action drama. 90 min.

July

TERROR, THE (Filmgroup) Color, Vistascope. Boris Kar-
loff. Sandra Knight. Horror. 81 min.

August

BEACH PARTY Color, Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funicello.
Producer James H. Nicholson. Director William Asher.
Teenage comedy. 100 min. 7/22/63.

September

HAUNTED PALACE, THE Color, Panavision. Vincent
Price. Debra Paget, Lon Chaney. Producer-director
Roger Corman. Edgar Allan Poe classic. 85 min.
9/2/63.

October

SUMMER HOLIDAY Technicolor, Technirama. Cliff
Richard, Lauri Peters. Teenage musical comedy. 100
min.

"X" — THE MAN WITH THE X-RAY EYES Ray Milland,
Diana Van Der Vlis, John Hoyt, Don Rickles. Producer-
director Roger Corman. Science fiction. 80 min.
10/14/63.

November

PYRO— THE MAN WITHOUT A FACE Color. Barry
Sullivan, Martha Myer. Horror drama. 93 min.

RUMBLE Color. Frankie Avalon, Annette Funicello. Teen-
age drama.

December

GOLIATH AND THE SINS OF BABYLON Color and
Techniscope. Mark Forest, Scilla Gabel, John Chevron.
SAMSON AND THE SLAVE QUEEN Color. Scope. Mark
Forest, Allen Steele, Pierre Brice. Action comedy.

January

COMEDY OF TERRORS, THE Color. Panavision. Vincent
Price, Peter Lorre, Boris Karloff. Basil Rathbone, Joyce
Jameson. Horror, comedy.

February

SOME PEOPLE Color. Kenneth More, Ray Brooks, Annika
Wills. Teenage Musical.

UNDER AGE Anne MacAdams, Judy Adler, Roland
Royter. Teenage drama.

March

MUSCLE BEACH PARTY Color, Panavision. Frankie
Avalon, Annette Funicello. Teenage musical.

Coming

BIKINI BEACH Color, Panavision. Frankie Avalon, An-
nette Funicello, Harvey Lembeck. Teenage Comedy.

DUNWICH HORROR Color. Panavision. Science Fiction.
GENGHIS KHAN 70mm roadshow.

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester, Harvey
Lembeck. Horror comedy.

MAGNIFICENT LEONARDI, THE Color, Cinemascope.
Ray Milland.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

UNEARTHLY STRANGER, THE John Neville, Philip Stone,
Gabriella Lucudi. Science fiction.

WHEN THE SLEEPER AWAKES Color. Vincent Price.
Producers Julian Win^e, Leslie Parkyn. H. G. Wells
classic.

June

SAVAGE SAM Brian Keith, Tommy Kirk, Kevin Cor-
coran Marta Kristen. Dewev Martin. Jeff York. Pro-
ducer Walt Disney. Director Norman Tokar. Tale of the
pursuit of renegade Indians who kidnap two boys and
a girl. 110 min. 6/10/63.

July

SUMMER MAGIC Hayley Mills, Burl Ives, Dorothy Mc-
Guire, Deborah Walley, Peter Brown. Eddie Hodges.
Director James Neilson. Comedy musical. 109 min.
7/8/63.

October

20,0000 LEAGUES UNDER THE SEA Re-release.
FANTASIA Re-release.

November

INCREDIBLE JOURNEY, THE Emile Genest, John Drainie,
Sandra Scott. Narrated by Rex Allen. Producer Walt
Disney. Director Fletcher Markle. Based on book by
Sheila Burnford. Adventure drama. 80 min. 10/28/63.

December

SWORD IN THE STONE, THE. Producer Walt Disney
Director Wolfgang Reitherman. Full-length animated
feature. 75 min. 10/14/63.

Coming

MISADVENTURES OF MERLIN JONES, THE Annette Funi-
cello, Tommy Kirk, Leon Ames, Stu Irwin. Director Rob-
ert Stevenson. Comedy of a mind-reading wiiard.
THREE LIVES OF THOMASINA, THE Patrick McGoohan,
Susan Hampshire, Karen Dotrice, Matthew Garber.
Director Don Chaffey. Based on novel by Paul Gallico,
story of an enchanted cat who brings happiness to
three people.

TIGER WALKS, A Brian Keith, Vera Miles, Pamela
Franklin, Sabu, Una Merkel. Director Norman Tokar.
Based on book by Ian Niall, story of a Bengal tiger's
escape from a small town circus.

June

JASON AND THE ARGONAUTS (Formerly The Ai^e-
nouts). Color. Todd Armstrong, Nancy Kovak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic. 104 min. 6/10/63.

JUST FOR FUN Bobby Vee, The Crickets, Freddie
Cannon, Johnny Tillotson, Kerry Lester, The Tornadoes.

72 min.

July

L-SHAPED ROOM, THE Leslie Caron, Tom Bell. Pro-
ducer James Woolf, Richard Attenborough. Director
Bryan Forbes. Drama. 125 min. 7/22/63.

13 FRIGHTENED GIRLS Murray Hamilton, Joyce Tay-
lor, Hugh Marlowe. Producer-director William Castle.
Mystery. 89 min.

August

GIDGET GOES TO ROME James Darren, Cindy Carol,
Jobv Baker. Producer Jerrv Bresler. Director Paul
Wendkos. Teenage romantic comedy. 101 min. 8/5/63.

September

IN THE FRENCH STYLE Jean Seberg, Stanley Baker.
Producers Irwin Shaw, Robert Parrish. Director, Par-
rish. Romantic drama. 105 min. 9/30/63.

THREE STOOGES GO AROUND THE WORLD IN A
DAZE, THE. The Three Stooges. Producer-director
Norman Maurer. Comedy. 94 min. 9/2/63.

October

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins. Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

MANIAC Kerwin Mathews, Nadia Gray. Producer Jim-
my Sangster. Director Michael Carreras. Suspense
drama.

OLD DARK HOUSE, THE Tom Poston, Robert Moreley,
Joyce GreenfeM. Producer-director William Castle.
Suspense drama.

RUNNING MAN, THE Laurence Harvey, Lee Remick,
Alan Bates. Producer-director Carol Reed. Suspense
melodrama. 103 min. 9/16/63.

November

UNDER THE YUM YUM TREE Jack Lemmon. Carol Lyn-
ley. Dean Jones, Edie Adams. Producers David Swift,
Fred Brisson. Director Swift. Sexy comedy. 110 min.
10/28/63.

December

CARDINAL, THE Tom Tryon, Romy Schneider, Carol
Lynley, John Saxon. Producer-director Otto Preminger.
Based on best-selling novel by Henry Morton Robinson.

175 min. 10/28/63.

January

DR. STRANGELOVE: OR HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers,
Sterling Hayden, George C. Scott, Keenan Wynn. Pro-
ducer-director Stanley Kubrick. Comedy.

STRAIT-JACKET Joan Crawford, Anne Helm. Producer
William Castle.

February

VICTORS, THE Vincent Edwards, Melina Mercouri.
Jeanne Moreau, Romy Schneider. Producer-director

Carl Forman.

March

BEHOLD A PALE HORSE Gregory Peck, Anthony Quinn.

Producer Fred Zinnemann.

Film BULLETIN — THIS IS YOUR PRODUCT

LILITH Warren Beatty, Jean Seberg. Producer-director
Robert Rossen.

Coming

CONGO VIVO Jean Seberg, Gabriele Ferzetti.

GOOD NEIGHBOR SAM Jack Lemmon, Remy Schneider,
Dorothy Provine. Producer David Swift.
LONG SHIPS, THE Richard Widmark, Sidney Poitier.
Producer Irving Allen.

LORD JIM Peter O'Toole, James Mason. Producer Rich-
ard Brooks.

SWINGIN' MAIDEN, THE (Formerly The Iron Maidenl
Michael Craig, Anne Helm, Jeff Donnell.

June

YOUR SHADOW IS MINE Jill Haworth. Michael Rukl.
Producer Pierre Courau. Director Andre Michel. A
European girl, raised by an Indo-Chinese family, has
to choose between her native sweetheart and the
society of her own people. 90 mi*.

July

THIS SPORTING LIFE Richard Harris, Rachel Roberts.
Producer Karel Reisz. Director Lindsay Anderson. Dra-
ma. 12V min. 7/22/63.

August

LORD OF THE FLIES James Aubrey, Tom Chapin,
Hugh Edwards. Producer Lewis Allen. Director Peter
Brooks. Dramatization of William Golden's best selling
novel. 90 min. 9/2/63.

NEVER LET GO Richard Todd, Peter Sellers, Elizabeth
Sellers. Producer Peter de Sarigny. Director John
Guillevmin. Crime melodrama. 90 min. 4/24/63.

September

HANDS OF ORLAC, THE Mel Ferrer, Christopher Lee,
Dany Carrel, Lucille Saint Simon. Producers Steven
Pallos, Donald Taylor. Director Edmond Greville.
Mystery. 86 min.

October

WUTHERING HEIGHTS Merle Oberon, Laurence
Olivier, David Niven. 107 min.

November

BILLY LIAR Tom Courtenay, Julie Christie. Producer
Joseph Janni. Director John Schlesinger. Drama about
a man who lives in a world of fantasy. 96 min.

LADIES WHO DO Robert Morley, Peggy Mount. Pro-
ducer George H. Brown. Director C. M. Pennington-
Richards. Comedy. 85 min.

December

DEVIL, THE Alberto Sordi 103 min.

May

BEAR, THE (English-dubbed) Renato Rascal, Francis
Blanche, Gocha.

July

FREDERICO FELLINI'S "8V2" Mercello Mastroianni,
Claudia Cardinale, Anouk Aimee, Sandra Milo. Pro-
ducer Angelo Rizzoli. Director Federico Fellini. Drama.
135 min. 7/8/63.

GENTLE ART OF MURDER, THE (Formerly Crime Does
Not Pay) Edwige Feuillere, Michele Morgan, Pierre
Brasseur, Richard Todd, Danielle Darrieux. Director
Gerard Oury. Drama. 122 min.

PASSIONATE THIEF THE Anna Magnani, Ben Gazzara,
Toto. Producer Silvio Clementelli. Director Mario
Monicelli. Comedy. 95 min.

WOMEN OF THE WORLD Technicolor. Narrated by
Peter Ustinov. Director Gualtiero Jacopetti. Women as
they are in every part of the world. 107 min. 7/8/63.

September

CONJUGAL BED. THE Marina Vlady, Ugo Tognazzi.
Producer Henry K. Chroucicki, Alfonso Sansone. Direc-
tor Marco Ferreri. Comedy drama. 90 min. 9/30/63.

November

LIGHT FANTASTIC Dolores McDougal, Barry Bartle.
Producer Robert Gaffney. Director Robert McCarty.
Drama. 84 min.

ONLY ONE NEW YORK Director Pierre-Dominique
Gaisseau. Documentary.

December

GHOST AT NOON, A Brigitte Bardot, Jack Palance,
Fritz Lang, Georgia Moll.

THREEPENNY OPERA Sammy Davis, Jr., Curt Jurgens,
Hildegarde Neff. Director Wolfgang Staudte. Screen
version of Bertolt Brecht and Kurt Weill clatsic.

Current Releases

BERN ADETTE OF LOURDES (Janus Films) Daniele Ajoret
Nadine Atari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY. THE (Lopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLOODY BROOD, THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR. A (Medallion) Pierre Fras-
nay, Michel Auclair. 72 min.

BURNING COURT, THE (Trans-Lux) Nadja Tiller, Jean-
Claude Brialy, Perrette Pradier. Producer Yvon
Guezel. Director Julien Duvivier.

CLEOPATRA'S DAUGHTER (Medallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
74 min.

DAY THE SKY EXPLODED. THE (Excelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR. THE (Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

BCLIPSE (Times Films) Alain Delon, Monica Vltti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS (Crown International)
Technicolor, Totalvision. Yoko Tani, Oldrick Lukes. 81

FIVE DAY LOVER. THE IKmqsley International) Jean
Seberg, Mlchellne Presie. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE I Sutton) Johnny Cash. Gay

Forester, Pamela Mason, Donald Woods. 86 min.

FORCE OF IMPULSE (Sutton Pictures) Tony Anthony
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

FRENCH GAME. THE [Wilshire International) Franciose
Brion, Jean-Louise Trintignant. Producer Marceau-
Cocinor. Director Jacques Doniol-Valcroze. French im-
port .86 min. 9/30/63.

GIRL HUNTERS. THE (Colorama). Mickey Spillane,
Shirley Eaton, Lloyd Nolan. Producer Robert Fellows.
Director Roy Rowland. Mickey Spillane mystery. 103
min. 6/10/63.

GONE ARE THE DAYS (Hammer Bros.) Ruby Dee,
Ossie Davis. Producer-director Nicholas Webster. 100
min. 9/16/63.

GREENWICH VILLAGE STORY, THE (Shawn-Interna-
tional) Robert Hogan, Melinda Prank. Producer-direc-
tor Jack O'Connell. Drama. 95 min. 8/19/63.

HAND IN THE TRAP (Angel Films) Elsa Daniel, Fran-
cisco Rabal. Director Leopoldo Torre Nilsson. Horror.
90 min. 7/22/63.

HEAD, THE (Trans-Lux) Horst Frank, Michael Simon.
Director Victor Trivas. Horror. 95 mm. 7/8/63.

HORROR HOTEL (Trans-Lux) Denis Lotis, Christopher
Lee, Betta St. John, Patricia Jessel. Producer Donald
Taylor. Director John Moxey. 76 min. 7/8/63.

IMPORTANT MAN, THE (Lopert) Toshiro Mifune, Co
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

LA NOTE BRAVA (Mi'l»r Producinq Co.) Elsa Mar-
tinelli. Producer Sante Chimirri. Director Mauro Bolog-
nini. 96 min.

LA POUPEE (Gaston Hakim Productions International)
Zbigniew Cybulski, Sor.ne Teal. Director Jacques Bara-
tier. French farce. 90 min. 9/16/63.

LAST OF THE VIKINGS (Medallion) Color. Totalscope.
Cameron Mitchell. Edmond Purdom. 102 min.

LES PARISIENNES (Times Films) Dany Saval. Dany
Robin, Francoise Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar. Greta Chi. 83 min.

MONDO CANE (Times Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/63.

MOUSE ON THE MOON, THE Eastmancolor (Lopert
Pictures) Margaret Rutherford, Bernard Cribbins. Terry
Thomas. Satirical comedy. 84 min. 6/24/63.

MY HOBO IToho) Keiji Kobayashi, Hideko Takamine.
Producer Tokyo Eiga Company. Director Zenzo Matsu-
yama. 98 min. 8/5/43.

MY NAME IS IVAN IMosFilm) Kolya Burlaiev. Director
Andrei Tarkovsky. Drama. 94 min. 8/19/63.

NIGHT OF EVIL (Sutton) Lisa Gaye, Bill Campbell.
•8 min.

ONE POTATO, TWO POTATO (Bowalco Pictures) Bar-
bara Barrie, Bernie Hamilton, Richard Mulligan, Harry
Bellaver. Director Larry Peerce. Producer Sam Weston.

ORDERED TO LOVE IM. C. Distributor Release) Maria
Perschy. Producer Wolf Brauner. Director Werner
Klinger. Drama. 82 min. 7/22/63.

PURPLE NOON (Times Films sub titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I 1 5 min.

NOVEMBER SUMMARY

During the past fortnight two films
have been added to the November re-
lease schedule bringing the total to 20.
Allied Artists heads the list with three
features. Two listings will be forth-
coming from M-G-M, United Artists,
Embassy, American International and
Paramount. The five remaining major
companies — 20th-Fox, Universal, Co-
lumbia, Continental and Buena Vista —
each have one new release scheduled
for the month.

RAIDERS OF LEYTE GULF (Hemisphere Pictures) Mich-
ael Parsons, Leopold Salcedo, Jennings Sturgeon. Pro-
ducer-director Eddie Romero. War melodrama. 80 mm.
REACH FOR GLORY (Royal Film International) Harry
Andrews Kay Walsh, Oliver Grimm. Producers Jud
Kinberg, John Kohn. Director Philip Leacock. Story of
youngsters in wartime. 89 min. 9/16/43.
ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

RUN WITH THE DEVIL IJillo Films) Antonella Lualdi,
Gerard Blain, Franco Fabrizi. Director Mario Camenni.
Drama. 93 min. 8/19/43.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

SMALL WORLD OF SAMMY LEE. THE (Seven Arts)
Anthony Newley. Producer Frank Godwin. Director Ken
Hughes. 105 min. 9/14/43.

SON OF SAMSON IMedallion) Color, Totalscope. Mark
Forest. Chelo Alonso. 89 min.

STAKEOUT Bing Russell. Bill Hale, Eve Brent. 81 min.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THREE FABLES OF LOVE (Janus) Leslie Caron, Ros-
sano Brazi, Monica Vitti, Sylva Koscina, Charles
Aznavour, Jean Poiret, Michel Serrault, Ann Karina.
Producer Gilbert de Goldschmidt. Director Alessandro
Blasetti, Heave Bromberger, Rene Clair. 8/5/43.

TOM JONES ILopert) Albert Finney, Susannah York,
Hugh Griffin, Edith Evans. Producer-director Tony
Richardson. Film adaptation of Fieldings classic. 131 min.
10/14/43.

VARAN THE UNBELIEVABLE Myron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Victoria) Narration by Thomas
L. Row and Pauline Girard. Producer-director Marion
Gering. 47 min. 7/8/43.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal. Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION (Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FOR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

METRO-GOLDWYN -MAYER

May

IN THE COOL OF THE DAY CinemaScope. Color. Jane
Fonda, Peter Finch. Producer John Houseman. Director
Robert Stevens. Romantic drama based on best-selling

novel by Susan Ertz. 90 min. 5/13/43.

SLAVE, THE Steve Reeves, Jacques Sernas. Director
Sergio Corbucci. A new leader incites tht slaves to
revolt against the Romans.

June

CATTLE KING Eastman Color. Robert Taylor, Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West. 89 min.

CORRIDORS OF BLOOD Boris Karloff, Betta St. John,
Finlay Currie. Producer John Croydon. Director Robert
Day Drama. 84 min. 6/10/63.

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.
90 min.

MAIN ATTRACTION, THE CinemaScope, Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small

European circus. 85 min. 6/24/63.

Film BULLETIN — THIS IS YOUR PRODUCT

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh Griffith. Pro-
ducer Anron Rosonberq. Director L»wis Milestone.
Sea-adventure drama based on Iriology by Charles

Norotf and James Norman Hall. 179 min. 11/12/63.

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode. Producer Sy Weintraub. Director Robert Day.
Adventure. 92 min. 7/8/63.

WEREWOLF IN A GIRL'S DORMITORY Barbara Lass,
Carl Schell. Producer Jack Forrest. Director Richard
Benson. Horror show. 84 min. 6/10/63.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendarii,
Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy. 85 min. 6/24/63.

TICKLISH AFFAIR, A (Formerly Moon Walk) Shirley
Jones, Gig Young. Producer Joe Pasternak. Director
George Sidney. Romantic comedy based on a story in
the Ladies Home Journal. 87 min. 7/8/63.

August

HOOTENANNY HOOT Peter Breck, Ruta Lee, Brothers
Four, Sheb Wooley, Johnny Cash. Producer Sam Katz-
man. Director Gene Nelson. Musical comedyt 91 min.
9/16/63.

YOUNG AND THE BRAVE. THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy. 84 min.
5/13/63.

September

HAUNTING. THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller. 112
min. 9/2/63.

V.I.P.s, The Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama. 119 min. 8/19/63.

October

TWILIGHT OF HONOR Richard Chamberlain, Nick
Adams, Joan Blackman, Joey Heatherton. A Pearlberg-
Seaton Production. Director Boris Sagal. A young
lawyer falls victim to the bigoted wrath of a small
town when he defends a man accused of murdering
the town's leading citizen. 115 min. 9/30/63.

November

ANY NUMBER CAN WIN Jean Gabin, Alain Delon.
Producer Jacques Bar. Director Henri Verneuil

WHEELER DEALERS, THE James Garner, Lee Remick.
Producer Martin Ransohoff Director Arthur Hiller.
Story of a Texan who takes Wall Street by storm. 106
min. 9/30/63.

December

THE PRIZE Paul Newman, Edward G. Robinson, Elke
Sommer. Producer Pandro Berman. Director ' Mark
Robson. Based on the Irving Wallace bestseller.

January

CHILDREN OF THE DAMNED Ian Hendry, Alan Badel.
Producer Karl Reisz, Albert Finney. Director Karl Reisz.

GLOBAL AFFAIR A Bob Hope, Lilo Pulver. Producer
Hall Bartlett. Director Jack Arnold. Comedy.

February

MAIL ORDER BRIDE Buddy Ebsen, Keir Dullea. Comedy.

NIGHT MUST FALL Albert Finney, Mona Washbourne.
Producer Karl Reisz, Albert Finney. Director Karl Reisz.
Psychological suspense thriller.

SUNDAY IN NEW YORK IMGM-Seven Arts) Cliff
Robertson, Jane Fonda, Rod Taylor. Producer Everett
Freeman. Director Peter Tewksbury. The eternal ques-
tion: should a qirl or shouldn't she. prior to the
nuptials?

March

MGM'S BIG PARADE OF COMEDY Great stars of the
past in memorable comedy moments from great MGM
films of the past.

OF HUMAN BONDAGE (MGM-Seven Arts) Kim
Novak, Laurence Harvey. Producer James Woolf. Di-
rector Henry Hathaway. Film version of classic novel.

SEVEN FACES OF DR LAO Tony Randall, Arthur O'Con-
nell. Comedy.

Coming

COUNTERFEITERS OF PARIS Jean Gabin. Martine
Carol. Producer Jacques Bar. Director Gilles Grangier.
99 mm.

DAY AND THE HOUR, THE IFormerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

FOUR DAYS OF NAPLES, THE Jean Sorel, Lea Messari,
Producer Goffredo Lombardo. Director Nanni Loy.

GOLD FOR THE CAESARS Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HOW THE WEST WAS WON Cinerama. Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 155 min. 11/26/62.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.
Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/18/6*.

MURDER AT THE GALLOP Margaret Rutherford, Robert
Morley, Flora Robson. Producer George Brown. Direc-
tor George Pollock. Agatha Christie mystery. 81 min.
7/22/63.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cliff
Robertson, David Janssen. Producer Gant Gaither.
Director Gower Champion Broadway star adopts six
abandoned children. 105 min. 3/IB/63.

May

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director Ritt.
Drama set in modern Texas. 122 min. 3/4/63.

June

DUEL OF THE TITANS CinemaScope, Eastman color.
Steve Reeves, Gordon Scott. Producer Alessandro
Jacovoni. Director Sergio Corbucci. The story of
Romulus and Remus, the twin brothers who founded
the city of Rome.

NUTTY PROFESSOR. THE Technicolor. Jerry Lewis,
Stella Stevens. Producer Ernest D. Glucksman. Direc-
tor Jerry Lewis. A professor discovers a youth-
restoring secret formula. 105 min. 6/10/63.

July

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific. 108 min. 8/5/63.

August

COME BLOW YOUR HORN Technicolor. Frank Sinatra,
Barbara Rush, Lee J. Cobb. Producer Howard Koch.
Director Bud Yorkin. A confirmed bachelor introduces
his young brother to the playboy's world. 112 min.
6/24/63.

October

NEW KIND OF LOVE, A Technicolor. Paul Newman,
Joanne Woodward, Thelma Ritter, Maurice Chevalier.
Producer-director Melville Shavelson. Romantic com-
edy. 105 min. 9/2/63.

WIVES AND LOVERS Janet Leigh, Van Johnson, Shelley
Winters, Martha Hyer. Producer Hal B. Wallis. Direc-
tor John Rich. Romantic comedy. 102 min. 9/2/63.

November

ALL THE WAY HOME Robert Preston. Jean Simmons,
Pat Hingle. Producer David Susskind. Director Alex
Segal. Film version of play and novel.

FUN IN ACAPULCO Technicolor. Elvis Presley, Ur-
sula Andress. Producer Hal B. Wallis. Director Rich-
ard Thorpe. Musical-comedy.

December

WHO'S BEEN SLEEPING IN MY BED? Panavision,
Technicolor. Dean Martin, Elizabeth Montgomery, Carol
Burnett. Producer Jack Rose. Director Daniel Mann.
Comedy.

WHO'S MINDING THE STORE? Technicolor. Jerry
Lewis, Jill St. John, Agnes Moorehead. Producer Paul
Jones. Director Frank Tashlin. Comedy.

Coming

BECKET Technicolor. Richard Burton, Peter O'Toole.
Producer Hal B. Wallis. Director Peter Glenville. Film
version of Jean Anouilh's play.

CARPETBAGGERS. THE Technicolor. Panavision 70.
George Peppard, Carroll Baker. Producer Joseph E.
Levine. Director Edward Dmytryk. Drama based on the
best-seller by Harold Robbins.

LADY IN A CAGE Olivia de Havilland, Ann Southern.
Producer Luther Davis. Director Walter Grauman.
Horror drama.

LOVE WITH THE PROPER STRANGER Natalie Wood,
Steve McQueen. Producer Alan J. Pakula. Director
Robert Mulligan. A young musician falls in love with
a Macy's sales clerk.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Douglas.
Fredric March, Ava Gardner. Producer Edward Lewis,
Director John Frankenheimer. A Marine colonel un-
covers a militay plot to seize control of the U.S. gov-
ernment.

20TH CENTURY-FOX

March

HOUSE OF THE DAMNED CinemaScope. Ronald Foster,
Merry Anders. Producer-Director Maury Dexter. Archi-
tect inspects haunted house and runs across circus of
freaks. 62 min.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

April

NINE HOURS TO RAMA CinemaScope, Deluxe Colar.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mark Robson Story of the man who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63.

May

YELLOW CANARY, THE CinemaScope. Pat Boone, Bar-
bara Eden. Producer Maury Dexter. Director Buzz Kulik,
Suspense drama. 93 min. 4/15/63.

June

STRIPPER, THE (Formerly A Woman in July) Cinema-
Scope. Joanne Woodward, Richard Beymer, Gypsy Rose
Lee, Claire Trevor. Producer Jerry Wald. Director
Franklin Schaffner. Unsuccessful actress seeks happi-
ness. 95 min. 4/29/63.

July

LONGEST DAY. THE CinemaScope. John Wayne. Rich-
ard Todd, Peter Lawford, Robert Wagner, Tommy
Sands, Fabian, Paul Anka, Curt Jurgens, Red Buttons,
Irina Demich, Robert Mitchum, Jeffrey Hunter, Eddie
Albert, Ray Danton, Henry Fonda, Edmond O'Brien,
Robert Ryan. Producer Darryl Zanuck. Directors Gerd
Oswald, Andrew Marton, Elmo Williams, Bernhard
Wicki, Ken Annakin. 180 min.

August

LASSIE'S GREAT ADVENTURE DeLuxe Color. June Lock-
hart, Jon Provost. Producer Robert A. Golden. Director
William Beaudine. Lassie and his master get lost in
Canadian Rockies. 103 min.

OF LOVE AND DESIRE DeLuxe Color. Merle Oberon,
Steve Cochran, Curt Jurgens. Producer Victor Stoloff.
director Richard Rush. Brother tries to break up sister's
romance. 97 min. 9/16/63.

September

CONDEMNED OF ALTONA. THE Sophia Loren, Maxi-
milian Schell, Fredric March, Robert Wagner. Producer
Carlo Ponti. Director Vittorio De Sica. Inspired by
Jean-Paul Sartre's stage success. 114 min. 9/16/63.

A FAREWELL TO ARMS. Re-release.

THE YOUNG SWINGERS CinemaScope. Rod Lauren,
Molly Bee. Producer-Director Maury Dexter.

October

LEOPARD THE CinemaScope, DeLuxe Color. Burt Lan-
caster, Alain Delon, Claudia Cardinale. Producer Gof-
fredo Lombardo. Director Luchino Visconti. Based on
famous best-seller detailing disintegration of Italian
nobility. 165 min. 8/19/63.

MARILYN CinemaScope, DeLuxe Color. Screen clips
from Marilyn Monroe's films with narration by Rock
Hudson. 83 min.

THUNDER ISLAND Cinemascope. Gene Nelson. Fay
Spain. Producer-director Jack Leewood. Action drama.
65 min. 10/14/63.

November

TAKE HER, SHE'S MINE CinemaScope, DeLuxe Color.
James Stewart, Sandra Dee. Producer-Director Henry
Koster. Daughter's escapades at college cause comic
disturbance to father. 98 min. 10/14/63.

December

MOVE OVER, DARLING CinemaScope, DeLuxe Color.
Doris Day, James Garner, Polly Bergen. Producers
Aaron Rosenberg, Martin Melcher. Director Michael
Gordon. Romantic comedy of man with two wives.

Coming

CLEOPATRA Todd-AO Color. Special handling. Elizabeth
Taylor, Richard Burton, Rex Harrison. Producer Walter
Wanger. Director Joseph Mankiewicz. Story of famous
queen. 221 min. 6/24/63.

MAN IN THE MIDDLE IFormerly The Winstone Affair)
CinemaScope. Robert Mitchum, France Nuyen.
Army officer defends depraved murderer in name of
iustice.

THIRD SECRET, THE CinemaScope. Stephen Boyd,
Patricia Neal, Jack Hawkins. Psychiatrist's death be-
lieved murder by patient and daughter.

Film

BULLETIN — THIS IS YOUR PRODUCT

UNITED ARTISTS

May

DR. NO Technicolor. Sean Conneiy, Ursula Andress,
Joseph Wiseman, Jack Lord. Producers Harry Saltz-
man, Albert R. Broccoli. Director Terence Young. Action
drama based on the novel by Ian Flaming. 1 1 1 min.
3/18/43.

June

AMAZONS OF ROME Louis Jourdan. Sylvia Syms.

BUDDHA Technicolor, Technirama. Kojiro, Hongo,
Charito Solis. Producer Masaichi Nagata. Director
Ken ji Misumi. Drama dealing with the life of one of
the world's most influential religious leaders. 134 min.
7/22/63.

CALL ME BWANA Bob Hope, Anita Ekberg, Edie
Adams. Producers Albert R. Broccoli, Harrv Salttman.
Director Gordon Douglas. Comedy. 103 min. 6/10/43.

DIARY OF A MADMAN Vincent Price, Nancy Kovak.
Producer Robert E. Kent. Director Reginald Le Borg.
Horror mystery of a man possessed by a horla. 96 min.
3/4/43.

July

GREAT ESCAPE, THE Deluxe Color, Panavision. Steve
McQueen, James Garner, Richard Attenborough. Pro.
ducer-director John Sturges. Based on true prisoner of
war escape. 148 min. 4/15/63.

IRMA LA DOUCE Technicolor, Panavision. Jack Lem-
mon, Shirley MacLaine. Producer-director Billy Wilder.
Comedy about the "poules" of Paris, from the hit
Broadway play. 142 min. 4/10/43.

August

CARETAKERS. THE Robert Stack, Polly Bergen, Joan
Crawford. Producer-director Hall Bartlett. Drama
dealing with group therapy in a mental institution. 97
min. 8/19/43.

TOYS IN THE ATTIC Panavision. Dean Martin, Geral-
dine Page, Yvette Mimieux, Gene Tierney. Producer
Walter Mirisch. Director George Roy Hill. Screen
version of Broadway play. 90 min. 7/8/43.

September

LILIES OF THE FIELD Sidney Poitier, Litia Skala. Pro-
ducer-director Ralph Nelson. Story of ex-GI and Ger-
man refugee nuns who build a chapel in the Arizona
desert. 94 min. 9/2/43.

October

JOHNNY COOL Henry Silva, Elizabeth Montgomery.
Producer-director William Asher. Chrislaw Productions.
Gangland melodrama. 101 min. 10/14/43.

MY SON, THE HERO Color. Pedro Armendariz, Jacque-
line Sassard. Producer Alexander Mnouchkine. Directed
by Doccio Tessari. Spoof on Gods and heroes. Ill min.
9/30/63.

STOLEN HOURS Color. Susan Hayward, Michael Craig,
Diane Baker. Mirisch-Barbican film presentation. Pro-
ducer Denis Holt. Directed by Daniel Petrie. Melo-
drama. 100 min. 10/14/43.

TWICE TOLD TALES Color. Vincent Price, Mari Blan-
chard. Producer Robert E. Kent. Director Sidney Salkow.
Based on famous stories of Nathaniel Hawthorne. Hor-
ror trilogy. 119 min. 10/28/63.

November

ITS A MAD. MAD. MAD. MAD WORLD. Cinerama.
Technicolor. Spencer Tracy, Milton Berle, Sid Caesar,
Buddy Hackett, Ethel Merman, Mickey Rooney, Dick
Shawn, Phil Silvers, Terry-Thomas, Jonathan Winters.
Producer-director Stanley Kramer. Spectacular comedy.

MCLINTOCKI Color. John Wayne, Maureen O'Hara,
Yvonne De Carlo, Patrick Wayne, Cfrll Wills, Jack
Kruschen. Producer Michael Wayne. Director Andrew
V. McLaglen. 127 min.

December

KINGS OF THE SUN Color. Yul Brynner, George Cha-
kiris. Producer Lewis Rachmil. Director J. Lee Thomp-
son. A Mirisch Company Presentation.

LADYBUG. LADYBUG Jane Connell, William Daniels.
Producer-director Frank Perry. Moving drama of false
nuclear attack warning on group of school children.

January

CEREMONY, THE Laurence Harvey, Sara Miles, Robert
Walker, John Ireland. Producer-director Laurence Har-
vey. Suspense drama of a bank robber awaiting execu-
tion for a murder he did not commit. 108 min.

Coming

CEREMONY. THE Laurence Harvey, Sarah Miles, Rob-
ert Walker, John Ireland. Producer director Laurence
Harvey. 108 min.

PERANG. Color. William Holden, Susannah York, Capu-
cine. Producer-director Lewis Gilbert.

PINK PANTHER, THE Technicolor. Technirama. David
Niven, Peter Sellers, Robert Wagner, Capucine, Claudia
Cardinale. Producer-director Blake Edwards.

June

LIST OF ADRIAN MESSENGER. THE George C. Scott,
D<na Wynter, Clive Brook, Herbert Marshall. Producer
Edward Lewis. Director John Huston. Mystery. 98
min. 6/10/63.

SWORD OF LANCELOT (Formerly Lancelot and Guini-
verel Technicolor. Panavision. Cornel Wilde, Jean
Wallace, Brian Aherne. Producers Cornel Wilde, Ber-
nard Luber. Director Wilde. Legendary tale of love and
betrayal. I 15 min. 5/13/63.

TAMMY AND THE DOCTOR Color. Sandra Dee, Peter
Fonda, MacDonald Carey. Producer Ross Hunter. Direc-
tor Harry Keller. Romantic comedy. 88 min. 5/13/63.

July

GATHERING OF EAGLES, A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann. 116 min.

KING KONG VS. GODZILLA Color. Michael Keith,
Harry Holcomb, James Yagi. Producer John Beck.
Director Ray Montgomery. Thriller. 90 min. 6/10/63.

August

FREUD: SECRET PASSION (Formerly Freud) Mont-
gomery Clift, Susannah York. 120 min.

THRILL OP IT ALL. THE Color. Doris Day, James Gar-
ner, Arlene Francis. Producers Ross Hunter, Martin

Melecher. Director Norman Jewison. Romantic comedy.
108 min. 6/10/63.

TRAITORS. THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson. 71 min.

September

KISS OF THE VAMPIRE Eastman Color. Clifford Evans,
Edward DeSouza, Jennifer Daniels. Producer Anthony
Hinds. Director Don Sharpe. 88 min. 8/5/63.

October

FOR LOVE OR MONEY (Formerly Three Way Match)
Color. Kirk Douglas, Mitii Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parnsh.
Producer Robert Arthur. Director Michael Gordon. 108
min. 8/5/63.

November

DARK PURPOSE Eastman Color. Shirley Jones, Rossano
Brazzi, George Sanders, Micheline Presle, Georgia
Moll. Producer Steve Barclay. Director George Mar-
shall.

December

CHARADE Technicolor, Panavision. Cary Grant, Audrey
Hepburn, Walter Matthau, James Coburn. Producer-
Director Stanley Donen Suspense, action and comedy.
114 min. 9/30/63.

Coming

BEDTIME STORY (Formerly King of the Mountain)
Color. Marlon Brando, David Niven, Shirley Jones.
Producer Stanley Shapiro. Director Ralph Levy.

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN. M.D. Color. Gregory Peck, Tony
Curtis, Angie Dickinson, Bobby Darin, Eddie Albert.
Producer Robert Arthur. Director David Miller.

CHALK GARDEN. THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

HE RIDES TALL I Formerly The Gun Hand) Tony Young,
Dan Duryea, Jo Morrow, Madlyn Rhue. Producer Gor-
don Kay. Director R. G. Springsteen.

ISLAND OF THE BLUE DOLPHINS (Color) Celia Kaye,
George Kennedy. Producer Robert B. Radnitz. Director
James B. Clark.

ICING OF THE MOUNTAIN Color. Marlon Brando,
David Niven, Shirley Jones, Dody Goodman.

MAN'S FAVORITE SPORT? Technicolor. Rock-Hudson,
Paula Prentiss, Maria Perchy. Producer-director How-
ard Hawks.

WILD AND WONDERFUL (Formerly Monsieur Cognac)
Color. Tony Curtis, Christine Kaufmann, Larry Storch,
Marty Ingles. Producer Harold Hecht. Director Michael
Anderson.

WARNER BROTHERS

May

ISLAND OF LOVE IFormerly Not On Your Life!) Tech-
nicolor, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da Oosta.
Comedy set in Greece. 101 min. 5/13/63.

SUMMER PLACE, A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Mrdern drama of a mountain family. 119 min. 3/4/63.

September

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min. 10/14/63.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama. 112 min. 8/19/63.

October

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Producer William Fadiman. Direc-
tor Phil Karlson. Adventure drama. 98 min. 8/19/63.

November

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr. 126 min. 9/16/63.

PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens, Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort. 100 min.

January

MAN FROM GALVESTON. THE Jeffrey Hunter, Joanna
Moore. Producer Michael Meshakoff. Director William
Conrad. Western drama.

4 FOR TEXAS Technicolor. Frank Sinatra, Dean
Martin, Anita Ekberg, Ursula Andress. Producer-direc-
tor Robert Aldrich. Big-scale western with big star
cast.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor. Elia Kazan. Kazan's drama of a Greek immigrant
youth.

CHEYENNE AUTUMN IFormerly The Long Flight) Spen-
cer Tracy, James Stewart, Richard Widmark, Carroll
Baker, Dolores Del Rio, Sal Mineo. Producer Bernard
Smith. Director John Ford. Super-adventure drama.

DEAD RINGER Bette Davis, Karl Maiden, Peter Law-
ford. Producer William H. Wright. Director Paul Hen-
reid. Miss Davis plays a dual role of twin sisters in
this shocker.

DISTANT TRUMPET, A Technicolor. Panavision. Troy
Donahue, Suzanne Pleshette, Diane McBain. Producer
William H. Wright. Director Raoul Walsh. Epic adven-
ture of Southwest.

DR. CRIPPEN Donald Pleasence, James Robertson
Justice, Coral Browne. Producer John Clein. Director
Robert Lynn. Shocker.

ENSIGN PULVER (formerly Mister Pulver and the
Captain) Technicolor. Robert Walker, Burl Ives, Walter
Matthau, Millie Perkins, Tommy Sands. Producer-
director Joshua Logan. Comedy sequel to "Mister
Roberts".

FBI CODE 98 Jack Kelly, Ray Denton. Producer Stanley
Niss. Director Leslie H. Martinson. Dramatic action
story.

GREAT RACE, THE Technicolor. Burt Lancaster, Jack
Lemmon, Lee Remick. Producer Martin Jurow. Director
Blake Edwards. Story of greatest around-the-world
automobile race of all time.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

KISSES FOR MY PRESIDENT Fred MacMurray. Polly
Bergen. Producer-director Curtis Bernhardt. Original
comedy by Robert G. Kane.

OUT OF TOWNERS. THE Color. Glenn Ford, Geraldine
Page, Angela Lansbury. Producer Martin Manulis. Di-
rector Delbert Mann. Comedy-drama about a small-
town "postmistress".

ROBIN AND THE 7 HOODS Technicolor-Panavision.
Frank Sinatra, Bing Crosby, Dean Martin, Sammy
Davis, Jr. Director Gordon Douglas.

YOUNGBLOOD HAWKE Suzanne Pleshette, James Fran-
ciscus. Producer-director Delmer Daves. From Herman
Wouk's best-selling novel.

DEPENDABLE SERVICE!

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V

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The festively emblazoned 24"X82" and the two 22"X40" banners have been
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under marquees (above), on and over box offices, lobby and foyer doors and
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allien

BULLETIN

Opinion of the InduLStry

NOVEMBER 25, 1963

JVhere Da They JVant Ta See
*t7nder the Ytttn Yum Tree9?
Where Da They Prefer Disney?

s^udiendcope .
SURVEY

REVEALS
DIFFERING
TASTES
OF MOVIEGOERS

euieu/5

IT'S A MAD, MAD, MAD, MAD WORLD
THE VICTORS
McLINTOCK
SOLDIER IN THE RAIN
WHO'S MINDING THE STORE?
MANIAC
FAMILY DIARY
NAKED AUTUMN
AN AFFAIR OF THE SKIN

KNIFE IN THE WATER
THE SOUND OF TRUMPETS
MURIEL

Wutk

buutt knuet

has the most

WW

Wtik

BULLETIN

— courM

WHAT THE PUBLIC WANTS TO SEE - AND WHY

Based on Research by ^^udienAcope

Audience Preference Is Measured

Is any movie audience "typical"?

Are the tastes of filmgoers in Ft.
Worth, Texas, the same as those in
Chicago? The same in Portland,
Maine, as in Goldsboro, N. C?

How wide is the variation in the
entertainment preferencs from sc-
tion to section of this broad land?

Well, let's see.

Several weeks prior to their first-
run showings, Audienscope, Inc.,
the entertainment research organiza-
tion, conducted a nationwide "Pre-
view Poll" to determine audience
preferences for nine features sche-
duled for release in November. The
respondents, comprising a broad
sample of the moviegoing public,
were asked to rank those films they
desired to see, in order of prefer-
ence.

Audienscope has made available
to Film BULLETIN certain of its
findings, which not only reveal the
potential national pre-release mar-
ket for each picture, but point up
graphically the range of difference
in tastes in various areas of the
overall market.

The National Audience Prefer-
ence rating (see chart on this page)
shows that "Under the Yum Yum
Tree" was the runaway No. 1 choice,
nationwide. Yet, according to Au-
dienscope''s sectional breakdown, it
will be outgrossed in parts of Texas
and other southwestern areas by

"McLintock", which ranked fifth
nationally. And it will run no bet-
ter than a dead-heat with "The
Wheeler Dealers" and "The Incre-
dible Journey" in those same, and
similar, areas of the country. In
modest-size towns and cities (under
100,000 population) of states like
North Carolina, South Carolina and
Georgia along the southeast coast,
"Under the Yum Yum Tree" will
not only trail "McLintock", but will
run behind "Palm Springs Week-
end" and "Fun in Acapulco", the
latter lowest in the national rankings.

( One qualification must be made
in regard to the potential of "Under
the Yum Yum Tree'' in all areas:

where large college student bodies
are in or adjacent to the market,
this picture's preference ranking
rises sharply. It is far and away the
first choice of the student popula-
tion.)

Want additional evidence that au-
dience tastes follow no fixed pattern?
In areas including Ohio, Maine, and
parts of California, Disney's "The
Incredible Journey" promises to
be the top grossing film of the
month.

Of course, every experienced,
knowledgeable film and theatre ex-
ecutive is aware that a wide range
of differences do exist in the enter-
( Continued on Page 13)

NATIONAL AUDIENCE PREFERENCE

Based on Preview Poll conducted by Audien-
scope prior to release of the following films

Perference

% of Total

Rating

Audience

UNDER THE YUM YUM TREE (Col.) . .

. .3815. .

. .20.1

TAKE HER, SHE'S MINE (20th-Fox) .

. .2672. .

. .14.0

SOLDIER IN THE RAIN (AA)

2532. .

. .13.3

THE WHEELER DEALERS (MGM)

2128. .

. .11.2

McLINTOCK (UA)

2091 . .

. .11.1

THE INCREDIBLE JOURNEY (BV)

1907. .

. .10.1

PALM SPRINGS WEEKEND (WB)

1569. .

. . 8.3

DARK PURPOSE (Univ.)

1367. .

. . 7.2

FUN IN ACAPULCO (Par.)

878. .

. . 4.7

Film BULLETIN November 25, 1943 Page 3

FINANCIAL REPORT

SW To 'Solidify' Theatre Interests
Via Drive-ins, Shopping Centers

In his annual message to Stanley Warner shareholders, presi-
dent S. H. Fabian said the company plans to "solidify" its
theatre operations by concentrating on the flourishing drive-in
and shopping center fields. The report showed SW net income
for the fiscal year ended Aug. 31 to be $3,283,300 ($1.61 per
share), an increase of $429,800 over 1962.

Fabian's statement on the company's theatre business:

"We are continuing the program to solidify our position in
the motion picture industry. Early this year we opened our new
College Theatere in Storrs, Connecticut, the home of the fast
growing University of Connecticut.

"We completed the purchase of the 32 drive-in theatres and
five conventional theatres located in Texas to which we referred
in our 1962 report. (It is to be recalled that the Federal Court's
approval of this transaction requires us to sell seven of these
theatres by January 23, 1964 and six additional theatres by
January 23, 1965.) As a result of this Texas acquisition we are
now embarked in drive-in operations, an important branch of
the theatre industry. It is our plan to expand further in this
field by acquiring additional drive-in theatres.

"In another avenue of theatre expansion we are concentrat-
ing on shopping center areas located adjacent to largf centers
of population. Our shopping center theatres will be of mod-
ern design, with the best in sound and projection and equipped
for the maximum comfort of the patrons. The large parking,
areas in the shopping centers will be available to our customers.

"We have opened our theatre in the La Mirada shopping
center on the outskirts of Los Angeles. Construction of three
new shopping center theatres, one located in Hamden, Con-
necticut, another in the North Hills section of Pittsburgh and
the third in the Capitol Court area of Milwaukee, is now under
way. Negotiations are in progress for still more shopping center
theatres.

Disney, Paramount Interesting' To Bache

Disney and Paramount were singled out as two "interesting"
investment prospects on an intermediate to long term basis
in the Nov. 20 Bache & Co. market letter.

"DISNEY (DIS), (1963 range 46y8-2iy4), a long standing
recommendation, came through as expected with a banner fiscal
1963. Profits for the year ended September 30 rose to $3.75-
$3.80 a share from $3.14 a share on a smaller capitalization a
year earlier. Although profits for the new fiscal year will de-
pend on public reaction to as yet unreleased films, DIS' long,
record of profitable catering to the family entertainment market
augurs well for 1964. Moreover, television, Disneyland and
re-release income have kept the company's record more stable
than most and the reissue schedule for the new fiscal year is
strong, with 'Fantasia' doing turnaway business on its current
New York engagement. At less than 11 times current earnings,
DIS continues to strike us as a solid speculation.

"PARAMOUNT PICTURES (PXN) (1963 range 55l/2-
351/4), turned in an excellent third quarter, with profits jump-
ing to $1.83 from a year earlier deficit, bringing nine month
earnings to $2.21, up from 36c last year. The $2.21 figure,
moreover, excludes $1.10 a share profit on sale of investments..
The improvement in PXN's results stems from enthusiastic
response to 'Hud' and 'Come Blow Your Horn', among others,
and a strong fourth quarter is also expected which should help
bring profits back close to the $4.00 level reported consistently
in the late 1960's. Although long term results from movie pro-

duction are completely unpredictable, the company has a stake
in pay-TV, in a color TV tube, in TV film production and in a
Canadian theater chain, and will receive $50 million in the
1958-1973 period from the sale of its pre-1948 pictures to tele-
vision. PXN's post-1948 films have not yet been released to
television. Although more of a workout situation than a buy
on earnings, PXN, paying $2.00, has appeal for speculators
with patience."

Stocks Plunge on News of JFK's Death

Not reflected in the bi-weekly chart of industry shares on
this page was the shattering impact on the market of President
Kennedy's assassination. Our figures are drawn from the clos-
ing prices of Thursday, Nov. 21, the day before his death.

On Friday, within the hour after word of the assassination
reached Wall Street and the early (2:07 p.m.) closing of the
market, virtually the entire Big Board suffered one of the most
devastating declines in its history. The Dow-Jones industrial
average plunged over 21 points in a wave of hysterical selling,
carrying down many of the leading film industry shares. MCA
closed off 63/4, Paramount 5%, 20th-Fox 5, Columbia 2, United
Artists iy8, Disney li/8, AB-PT 25/8, Stanley Warner 1.

At weekend most analysts felt that the selloff was purely
a result of emotional reaction to the assassination, that con-
fidence in the new president, Lyndon B. Johnson, would stimu-
late a swift recovery when the market reopened on Tuesday.

FILM & THEATRE STOCKS

Close Close

Film Companies 11/7/63 11/22/63 Change

ALLIED ARTISTS 2% 2% + %

ALLIED ARTISTS (Pfd.) .... 8 8 -

CINERAMA 15 12 -3

COLUMBIA 23% 23% - %

COLUMBIA (Pfd.) 82i/4 82% + %

DECCA 45% 45% -

DISNEY 42% 39% -3%

FILMWAYS 8% 9% +1%

MCA 62 59% -23/4

MCA (Pfd.) 36% 35% - %

M-G-M 29% 28% - %

PARAMOUNT 52% 53% + %

SCREEN GEMS 20% 20 - %

20TH-FOX 28% 26% -1%

UNITED ARTISTS 21% 21%

WARNER BROS 14% 13% - %

Theatre Companies

AB-PT 33% 30% -3%

LOEWS 16% 1634 + %

NATIONAL GENERAL 11% 9% -l3/4

STANLEY WARNER 24% 25% +%

TRANS-LUX 11% H% + %

* * *

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, American

Exchange; all others on New York Stock Exchange.)

* * *

11/7/63 11/22/63

Over-the-counter Bid Asked Bid Asked

COMMONWEALTH OF P.R. ... 5% 3% No quotation

GENERAL DRIVE-IN 10 11 9% 10%

MAGNA PICTURES 1% 1% 1% 1%

MEDALLION PICTURES 15% 16% 16% 17%

SEVEN ARTS 7% 8% 7 7%

UA THEATRES 11% 12% 11% 13%

UNIVERSAL 66 70% 66 71%

WALTER READE-STERLING ... 3% 4 3% 4

WOMETCO 37% 40 39 41%

(Quotations courtesy National Assn. Securities Dealers, Inc.)

Page 4 Film BULLETIN November 25, 1943

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Viewpoints

NOVEMBER 25, 1963 / VOLUME 31, NO. 24

Whut Mare Van Be Sttiii?

What more can be said.

Of all the countless words that have
been uttered since that black Friday
afternoon, not one will bring him back.
The world lost a leader, the country a
giant, the industry a friend. A great
man had been snatched away in the
prime of his life and a shocked,
stunned nation reacted, for the most
part, magnificently.

Throughout the United States, thea-
tremen silently reached for the switches
that would still the projector, silence
the sound — dim the marquee. With one
accord the nation darkened to show
its grief. Times Square in New York
City was still — lights flickered on and
off — and then stayed off. Cities slowed
to the steady beat of muffled drums;
people sat transfixed watching history
being unreeled on their television
screens.

Through the long terrible weekend,
through to the funeral services on
Monday the people mourned. And
theatremen from one end of the land
to the other paid their final respects by
keeping their houses of entertainment
dark.

The Motion Picture Association of
America spoke for all of us in its state-
ment:

"This is a terrible hour. The Tragedy
of Dallas must tear the hearts of all
Americans with anguish. As the nation
grieves, those in motion pictures mourn
the loss of a . true advocate. No Presi-
dent displayed the appreciation and
affection for the motion picture as did
John Fitzgerald Kennedy.

"The country — yes, the world — is
less than it was. A leader is gone."

What more can be said.

IVho Wautd Be

The Classifier?

"If you must take the kiddies some-
where to learn about family living —
catch a matinee of 'Who's Afraid of
Virginia Woolf?' . It's a lot healthier."
— Judith Crist in the review of "Mc-
Lintock", New York Herald Tribune,
Nov. 14, 1963.

"Oh, my goodness. I think she's a
bit off base there," gasped the Rt. Rev.
Msgr. Thomas A. Little, executive sec-
retary of the National Legion of De-
cency, when confronted by Film BUL-
LETIN with Miss Crist's review. Msgr.
Little had cause for amazement. The
Legion had given the John Wayne
opus an A-l rating, "considered to con-
tain no material which would be mor-
ally wrong to the average motion pic-
ture audience, adults, adolescents, and
children alike."

The discrepancy in these two views
sharply points up the fallacy of the idea
of movie classification. Who is to be
entrusted with responsibility of "pro-

tecting the public morals"?

Here we have a prime example of
how wide the divergence of opinion
can be between two knowledgeable, ex-
perienced, sophisticated observers of
motion pictures. On the one hand, Miss
Crist described "McLintock" as a "sim-
ple-minded potpourri of Western
cliches and near-sadistic drunken brawl-
ings", in which John Wayne proved
his virility "with assorted whisky-laden
acts of slapstick violence." Msgr. Little
found it "quite innocuous".

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 123? Vine
Street, Philadelphia 7, Pa., LOcust 8 0950, 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Helen Per-
rone. Publication Manager; Norman Klinger,
Business Manager; Robert Heath, Circulation Man-
ager. BUSINESS OFFICE 550 Fifth Avenue, New
York, 34, N. Y., Circle 5-0124; John Ano, N. Y.
Editorial Representative. Subscription Rates:
ONE YEAR, $3.00 in the U S.: $5.00
$4.00; Europe, $5.00. TWO YEARS. $5.00
in the U. S.; Canada, Europe, $9.00

Miss Crist's reviews are sometimes
acerbic, but they generally are sensitive,
acute and literate. She is no prude. Yet
she told Film BULLETIN she has no
reservations about her Herald Tribune
review on "McLintock", which she con-
siders "subtle and sick propaganda for
children, a sort of 'Little Lord Fauntle-
roy Meets 'Hud' type of entertainment
which tells us that people have no need
to communicate with each other since
physical force solves everything."

The Legion of Decency's endorse-
ment of "McLintock" is supported by
The Green Sheet (which comprises
such conservative rating groups as the
DAR and the National Federation of
Women's Clubs) and Parent's Mag-
azine. None of these groups found any
of the "sickness" in "McLintock" that
disturbed Miss Crist. Nor were they
offended by Maureen O'Hara "stripped
down to the briefest of undies" — as
Miss Crist saw it — or by the "near-
sadistic drunken brawlings".

Indeed, Miss O'Hara is soundly pad-
dled by Wayne, her husband in the
film, but not even by the wildest
stretching of one's imagination could
the actress be considered scantily clad.
As for the "brawlings", it appears that
Miss Crist, reeling under her personal
philosophical indignation at the film's
basic premise, was led to exaggerate.

Msgr. Little, the Catholic spokes-
man, already is involved in classifica-
tion through his activities on behalf of
the Legion of Decency. Miss Crist says
there should be no classification, other
than that made by the film producers
themselves, yet she does, in effect,
classify films for her readers.

It is quite likely that advocates of a
classification system would regard both
Msgr. Little and Miss Crist as desirable
members of a board to guide the public
in its choice of films. But the deviation
in their views on "McLintock" — as it
might be with man) movies — serves to
prove that the images one sees on the
screen are subject to widely varying re-
sponses and interpretations based on
each viewer's beliefs and philosophy.

Who is qualified to judge for
another individual? Who would be the
classifier of motion pictures?

Film BULLETIN November 25, 1943 Page 7

"It's a Mad, Mad, Mad, Mad World"

SutiHCU TZatiMf O O O PIUS

Mad comedy is loaded with laughs and full cast of front-
rank funmakers. Should be firm roadshow and regular
release attraction. Could be scissored to good advantage.

Stanley Kramer, whose specialty in the past has been "message"
pictures, took the plunge into comedy with a really big splash.
He assembled fifty — count em — of the world's top comics to
clown their way through a wild Keystone Cops kinds of cliff-
hanging, rib-tickling circus that provides an abundance of
riotous laughter for young and old alike. Handsomely dressed
up in Ultra Panavision and Technicolor and presented via the
new single-lens Cinerama, (which eliminates the seams but
lacks the 3-projectors' illusion of depth), "It's A Mad, Mad,
Mad, Mad World" satisfies the public's appetite for comedy,
and it should be a firm roadshow and regular release attrac-
tion. One complaint: it is, as most film roadshows have been,
too long. In the three hours and 12 minutes running time, even
some of the most responsive viewers will find their pleasure
diluted by comic riches that tend to become repetitious.

Producer-director Kramer could not resist to make a serious
point, and he does, somewhat cynically. His message is that
deep down, where it really counts, greed governs the conduct
of most people. It is a message that all of us might mull over
to our moral benefit.

Spencer Tracy, a downtrodden sheriff, draws the spectator's
sympathy at first, and so does Dorothy Provine, as a pious
housewife who wants to enter a convent, but alas, they turn
out to be the most decadent of all. Milton Berle, Sid Caesar,
Buddy Hackett, Ethel Merman, Mickey Rooney, Phil Silvers,
and Edie Adams all have their followings, although none have
been great shakes as movie marquee attractions, but collectively
they present considerable boxoffice power, and tv's Jonathan
Winters, Britain's Terry-Thomas, and cafe comic Dick Shawn,
all have their share of avid fans. Jimmy Durante is seen briefly
in the film's opening scene, and Jack Benny and Jerry Lewis
make split-second, unbilled appearances.

Ernest Gold's background score is tuneful, particularly the
already-popular title song with lyrics by Mack David. The
screenplay by William and Tanis Rose is uncomplicated and
witty, allowing each of the comic stars opportunity to display
their specialties.

A group of travelers, witnesses to an automobile accident, are
given a clue by the dying driver (Durante) to the whereabouts
of $350,000 he has buried in a state park some 200 miles
away. Refusing to share the money equally, all make a frantic
dash for the loot. Caesar and Miss Adams hire a 1914 bi-plane
piloted by Ben Blue and are first to reach the area, but they
inadvertently become locked in the storeroom of a hardware
store. Rooney and Hackett also charter a plane — a super-
modern job — but their alcoholic pilot, Jim Backus, gets stupi-
fied in mid-flight, and leaves his hapless two passengers to
bring in the wildly careening plane. Berle, his spouse, Miss
Provine, and mother-in-law Merman bicker their way out of
each others' company, he, finding himself with tourist Thomas,
and the ladies taking up with apeish truck-driver Winters.
At intermissition time, all are found in cliff-hangers. Caesar
and Miss Adams, surrounded by dynamite as flames lap at
their feet, Rooney and Hackett in a nose dive, Silvers (traveling
alone) driving his auto down a river toward a waterfall, and
Shawn, out to avenge mama Merman's attacker (a misunder-
standing), involving all the others in a Keystone chase over
mountain roads.

The second portion maintains a zippy pace most of the way
and it also offers some brief comic gems by Paul Ford, Eddie
"Rochester" Anderson, Peter Falk, and Joe E. Brown. All get
out of their predicaments and head for the money. Miss Provine
finds it first and envisions the entire fortune for herself, but

the others arrive en-masse and bicker over their shares until
Tracy steps in and confiscates it, supposedly for the law. As he
heads for the Mexican border, the others, realizing they have
been duped, pursue and, in the delirious whirlwind finale, atop
a fire ladder, a grab-bag of Mack Sennett devices are utilized
to give the whole greedy tribe their come-uppance.

United Artists. 192 minutes. Spencer Tracy, Milton Berle, Sid Caesar, Buddy
Hackett, Ethel Merman, Mickey Rooney, Dick Shawn, Phil Silvers, Terry-Thomas,
Jonathan Winters, Edie Adams, Dorothy Provine, Jimmy Durante. Produced and
directed by Stanley Kramer.

"McLintock"

SctdiHCW, 'Rating OOO

Good fun and action show for the family trade. Wayne
and O'Hara go through familiar paces, but it amuses.

A good-natured Irish-American western melange, liberally
spiked with corn, "McLintock" adds up to a typically satisfying
John Wayne attraction, a "fun" show for the kiddie and family
trades, with enough action and romance to please all but
hardened sophisticates. Wayne's perennial leading lady, Maureen
O'Hara, is as lovably shrewish as ever, leading the quiet man
through a merry donnybrook until the inevitable dunking in
a horse trough and spanking cools her temper and rekindles her
ardor. Chill Wills, Jack Kruschen, Edgar Buchanan, Jerry Van
Dyke, and assorted Irish and Indian types cavort comically in
the background, and "guest star" Yvonne De Carlo shares a
gem of a drunk scene with Wayne. Stephanie Powers and son
Patrick Wayne are around to celebrate the joys of young love,
while another Wayne offspring, Michael, served as producer for
the Batjac production. Another second-generationer, Andrew
V. McLaglen (son of Wayne's late pal, Victor) was called in as
director, and he gives a reasonably good account of himself.
Some of the slapstick brawls stretch on far too long and the
humor tends to heavy-handedness, but one can always find
compensations in the virile outdoor settings, vividly captured
in Technicolor and Panavision. James Edward Grant's servicable
screenplay makes a few concessions to the passing years. The
two stars appear as the estranged parents of college-bred
Stephanie Powers. When the daughter returns home to Wayne's
ranch for the summer, Mama is already there, hoping to lure the
girl eastward to a life of "retirement and culture." Wayne
endures her nagging in patience and with a trace of old warmth
for her. After patching up an on again-off again romance
between his daughter and young Wayne, mediating a dispute
between railroad men and Indians, saving an Indian from the
gallows, defending the rights of the cattle barons, he sets about
putting his own house in order. Pursuing his bloomer-clad
spouse through town during a 4th of July celebration, he
proves himself master of his household while the townspeople
cheer him on.

United Artists. 127 mirutes. John Wayne, Maureen O'Hara, Yvonne De Carlo.
Produced by Michael Wayne. Directed by Andrew V. McLaglen.

BULLETIN

reviews have one aim:
to give honest judgment
of entertainment merit
— and boxoffice value

Page 8 Film BULLETIN November 25, 1943

"The Victors"

Su4ute44 ^atcHf O O © Plus

Powerful, artistic anti-war document, told in personal
terms. Some of producer-director Foreman's scenes
achieve brilliant effect. Surefire for class houses, and
general audiences, while some parts may seem vague,
will find it engrossing.

War, any war, degrades equally the victors and the van-
quished. From this theme, producer-director-writer Carl Fore-
man has fashioned a bold and uncompromising film that is
bound to be classified as an artistic success. Its impact often is
shattering and there are individual scenes that must stand as
classics of dramatic art and cinematic technique. Regrettably,
however, "The Victors" is basically the work of one man and
probably no individual — no matter how near genius — could
maintain both the necessary detachment to make so ambitious
a project wholly successful. For all its brilliance, the film
occasionally sinks into banality and, too frequently, its power
is diminished by repetition.

Even so, this Columbia release is seldom dull and, while
there are no starring roles, its international cast (running the
gamut from art house favorites to tv's Ben Casey, Vincent
Edwards) is guaranteed to attract a wide audience. Symbolisms
abound for thoughtful viewers and even general audiences who
fail to grasp the subtler implications of Foreman's message will
be held rapt by the film's breathtaking pace. In class situations,
"The Victors" is certain to be among the bigger moneymakers
of the year. That segment of the public that seeks escapist fare
may not find this to their taste, and in the hinterland areas its
bold treatment of sexual aberrations may encounter public
resistance.

Foreman's screenplay is in essence a series of unrelated
sketches that have been adapted from Alexander Baron's auto-
biographical book "The Human Kind." Throughout, the film
utilizes newsreel clippings of life away from the battlefront,
ranging from women wrestling for nylons to the "inspira-
tional" hullaballoo surrounding Shirley Temple's wedding to a
GI. Each serves as juxtaposition to the sometimes comic, often
tragic scenes that precede or follow. Thus a continuity, an easy
flow between disconnected vignettes, is established. Conceived
on a symphonic scale, the picture opens — and closes, ironically
— with the opening notes of Beethoven's "Fifth Symphony,"
the symbolic ode to freedom. At all times, music (familiar
works augmented by Sol Kaplan's brilliant original score)
serves as an integral part of the drama. The futility of war is
captured by placing its victims, victors and vanquished alike,
against one-dimensional backdrops that resemble stage sets.
At first this device is distracting and seemingly pretentious but
the intelligent spectator soon adjusts to it, and in the final
moments it raises the film to great power. Two soldiers in
East Berlin, one American (George Hamilton), the other
Russian (Albert Finney), fearing each other because there is
no common ground on which they can communicate, knife
each other to death. As the camera pans away from the
corpses and over the city, we see the divided metropolis as a
pathetic plastic and tin fortress, a child's plaything; only the
bodies are real.

There are scenes of great power. Many will be moved to
tears by Jeanne Moreau as a war widow who finds solace in
poetry and protection in the arms of Eli Wallach, a coarse,
battle-hardened sergeant who senses her fears, but is unable
to put into words his understanding. Even more striking is the
deceptively tender episode in which an eleven-year-old orphan
takes up with Hamilton and George Peppard. Feeling sympathy
for the lad, the GI's offer to share their tent with him. On the
first night, he reveals himself as a homosexual, matter of
factly demanding that his body be taken in return for food

| More REVIEWS on

and shelter. As played by Joel Flateau, the boy is so winning
and innocent of guilt that he elicits sympathy and tears rather
than disgust.

Hamilton scores a resounding success in the film's major
role. Seen first as an aesthetic, kind-hearted private, he is hard-
ened and wisened by his experience with the orphan and by a
seamy romance with Romy Schneider. Finally, a war weary vet-
eran having risen to rank of sergeant, he is caught in a web of
animalism with sultry Elke Sommer that leads to his foolish
destruction. Edwards also does well with the difficult role of a
lonely, bashful soldier who finds brief happiness with Rosanna
Schiaffino in the ruins of a bombed-out Italy, and Maurice
Ronet is absolutely chilling as a French officer obsessed with
revenge. Among the film's most promising newcomers are
Miss Sommer and Senta Berger, sisters who enjoy the best of
two worlds in post-war Germany, and Michael Callan, a GI
who makes a profession of living off women.

Least successful of the film's many episodes are the familiar
wartime philosophizings of Hamilton, Peppard, and Wallach
early in the story, routine GI hi-jinks in abandoned wine cel-
lars, an overly sentimental tale of Peter Fonda's love for a
mongrel dog, and the obvious, pseudo-comic adventures of
Melina Mercouri, a black-market queen who tries to seduce
Peppard. For most of its nearly three-hour length, though,
"The Victors" is a rare and enriching work richly deserving of
the phenomenal success it surely will enjoy. While special
credit must be given to photographic director Christopher
Challis, editor Allan Osbitson and Joan Davis, in charge of
continuity, the majority of praise must be reserved for Fore-
man. His film, a personal statement, may well become motion
pictures' definitive statement on all wars as an instrument of
international policy.

Columbia. 175 minutes. Vincent Edwards, Albert Finnev, George Hamilton,
Melina Mercouri, Jeanne Moreau, George Peppard, Maurice Ronet, Rosanna
Schiaffino. Romy Schneider, Elke Sommer, Eli Wallach. Produced and directed
by Carl Foreman.

"Maniac"

Fairly suspenseful horror-murder meller from Hammer.

This shocker from Britain's Hammer Productions offers ample
suspense, but, unlike "The Old Dark House" with which it is
being paired, the Columbia release is not particularly suited for
juvenile audiences. Its theme of adultery and murder is handled
so tastefully as not to be harmful to young minds, but the story,
relying largely on talky exposition and subtle insinuation, is too
lacking in action to hold their interest. Even grownups will find
the early scenes pretty heavy going, but once a strange (and
intricate) relationship is established between Nadia Grav (the
"La Dolce Vita" party-girl), Kerwin Mathews, and Liliane
Brousse, producer Jimmy Sangster's script moves into high gear.
Under Michael Carrera's taut direction, the grislv tale is un-
folded with intriguing understatement and a minimum of gore.
When a 15-year-old girl (Miss Brousse) is assaulted by a
vagrant, her father (Donald Houston) takes violent vengeance,
killing the offender with a welder's torch. He is adjudged in-
sane and committed to a criminal asylum for the rest of his life.
Four years pass. When American artist Mathews falls in love
with Miss Gray after first wooing a smitten Miss Brousse, he
agrees to plan an escape for Houston on the condition that the
girl will leave the country with her father. Houston is freed
and supposedly smuggled to France, but the next day Mathews
finds the body of a hospital attendant in the trunk of his car.
It is soon apparent that a maniac is plotting vengeance against
the unfaithful wife and her lover. As the couple trj to escape
from their self-made trap, they fall into a web of violence.

Columbia. 84 minutes Kerwin Mathews, Nadia Gray, Liliane Brousse. Donald Hous-
ton. Produced by Jimmy Sangster. Directed by Michael Carreras.

PageS 16 and 17 | Fi(m BULLETIN November 25. 1943 Page?

r

KLEIN

NG Unveils Talaria
—Answer To Pay TV

Through the combination of two of
the fabled "miracles of modern science"
it will soon be possible to bring Drury
Lane to Decatur, Carnegie Hall to Car-
lisle, and the Met to me.

Theatre-size color television, exhibi-
tion's answer to Pay-TV, in the form of
the Talaria system developed by Na-
tional General Corp. and General Elec-
tric, was demonstrated Tuesday, No-
vember 19, before an audience of lead-
ing theatremen and members of the
press. The immediate reaction was
highly favorable, despite the fact that
some of the material displayed did not
show off Talaria projection to best ad-
vantage.

The demonstration, presented on the
25x33-foot screen of the Village West-
wood Theatre, in Los Angeles, and
transmitted from the NBC studio in
Burbank (20 miles away), consisted of
"live", taped and filmed excerpts from
Broadway, football and baseball games,
golf and basketball, seqeunces from the
Ice Capades, the Indianapolis 500 mile
classic, a segment of an Isaac Stern
concert, medical and industrial appli-
cations, and cartoons — all designed to
demonstrate the various facets of the
large-sceen projector.

The Talaria color quality was gen-
erally regarded as superior to the best
TV color, although not yet equal to the

CAST &
CREDITS
■

Report on the Industry's
PEOPLE and EVENTS

quality and line definition of a direct
projection of a Technicolor film. Gen-
eral Electric is confident, however, that
some pallid pink tones, will be cor-
rected before the system is ready for
certain color discrepancies, such as
full-scale operation.

One of the system's greatest poten-
tials was dramatically highlighted by
an exceptionally clear, actual operation
on a throbbing human heart.

Eugene V. Klein, president of Na-
tional General declared that the NG
subsidiary, Theatre Color- Vision Corp.
was now ready to bring "the world's
first permanent closed-circuit theatre
network" to the public. Irving H.
Levin, president of Theatre Color- Vis-
ion termed it "the beginning of a new
era." Ralph Bellamy, president of Ac-
tors' Equity, who narrated the half-
hour telecast, said: "When closed-cir-
cuit theatre entertainment gets into full
swing, it will be the greatest medium
of employment actors have ever
known."

Klein anticipates that a network of
65 theatres, including 20 NG houses,
will be operating next year. The basic
deal to be offered by National General
Corp., through Theatre Color- Vision,
consists of a rental-lease contract for
the GE Talaria equipment (which will
be installed and serviced by GE) plus
a percentage of the boxoffice returns.

Talaria prgoramming which will be
produced by Gower Champion and Bill
Colleran, will include a wide range of
sports, cultural, educational and, most
important, entertainment offerings.
Present plans call for: a series of Grand
Opera, direct from the stage of New
York's famed Metropolitan Opera
House; specially staged concerts direct
from Carnegie Hall; original musicals,
cenceived and produced by Oscar win-
ner Dimitri Tiomkin; personal appear-
ance concerts, musicals and dramatic
productions

Jerry Lewis Meets
His Waterloo on TV

It hardly came as a surprise, consider-
ing the way the critics lacerated the
show and the low ratings it received
in the surveys, that the weekly two-
hour live Jerry Lewis Show will be
consigned to the scrap heap on De-
cember 14. In keeping with the comic's
flamboyant personality, this must be
rated the most spectacular Waterloo in
television history.

In answer to the report that ABC
had supposedly paid between $2 and
$4 million to dispose of the $40,000,-
000 disaster quietly, a legal source was
reporting as saying that "Jerry was dis-
tressed over cancellation of the show,
but how distressed can you be when
you're being paid $4,000,000?" ABC
refused to confirm or deny the figure.

The network's announcement made
no secret of Lewis' discontent and de-
sire to "withdraw" because of "differ-
ences" over program format. Prior to
the inception of the show, it is under-
stood that Lewis was assured by ABC
executives that he had carte blanche.
But apparently, after seeing his first
few shows, network officials found
cause to blanch a bit themselves. Lewis'
dream show turned into a nightmare.
Spontaneity was replaced by chaos. And
the latest Nielsen ratings had the show
near the bottom of the Saturday night
popularity list.

Lewis found out the hard way that
sitting in all of the chairs at once, as
he is wont to do on Paramount's lot, is
rather difficult now, live, in person, on
television. His proudest boast was that
his two-hour show was "unrehearsed ".
The wags were saying it certainly
looked that way.

Warner Expects 'Lady'
To Hit $100 Million

Jack L. Warner has his sights set
high for "My Fair Lady." The WB
president expects the world-wide gross
on the film version of the great stage
musical hit to reach $100 million.

Warners' distribution plan to follow
the audience-guarantee system adopted
by 20th Century-Fox on "Cleopatra" in
selling "Lady" for its initial 50-odd
roadshow engagements. This sales pol-
icy came in for severe attack by ex-
hibitors at the recent TOA convention.

The movie will have its world pre-
miere at the Criterion Theatre on
Broadway October 21, 1964. Charles B.
Moss, president of B. S. Moss Enter-
prises, owner of the Criterion, has
posted a $1,250,000 guarantee.

Page 10 Film BULLETIN November 25, 1963

Its what happens when FOUR BOYS in a borrowed bus
. . .(with built-in bunks and bath)... meet FOUR GALS
with a single mission... MEN!!!

'-•en

It's the
craziest
Four-Way
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ever shook up

*****

be bored F Euro**toei, *hen the
Youre ^

NOW AVAILABLE TO FOLLOW THE BLOCK BUSTING BUSINESS OF BEACH RAKJY

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NumMn difKUO h, nLI\DLI\ I [\UoO

THE QUESTION OF NUDITY ON THE SCREEN. WOULD IT BE POPULAR? WOULD IT BE PROPER?

There are two schools of thought
about nudity on the screen.

Both have been quite vocal recently
in connection with a film that has
Caroll Baker revealed as Renoir would
have conceived her. I'm for both Caroll
Baker and Renoir, but, in the present
context, the production code automatic-
ally sets forth a dissent.

One school of thought, as I read it,
believes that nudity should not be ban-
ned arbitrarily but should be appraised,
not on the basis of whether it is nice or
naughty, but purely on basis of whether
it is important to the artistic integrity
of the film's story. The other school
believes that the production code needs
updating or maybe even emasculation.

My own point of view is that both
these arguments are as boring as nudity.
There should be a third school of
thought and this school should recom-
mend that such intramural squabbles
do not belong in the press.

But it is very difficult to control
volatile personalities like Mr. Martin
Ransohoff. This gentleman feels that
this prohibition has been an affront to
his commitment to artistry and culture
and that the restraint of the production
code can ruin a beautiful nuance in his
production. Maybe he is right. But Mr.
Geoffrey M. Shurlock could not agree
with him even if he wanted to. So long
as Mr. Shurlock has the job of enforc-
ing and interpreting the code, he cannot
very well close his eyes to Miss Baker
in the nude. As who would?

But one thing is sure. If there is to
be a production code, there must be
some enforcement of it. If not, there
is no use to argue that censorship is
necessary because the industry has vol-
untary regulation, we would have none,
in fact, and the doors would be thrown
open to the eager advocates of censor-
ship.

M ►

Whether anyone likes it or not, this
is the bikini age. We cannot put our
eyes in the back of our heads and look
back to the days of the one piece bath-
ing suits. Today, only the erotic could
get a kick out of nudity. If nudity were
such a big sales factor, then Playboy
would have a bigger circulation than
Time, Life, or other national magazines.

If there is a corrupting influence of
nudity on normal persons then this
society is much sicker than any one
supposes. Of course, the abnormal,
erotic person cannot be barred from
seeing nudity in contemporary media,
but we just have to take our chances on
what this exposure will do to them.

Despite decisions of our highest

in MCll

ADAM WEILEP

courts, there has been no let up in a
number of states for censorship laws.
There will always be pressure groups
dedicated to imposing their own per-
sonal conceptions of propriety on the
entire population. These are the groups
with their eyes in the back of their
heads. They have always existed. In
1831, John Stuart Mill wrote a tract
titled the "Spirit of the Age." This was
his view :

"The progress of inquiry has brought
to light the insufficiency of ancient doc-
trines; but those who have made the
investigation of social truths their oc-
cupation, have not sanctioned any new-
body of doctrine with their unanimous
or nearly unanimous consent. The true
opinion is recommended to the public
by no greater weight of authority than
hundreds of false opinions. In the
meantime, as the old doctrines have
gone out, and the new ones have not
yet come in, every one must judge for
himself as he best may. Learn and think
for yourself is reasonable advice for
the day."

Oh, would that John Stuart Mill ride
again.

■< ► M ►

Most of the sportswriters predict that
the forthcoming exhibition between
champion Liston and Cassius Clay is the
greatest mismatch since the Christians
were thrown to the lions. Nevertheless,
this show is calculated to produce the
biggest "take" in the history of the
"manly art". Even without counting the
ringside receipts from the suckers who
will pay $100 per ducat to see Cassius
returned to the muses where he can con-
sole his battered face with rhymes and
lyrics to the gods of misfortune, close to
several million dollars will accrue from
closed circuit TV, radio and other col-
lateral sources. This show will be a
bonanza, dispelling any doubt about
the boxoffice pull of a poet over the
technician.

Long ago, your man in this corner
said that Cassius should be booked into
movie theatres for poetry readings. It's
too late now, because the only poetry
Cassius will ever logically read in the
future will be a requiem to an aspiring

heavyweight. Of course, I could be
wrong. Come to think of it, David did
finish Goliath in short order.

M ► m ►

The fervent talk about the feasibility
of merging TOA and National Allied
should point up the efficacy of unity in
an industry that has never had much of
this cohesion, except in rare cases of
emergency. And in these emergencies
there has always been discussion about
the need for continuing unity.

I recall that a few days after Pearl
Harbor, there was a big meeting in
Chicago known as the "Unity Confer-
ence." Great speeches were made and
nothing happened. Which proves that
discussion is not action, that slogans are
not policy.

The war did produce unity in the in-
dustry with the advent of the War
Activities Committee of the Motion Pic-
ture Industry. With the war's end, we
saw in 1949 the establishment of Compo.

Compo has never been given the sup-
port it deserves. Even after its heroic
fight to remove the admissions tax, it
still had the formidable problem of col-
lecting dues. And this problem continues
to impede the expansion of the organi-
zation's functions.

But despite financial handicaps, Com-
po has not been idle and we see more
evidence of its efficiency and importance.
Its accomplishments certainly exceeds
and overcomes its lack of resources. This
is due mainly to Compo's executive
leadership and the unstinted effort of
both TOA, Allied and the MPA.

Surely, the time has now come when
exhibitors, in dire need of means to
fight the common problems, should
rally and dig into their pocketbooks to
make sure that Compo has the financial
ammunition to carry on its programs.

One fine example of Compo's con-
structive work is the trailer with Presi-
dent Kennedy made in commemmora-
tion of Bill of Rights week.

Compo, in this project, mobilized the
newsreels, promoted the raw stock and
arranged for National Screen to handle
the distribution. All exhibitors are
asked to do is to make sure the trailer
is Piiven the screen time it deserves.

But they should not stop at this. A
real community service could be ren-
dered by the theatres to display the Bill
of Rights in their lobbies.

And at the same time it would be
very good community relations to invite
school children into the theatres to hear
prominent citizens elucidate the signific-
ance of this great document. This is the
kind of activity that reflects good public-
relations on the local level.

Page 12 Film BULLETIN November 25, 1943

AUDIENCE PREFERENCE

( Continued from Page 3 )

tainment preferences of various
segments of the national market, as
well as among the different classes
of patrons within each geographical
area. The mystery that confounds
them is knowing in advance what
the people will spend their money
to see. Will the same chemistry of
title, story and stars that lures them
in Cleveland do as well in Harris-
burg, Pa.? That secret in the past,
has been revealed only after the
show went on and the boxoffice
started perking.

Audienscope now enters with the
Preview Poll, a survey program that
promises to unveil the mystery of
boxoffice potential before the pic-
ture opens. By a unique method of
pre-testing audience preferences for
coming product, Audienscope con-
templates furnishing the industry —
theatremen, producers and distri-
butors— with a valid statistical fore-
cast, on a national and sectional
basis, of the relative grossing poten-
tial of each major movie available
within a given releasing period.

In addition, through its survey
system, Audienscope expects to pro-
vide a true measure of the public's
ever-shifting taste in film fare, as
well as the tides of star popularity.

NO 'PROBLEM PICTURES'

The research firm made some in-
teresting interpretations based on
the general comments of respondents
to the recent survey:

1 ) "Most moviegoers have little

taste today for the so-called "prob-

i ii • . ii
lem picture.

2) "The one basic factor that in-
fluences the general public's choice
in movies is the desire for relaxa-
tion from the hum-drum affairs of
everyday life and escape I mm the
problems ol this unsettled world."

3) "While a large portion of the
population voices objection to 'too
much sex' in films and calls for
more wholesome movies which the
entire family can attend, sex re-
mains one of the major boxoffice
determinants. This is true, at least,
the survey disclosed, when the sub-
ject is treated in a light vein."

Apropos of this is the Preview
Poll's finding that "Under the Yum
Yum Tree", a sexy comedy in which
Jack Lemmon portrays an unin-
hibited Casanova operating a college
girls' boarding house, has the larg-
est potential audience. It drew over
20 percent of the total preference
vote that involved nine films.

And, Audienscope points out
significantly: "A substantial number
of those who expressed anti-sex-in-
films attitudes nonetheless selected
'Under the Yum Yum Tree' as their
first or second choice to see."

For instance, a gentleman from
Oak Park, 111., righteously called
for "less emphasis on illicit sex",
but named "Under the Yum Yum
Tree" as his No. 1 choice, adding
this sly comment: "Let's face it —
we all would like to be in on the
kind of deal Lemmon has in this
movie."

Nevertheless, Audienscope reports
that there is evidence of a broad
scale revolt in the ranks of movie-
goers on the subject of sex. Like
the Oildale, Cal., woman who said:
"I am sick, sick, sick of the exploi-
tation of sex in movie-. I would at-
tend much more otten il more lamily
shows like 'The Incredible Journe)
were presented."

\ mat) in K.I Paso. T\as. declared
thai lie would go to films more ollrn
if there was "less emphasis on sex,
less prolanity and 'earthy' lan-
guage."

And a student at Miami Univer-
sity of Ohio called for "more films
with class and a plot, less of those
based on immoral sexual situations."

Comedy is the choice of the day
from one end of the country to the
other, Audienscope advises.

A Bakersfield, Cal., woman puts
it in these words: "I get enough of
the sordid mess that's going on
everyday in this world. It is nice to
get out and laugh at something cute
and funny."

A professional man in Cleveland,
0., said: "When I go to the movies
I want to be entertained, not de-
pressed. I want to forget for a few
hours the violence and worries of
the world."

And from a young woman in
Chicago, this comment: "I've had
enough of those 'earthy-sick' movies.
I like to be entertained when I go
to the movies."

mcqueen hot item

Other findings revealed by the
Preview Poll:

1 ) Steve McQueen is the hottest
new personality on the movie scene
today. More people named him than
co-star Jackie Cleason as the reason
they desire to see "Soldier in the
Rain."

2) Ceorge Sander- out-ranked
Rossano Brazzi as an influencing
factor among those' who selected
"Dark Purpose" as a preferred
choice.

3) Among college" student re-
spondents. "Soldier in the Rain*'
ran a strong second to "I nder the
Yum ^ um Tree". Audienscope in-
terprets ilii> as evidence thai the
college-age group identifies with
army life and enjoys the idea ol
ha\ ing a laugh about il.

Film BULLETIN November 25. 1963 Page 13

The Vieu> frw OuU/tfe

by ROLAND PENDARIS

No Money for Promotion

When a major company produces a motion picture, infinite
care is taken with every production detail. The camera focus is
checked with a tape measure; each day's takes are viewed as
soon as possible and, if need be, reshot until they meet the
exacting specifications of the studio, the technical experts, the
director and producer.

They run all kinds of tests before the stars come on the set —
lighting, sound recording, camera movement and so forth.
Then when the picture has completed shooting, another group
of experts takes over in the cutting room, editing. Gifted musi-
cians provide the score. Topflight artists are hired for the titles.

The picture comes to market nurtured by the loving care and
tender watchfulness of scores of gifted people. And now some-
thing happens.

After all the loving care and all the tests and all the exper-
tise, this carefully crafted product is — all to often — turned loose
practically to fend for itself. It gets a press book, and a carefully
thought-out advertising campaign. But it fends for itself.

The fact of the matter is that, with relatively few exceptions,
most pictures today are made as carefully as ever and marketed
less intensively than ever. There are less publicity people work-
ing, less ads in the papers, less advance information for dis-
semination to the trade. Somewhere in this situation there is a
contradiction. If it is worth spending so much time, money and
expertise in the production of the pictures, why not in the pro-
motion? Is it because the responsibility for promotion is so
diluted among independent producers, independent stars, inde-
pendent press agents and dependent distributors?

►

I do not have immediately at hand the figures on the per-
centage of total costs that goes into promotion — advertising,
exploitation and publicity — for the motion picture industry
today; but I am willing to bet that on an average, per picture
basis it is a darned sight lower proportion than was the case fif-
teen years ago. This is in spite of the fact that the cost of buying
space or air time has risen just as much as the cost of film pro-
duction. What has happened is that there has been little or no
economy on a per-picture basis at the production end, and what-
ever cost-cutting has occurred has occurred in the various phases
of distribution, from print availabilities to the number of field
men on permanent staff of the distributors. (Not all the distrib-
utors, of course; thank goodness there are exceptions.)

I will not exempt theatres from this indictment. I do not
believe that the proportion of total costs that goes into promo-
tion has been maintained by the exhibitors any more than it
has by the major companies based in Hollywood. The excuse is
probably the same. For the distributor it is the fact that produc-
tion expenses are taking more and more of the total budget;
for the exhibitor it is the fact that film rentals have risen in
the same way.

On a hot picture, this isn't necessarily true. It isn't true for a
Joe Levine, who operates on the theory that promotion can
make a tepid picture hot. But as a general rule it seems quite
obvious that promotion is getting the short end of the stick.
I respectfully remind the movie moguls that in motion picture
marketing, as with that certain cigarette, it's what's up front
that counts. And what's up in front of your picture is its
advance promotion.

I might say the same thing about institutional marketing,

applied equally to distributors and exhibitors. The other day I
read a statement by an exhibition leader to the general effect
that there no longer is a regular moviegoing public. The public,
he said, picks its pictures these days and has no strong movie-
going habit. It is the individual picture that attracts the cus-
tomers. Therefore, there must be intensive selling of the indi-
vidual attraction. I have no argument with such selling; but
I do have an argument with the premise.

The exhibitor is right, I think; there is no moviegoing habit
or customer loyalty to a particular theatre or a particular com-
pany these days. But I refuse to accept this as an inevitable or
irrevocable situation. There was a moviegoing habit and a cus-
tomer loyalty, and television can't be blamed for the demise
of these wonderful assets. I will grant that television has made
the job harder; but that's no reason for giving up.

The fact is that an exhibitor these days is usually showing
the same picture as other exhibitors in the same general area —
except for roadshows. He is still somewhat dependent on cus-
tomer loyalty; and with some of the weaker pictures he is still
dependent on building the moviegoing habit. As for the dis-
tribution companies, there is no reason in the world why they
shouldn't be building their own trademarks as guarantees of
picture quality. We cannot deny that the films themselves are
the main thing; but the company trademark and the theatre's
reputation certainly can help. Anything which builds up the
reputation of the theatre or the known track record of the
company is bound to be helpful.

Institutional promotion is a growing thing in many indus-
tries. Look at the automobile companies, the television net-
works, the best run theatre chains, the aggressive mail order
giants, just to cite a few examples. Mind you, I am not now
talking about industry-wide promotion, though Lord knows
that's a field the motion picture business has never really handled
appropriately. I am talking here about promotional efforts in
behalf of a particular company or a particular theatre or
theatre circuit. I am talking about advertising and promotion
and exploitation and tie-ins. I am talking about advertising in
all media; I would not, for example, exclude the possibility of
network television as an advertising medium for distribution
companies on a regular or deluxe basis, rather than for occa-
sional spot ads. I am talking about publicity about a company
and its total product; a theatre and its community service or
sumptuous facilities.

In The New York Times on the day this column was written,
there was less than a full page of movie advertising, none of it
institutional. In the same paper, there is a full-page institutional
ad for one of the local television stations, plus a couple of pro-
gram ads. Perhaps this is not a representative day; but then a
comparison between television and theatres must take into
account that promotional announcements on the air are broad-
cast throughout the day and newspaper advertising is just an
extra. (When I refer to promotional announcements, I mean
those in behalf of the station and its program — not time pur-
chased by a sponsor.)

Please do not expect me in this space to lay out an entire
promotional campaign for distributors and/or exhibitors.
Frankly, there are many skilled people and agencies who get
paid for doing that kind of work — and a great number of
these happen to come from the motion picture industry in the
first place. All I seek to do is sound a modest tocsin.

Page 14 Film BULLETIN November 25, 1963

"Mad World" Draws Favorable Reviews
Pans for "Under the Yum Yum Tree"

QUOT6S"

What the Newspaper Critics Sag About New Films

"IT'S A MAD, MAD, MAD WORLD" (UA)

"... A whamdoodle, humdinger, stem winder
and it's the most, man, the coolest . . . Quibbling
about flaws will have to wait. Any solemn con-
sideration is drowned out in the roaring Niagara
of laughter the picture brings on." — COOK,
N. Y. World Telegram & Sun

". . . Certainly the longest, loudest, wildest
chase comedy on record ... A spectacularly
made production. It's also, however, an uneven
one. Some of the incidents are very funny as
they spin through amusing gags and gimmicks.
But others try too hard for effect that doesn't
always come off and the more than three hour
length tends to wear the script a bit thin, espe-
cially since it unfolds entirely in one key." —
PELSWICK, N. Y. Journal American

". . . This reviewer, relieved of the burden
of pleasurable anticipations, enjoyed himself
every inch of the long way, three hours and 12
minutes. The ending may have been a little
weak, but the chase that got them all in that
predicament, was the best that money and
modern techniques could buy." — WINSTEN,
N. Y. Post

"... A comedy spectacular, crammed with
comedians old and new and plotted and zanied
up to a fare-thee-well . . . Concocted from two
parts of hilarity, one of good fun, one of mild
amusement and inevitability, one of pleasant
padding . . . Mr. Kramer has himself a great
two-hour comedy waiting to be weeded out." —
CRIST, N. Y. Herald Tribune

"... A wonderfully crazy and colorful col-
lection of 'chase' comedy, so crowded with plot
and people that it almost splits the seams of its
huge Cinerama packing . . . And it is also, for
all its crackpot clowning and its racing and
colliding of automobiles, a pretty severe satiriz-
ing of the money madness and motorized mo-
mentum of our age."— CROWTHER, N. Y.
Times

". . . An uncertain mixture of good — and bad
. . . Considerably less than a movie masterpiece
. . . While much of the riotous antics on screen
are spontaneously funny, a great deal of it is
bitter, ugly, strident, and teetering uncomfort-
ably on the edge of nastiness . . . Much of the
picture is spectacular, thrilling and in the finest
Keystone Kops comic-chase tradition." — ZUN-
SER, Cue Magazine

". . . Four hits and three errors . . . The
hits represent the funniest, fastest, most fantastic
and fanciful slapstick comedy that has been
seen on the screen since the Keystone Komedy
Kops disappeared therefrom . . . The errors are
its undue length, the three or four dull spots
that should have been cut before opening date,
and the fact that an honorable, efficient police
captain, about to retire on his laurels, is rep-
resented as no better than the crooks he has
pursued throughout his long, upright career
as a law-enforcing officer."— CAMERON, N. Y.
Daily News

"UNDER THE YUM YUM TREE" (Columbia)

". . . An offensive blob of smut and sug-
gestiveness on a 110-minute leer . . . Edie Adams
turns on Jack I emmon and shrieks, 'You're a
liar, a drunk, a leetch and one of the most
ridiculous men I have ever met.' And that's
about the nicest thing anyone can say about
Mr. Lemmon in this nasty little opus." —
CHRIST, N.Y. Herald Tribune

"... A limp little farce that tries to stretch
what is basically a one-joke story to feature
length. Neither the scripting nor the handling,
however, is sufficiently inventive to accomplish
this, and the few gags that do turn up are
simply repeated over and over again . . . Taste-
less and unbelievable material." — PELSWICK,
N. Y. Journal American

". . . The whole thing is in faintly malodorous
taste . . . Tired businessmen should love it.
Teen-agers should stay in school." —
CROWTHER, N. Y. Times

". . . Not really naughty at all — just a trifle
revolting at times in its arch and prissy jokes
about sex . . . No matter how strenuously he
tries, even gay and waggish Jack Lemmon can-
not contend with the burden of repeating just
one joke through the whole picture." — COOK,
N. Y. World Telegram & Sun

". . . One of the least enticing pictures of
1963 . . . Particularly heavy-handed comedy,
lacking in taste where it could be convivial, and
as devoid of subtlety and laughter as a drab
drama. "— THIRER, N. y. Post

". . . The comedy disappointment of the year
... If you can accept unconstrained slapstick
as humor, can enjoy Lemmon's farcical inter-
pretation of a girl-watcher on the make, can
laugh at gibberish on the pros and cons of
platonic love, the pleasure is all yours."
HALE, N. y. Daily News

"THE INCREDIBLE JOURNEY" (Buena Vista)

"... A delightful tale for not only the small
fry but the elders who accompany them as well
. . . 'Journey' is a fascinating one. Spun out in
color against lovely outdoor backgrounds."
—PELSWICK, N. Y. Journal-American

". . . If you go to see this one, you had better
take along a small friend to spread juvenile
infectious delight in the proceedings." — COOK,
N. Y. World Telegram & Sun

". . . In filming Sheila Burnfold's best-seller,
Walt Disney neglected one of his cardinal tenets.
Without comedy, the project just isn't worthy
of the great showman . . . Others will miss the
high adventure characteristic of most Disney
enterprises."— MASTERS, N. Y. Daily News

". . . Chalk up another animal crackerjack
for Walt Disney ... A warm and beguiling
live-action color drama centering on two deter-
mined dogs and a thoroughly captivating cat
. . . The animals are remarkable, almost human
. . . Charming film that will not only enthrall
the bubble-gum set but please mom and pop
if they happen to tag along." SAI.MAGGI,
N. Y. Herald Tribune

". . . Leave it to the old master, Walt Disney,
to provide an ideal live-action picture for the
small fry . . . about as gentle, warm and lovely
a color movie as any pet owner could wish at
least, for the kids . . . The picture is too long
for its mild tone and treatment." — THOMPSON,
N. Y. Times

". . . Generally believable, and the human
actors are persuaded to remain almost as natural
as the animals. It's a very good and harmless
juvenile entertainment." — WINSTEN, N. Y.
Post

"AN AFFAIR OF THE SKIN" (Zenith International)

". . . Maddow has taken a simple, small
story and narrated it with ponderous obscurity
. . . This little story is dragged through a lot
of scenes of hysteria and necking and some
interminable discussions about such topics as
the natures of love, God and death." — COOK,
N. y. World Telegram & Sun

"... A pretentious bore . . . Has five seasoned
and able performers in leading roles and occa-
sional evidence of Mr. Maddow's unsentimental
eye for the mood and the place . . . Sporofic
and sophomoric . . . Bare shoulders and adultery
do not an adult movie make." — CRIST, N. Y.
Herald Tribune

". . . Ben Maddow, remembered for 'The
Savage Eye', has fallen into the trap of clever
phraseology that marred the earlier film . . .
He has directed the drama at a pace slow
enough to over-emphasize every syllable in the
script . . . The New York photography of this
moderately budgeted film is outstanding."
—ARCHER, N. Y. Times

"PALM SPRINGS WEEKEND" (Warm, Brothers)

". . . Wherever the boys — or girls — are, they
ah. ..ys seem to be the same, at least in Holly-
wood's eyes . . . All too cliche to mention,
plus an abundance of corny lines and tired
sight gags."— SALMAGGI, N. Y. Herald Tri-
bune

". . . Wisp of nonsensical fluff . . . Ob\ iouslj
aimed at the juvenile trade but the ones who
revel in it w ill have to be much more innocent
than the youngsters I know ." — COOK, :\ . Y.
World Telegram & Sun

". . . Comedy is woefully weak, and the storj
is painfully feeble . . . Garish in appearance,
barren in w it and invention." — WINSTEN,
N. Y. Post

". . . Originality is not a virtue of 'Palm
Springs Weekend' . . . The Warner Bros, release
is an unblushing imitation of 'Where die Boys
Are." And like most copies, it doesn't have the
class, entertainment value anil the general appeal
of the model." — HALE, N. Y. Post

". . . Strictly for the teenage set. Done up in
bright color, its cast consists of a group of
Warner Bros, younger contract players who
have gathered a large following through (heir
television appearances." I'l 1 S\\ K K, \ Y.
Journal American

Film BULLETIN November 25, 1963 Page >5

"Knife in the Water"

"3u4i*te44 ^atitq. O O Plus

Suspenseful Polish import good art entry.

Winner of the International Film Critics' Award at Venice
(1962) and widely acclaimed at the recent New York Film
Festival, this Polish-made suspense drama of two men, a
hoyden, and the knife that controls their relationship will be
a strong art house attraction. Director Roman Polanski, in his
first feature, has fashioned a startlingly original work that
plays on the intellect rather than the emotions. It will not be
to every taste, for the deceptively simple story is often relegated
to the background as Polanski concentrates on a sharp, almost
clinical, dissection of his three characters. However, those who
enjoy a psychological guessing game will find suspense building
to the fever point. Produced by Kamera Unit of Film Polski,
this Kanawha Films release has the added benefits of a striking
jazz score by Krzysztof Komeda, sharp editing, and moody,
naturalistic black-and-white photography. The screenplay,
which Polanski co-authored with Jerzy Skolimowski and Jakrub
Goldberg, begins when middle-aged Leon Nieczyk and Jolanta
Umecka, his younger wife, are forced to halt their car for a
young hitchhiker (Zygmunt Malanowicz) who throws himself
directly in their path. Infuriated by the stupidity of the act
and attracted by its impudence, the man invites the hitchhiker
to spend the day on his yacht. Once aboard, he baits the
younger man with his possessions and his superior physical
prowess, while the lad arrogantly flaunts him with a menacing
knife. As their sparring becomes more intense, it becomes
clear that the two men are in many ways alike and that both
are psychotic. Sensing the weakness of both men, the wife toys
with their emotions, eventually submits to the younger man
without her husband's knowledge. Later, the guest disappears
from the boat, hiding beneath a buoy, leaving the husband to
think he has drowned. When his wife voluntarily confesses
her infidelity, he is dumbfounded, refuses to believe it.

Kanawha Films, Ltd. '5 minutes. Leon Niemczyk, Jolanta Umecka, Zygmunt
Malanowicz. Produced by Kamera Unit of Film Polski. Directed by Roman Polanski.

"The Sound of Trumpets"

Italian import should have moderate success in art
market.

A mood of resignation, at once poetic and disheartening, per-
vades this strange comedy-drama from Italy. It will be only for
selective tastes, but favorable word-of-mouth should help it to
achieve moderate success in art houses. Director Ermanno Olmi's
first feature, a Titanus-24 Horses production, is an almost docu-
mentary account of a jobless youth's struggle for recognition.
We follow his initiation in the working world through a series
of employment tests and interviews to his first job as an errand
boy. Olmi's screenplay seems to be almost non-existent as his
perceptive cameras range throughout a factory, dissecting the
employees who, unknowingly, have become robotized victims of
the machinery they manipulate. The cast is entirely amateur, but
Sandro Panzeri is completely natural and winning as the boy
who matures into manhood, but who, on achieving the clerical
position he had aspired to, fails to realize that he has fallen
into a white-collar trap. The only other prominent performer,
Loredana Detto, is effective as a secretarial worker Panzeri
hopes, but fails, to meet at a company New Year's party. The
title comes from this scene when, at midnight, a drunken reveler
toasts the occasion: "Trumpets sound, the cannons roar! Gentle-
men, we have killed the year."

Janus. 90 minutes. Sandro Panzeri, Loredana Detto. Produced by Titanus-The 24
Horses. Directed by Ermanno Olmi.

"An Affair of the Skin"

Su4tK£d4 ZZcOc*? O PIUS

Heavy-handed play for sex-minded "art" fans turns out
to be just a dirty and offensive little movie.

Boxoffice prospects in the discriminating art houses are slim
for this incrediably inept and puerile "study'' of what is sup-
posed to be contemporary sex-behavior. It can only be described
as a dirty and offensive little movie, which might draw in the
sex-art market. Evidently, writer-director-co-producer Ben
Maddow's idea of mature entertainment is to spike a visually
innocuous picture with garbage can dialogue, locker-room pro-
fanities and, in one instance, obscene sounds. Maddow has
taken a giant step downward from "The Savage Eye" in this
co-production with Helen Levitt. Its only asset is some fine
exterior photography of New York's lower East side. Viveca
Lindfors lolls about on couches and beds enticing Kevin Mc-
Carthy with a thickly accented "come, baby." He does, and at
the height of it all, she raises her smoldering cigarette straight
upward — and that is about as subtle as the symbolism gets.
Diana Sands, too, adopts provocative poses for such exotic
pleasures as talking on the phone. It is Miss Sands' misfortune
to be caught in what well may be the most vulgar and imbecilic
episode ever filmed. Hoping to drive her mother out of her
apartment, she simulates sounds of sexual frenzy while her
supposed partner meditates at the opposite side of the room.
Mama puts an end to the fun by stepping into the scene and
offering the pair some vanilla cupcakes! The love scenes are
all punctuated by obstrusively primitive Kabuki (sic) music,
and when the film isn't being pathetically naive, it is preposter-
ously cliched. The fragmentary story has McCarthy leaving
domineering wife Lee Grant for a brief fling with Miss Lindfors,
but returning to his spouse when she proves her love by attempt-
ing suicide.

Zenieth International. 102 minutes. Viveca Lindfors, Kevin McCarthy Lee Grant
Herbert Berghof Diana Sands. Produced by Ben Maddow and Helen Levitt!
Directed by Ben Maddow.

"Muriel"

Resnais' latest French ambiguity too obscure.

French director Alain Resnais, who was symbolic in "Hiro-
shima, Mon Amour" and vague in "Last Year At Marienbad,"
now combines the two and reaches a state of total incompre-
hensibility, a condition which can only mean boxoffice poison.
For devout aesthetes the film may hold minor attraction as an
intellectual puzzle, but to all except incurable poseurs its solu-
tion will be questionable at best. There is nothing poetic or
stimulating about the present work, a Lopert release. It is ex-
aggeratedly arty, cumbersomely photographed in Eastman color,
clumsily edited, unevenly acted. Subtitles fail to translate what
appear to be key scenes and non-sequitors abound. To all this
can be added a sinister background score. The screenplay by
Jean Cayrol is meandering and interminably talky, suggesting
many possible interpretations, none of which, on reflection,
make much sense. The central characters are a widow (Delphine
Seyrig), her step-son (Jean-Baptiste Thierre), and her house
guests, an old flame (Jean-Pierre Kerien) and his mistress
(Nita Klein). This intriguing situation is never allowed to
develop for the step-son, who appears to be deranged, talks
incessantly of his fiance, Muriel, with whom he supposedly
sporadically shares a studio apartment. It soon appears, how-
ever, that Muriel is dead, a victim of French brutality in
Algeria, or that she never existed at all except in the boy's
twisted mind. The ambiguity leads to a climax in which the
boy murders his best friend.

Lopert. 115 minutes. Delphine Seyrig, Jean-Pierre Kerien. Produced by Anatole
Dauman. Directed by Alain Resnais.

Page 16 Film BULLETIN November 25, 1963

"Soldier In the Rain"

McQueen, Gleason give uneven army life comedy strong
b.o. lift, but story and direction leave much to be desired.

The basic ingredients of a warm, human comedy are in this
Allied Artists release, but somewhere in the execution it went
wrong. As a result, it comes unreeled as an uneven but exploit-
able anecdote with enough charm to please family audiences
and young men of service age. The popularity Steve McQueen
enjoys on the heels of his "Great Escape" performance, and
Jackie Gleason's established following assure that grosses will
be above average in all markets, except where the sophisticated
class audience attends. Gleason is subdued and believable in the
colorful role of a wheeling-dealing sergent whose only home
is the Army, but McQueen his inseparable buddy, adopts such
pop-eyed histrionics that he frequently throws the picture off
balance. One scene, a tender encounter between Gleason and
teen-age sexpot Tuesday Weld, in which loneliness brings two
desperate personalities together in a sort of love, indicates the
bitter-sweet warmth the story might have had if a combination
of excesses did not continually dissipate the effectiveness. The
screenplay by executive producer Blake Edwards and Martin
Richman (from William Goldman's novel) lacks clarity and
consistency, wavering uncertainly between sticky sentiment,
whimsey, and naturalism. Ralph ("Lilies Of The Field") Nel-
son's direction is somewhat static due to his extended use of
close-ups, but Martin Jurow's black-and-white production cap-
tures well the isolated flavor of a small Army base. All the
familiar service faces are here: the plush-living operator
(Gleason), his dim-witted protege (McQueen), the raw recruit
(Tony Bill), the inexperienced ROTC lieutenant (Tom Pos-
ton), cruel-minded MPs (Ed Nelson, Lew Gallo), and assorted
comic psychiatrists, colonels, and stooges. McQueen, due to
leave the Army in a few weeks, cannot bear the thought of
leaving Gleason behind, so he tries to induce his friend to join
him in a civilian partnership. Fixing the big man up with a
blind date (Miss Weld) and teaching him the pleasures of golf
almost convinces Gleason to try to find a life outside the Army.
In its final moments, however, the story abruptly switches to
drama. After a barroom brawl, Gleason mysteriously (and
inexplicably) dies and, broken-hearted, McQueen re-enlists.

Allied Artists. 88 minutes. Jackie Gleason Steve McQueen, Tuesday Weld. Pro-
duced by Martin Jurow. Directed by Ralph Nelson.

"Who's Minding the Store?"

Gutucete /RctU*? O © Plus

One of Lewis' best. Question is: How badly has his
TV fiasco hurt his drawing power?

For a welcome change, Jerry Lewis' many faceted but egre-
gious energies have been kept under harness, so that, with
writing and direction entrusted to comparatively restrained
hands, the comic emerges less frantic and more human than
usual. The result is one of the funniest Lewis comedies ever.
But, from the boxoflice standpoint, a vital question remains to
be answered: Will Lewis, even at his best, draw the customary
crowds, glutted as they have been by the comedian's tortured
exhibitionism on his weekly television marathon? Frank Tash-
lin and Harry Tugend have dreamed up a gem of a script that
is witty, slightly satirical, and wildly slapstick, while Tashlin's
direction is fast, but not frenetic. It's all been mounted in bright
Technicolor and producer Paul Jones has rounded up a sup-
porting cast that manages to hold its own with the star. Most
of the action takes place in a gigantic department store where
Lewis takes a job to save enough money to marry elevator
operator Jill St. John. Unknown to him, Miss St. John is the
daughter of witchy Agnes Moorehead, the store's owner who,

with manager Ray Walston, conceives all sorts of diabolical
schemes to make Lewis apear a fool in her daughter's eyes.
Ordinarily, this would not be difficult, but here we have a new
Lewis. With a minimum of pathos, he ingeniously outwits his
opponents, succeeds in selling a gargantuan rifle to white
huntress Nancy Kulp, outmaneuvers a lady wrestler (Peggy
Mondo) in search of a size 3 shoe for her elephantine feet, and
reduces a Margaret Dumont-type dowager (Isobel Elsom) to
the level of a skid row floozy. After transforming Miss Moore-
head's mousy spouse (John McGiver) into the lionish master
of his household, Lewis is free to court his still-adoring girl.

Paramount. 90 minutes. Jerry Lewis, Jill St. John, Aqnes Moorehead, Ray Walston.
Produced by Paul Jones. Directed by Frank Tashlin.

"Naked Autumn"

Fine performance by Simone Signoret give French import
fair value in art market. Should attract fern trade.

The marquee value of Simone Signoret makes this French
import a fair offering for art houses catering to the female
trade. Miss Signoret gives a flawless performance, and while
hers is not the pivotal role, the ladies should find it satisfying,
if not as tearful as they might hope. Co-stars Reginald Kernan
and Alexandra Stewart are barely competent in the foolish,
one-dimensional roles given them by Roger Vailland's screen-
play, adapted from one of his minor novels. The arty direction
of Francois Leterrier is accentuated by murky photography and
an intrusive Debussy-ish background score, played on an off-key
piano. Miss Signoret is a weary, middle-aged wife trying to hold
onto her marriage after the bloom is off the rose. Hoping to
recapture their past love, she and her husband (Kernan)
retreat to an idyllic country setting, but they soon find them-
selves bored with their surroundings and with each other. She
takes refuge in whiskey and gambling, while almost pushing
her husband to seek solace with a nubile young schoolteacher
(Miss Stewart). When Kernan receives an offer from an auto
firm to resume his racing career, he accepts eagerly and con-
siders taking his new mistress along for the ride. Fearing, how-
ever, that time will destroy their love as it has his marriage, he
goes off alone, leaving wife and mistress to console each other.

United Motion Picture Organization. ?8 minutes. Simone Signoret, Reginald Kernan,
Alexandra Stewart. Produced by Jean Thuillier. Directed by Francois Leterrier.

"Family Diary"

SutiKCte fctXttKf O Plus

Somber, depressing Italian drama has Mastroianni.

A masterful performance by Marcello Mastroianni gives this
M-G-M release fair art house value, but it is too somber and
slow moving to get a play-off in the class or general markets.
Mastroianni appears as a shiftless but likable wastrel, a man
reconciled to failure and misery. Tubercular, he feels that death
is near, but there is little to lose — the only thing in life he
values is the bond which holds him, sometimes against his
will, to his younger brother (Jacques Perrin). After a long
hospitalization cures Mastroianni, he resumes normal living
with a more optimistic approach, but soon the younger brother
falls ill and is sent to a welfare hospital. Unable to treat his
disease, the doctors set the lad aside to die slowly, without
medication. The final, agonizing death scene, lasting 45 minutes,
is sensitively, brilliantly drawn, but the overwhelming depres-
sion may well prove too strong for many viewers. Director
Valerio Zurlini makes no effort to instill the Tit.mu.s production
with popular appeal and drab Technicolor photography only
adds to the over-all mood of futility.

M-G-M. 114 minutes. Marcello Mastroianni, Jacques Perrin. Produced bv Titanus
Directed by Valerio Zurlini.

Film BULLETIN November 25. I?43 Page 17

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

August

GUN HAWK, THE Rory Calhoun, Rod Cameron, Ruta
Lee, Rod Lauren. Producer Richard Bernstein. Direc-
tor Edward Ludwig. Outlaws govern peaceful town of
Sanctuary. 92 min. 1 0/ 1 4/63.

September

CRY OF BATTLE Van Heflin, Rita Moreno, James Mac-
Arthur. Producer Joe Steinberg. Director Irving Lerner.
Three people caught in vicious guerilla war. 99 min.
10/28/63.

SHOCK CORRIDOR Peter Breck, Constance Towers,
Gene Evans, James Best, Hari Rhodes. Producer-direc-
tor Samuel Fuller. A Leon Fromkess-Sam Firks Produc-
tion. A suspense drama. 101 min. 7/22/63.

October

WAR IS HELL Tony Russell, Baynes Barron, Judy Dan.
Producer-director Burt Topper. Korean War story.

November

GUNFIGHT AT COMANCHE CREEK Color. Panavision.
Audie Murphy, Ben Cooper, Colleen Miller, DeForest
Kelley, Jan Merlin. Producer Ben Schwalb. Director
Frank McDonald. Private detective breaks up outlaw
gang.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen, Tuesday Weld, Tony Bill, Tom Poston, Ed Nelson.
Producer Martin Jurow. Director Ralph Nelson. Peace-
time Army comedy.

STRANGLER, THE Victor Buono, David McLean, Diane
Sayer, Davey Davison. Producers Samuel Bischoff, David
Diamond. Director Burt Topper. Suspense drama.

YEAR OF THE TIGER Marshall Thompson. Producer Wray
Davis, Director Marshall Thompson. Action in Viet Nam.

December

LIFE IN DANGER Derren Nesbitt, Julie Hopkins. An
unusual suspense drama.

NOW IT CAN BE TOLD Robert Hutton, Martin Benson,
Peter llling, Sandra Dome. An espionage thriller.

January

NAKED KISS, THE Constance Towers, Anthony Eisley,
Michael Dante. A Leon Fromkess-Sam Firks production.
Producer-director Samuel Fuller.

Coming

MAHARAJAH Color. George Marshall. Polan Banks.
Romantic drama.

NEVER PUT IT IN WRITING. Pat Boone. Producer-direc-
tor Andrew Stone.

THE THIN RED LINE, THE Keir Dullea, Jack Warden.
Producer Philip Yordan, Director Andrew Marton.

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

May

YOUNG RACERS, THE Color. Mark Damon, Bill Camp-
bell. Luana Anders. Producer-Director Roger Corman.

Action drama. 84 mm.

June

DEMENTIA #13 (Filmgroup) William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK, THE CONQUEROR (Formerly Miracle of the
Viking). Color, CinemaScope. Cameron Mitchell,
Kessler Twins. Action drama. 90 min.

July

TERROR, THE (Filmgroup) Color, Vistascope. Boris Kar-
loff. Sandra Knight. Horror. 81 min.

August

BEACH PARTY Color, Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funicello.
Producer James H. Nicholson. Director William Asher.
Teenage comedy. 100 min. 7/22/63.

September

HAUNTED PALACE, THE Color, Panavision. Vincent
Price, Debra Paget, Lon Chaney. Producer-director
Roger Corman. Edgar Allan Poe classic. 85 min.

October

SUMMER HOLIDAY Technicolor, Technirama. Cliff
Richard, Lauri Peters. Teenage musical comedy. 100
min.

"X"— THE MAN WITH THE X-RAY EYES Ray Milland,
Diana Van Der Vlis, John Hoyt, Don Rickles. Producer-
director Roger Corman. Science fiction. 80 min.
10/14/63.

November

PYRO— THE MAN WITHOUT A FACE Color. Barry
Sullivan, Martha Myer. Horror drama. 93 min.

December

GOLIATH AND THE SINS OF BABYLON Color and
Techniscope. Mark Forest. Scilla Gabel, John Chevron.
SAMSON AND THE SLAVE QUEEN Color, Scope. Mark
Forest, Allen Steele, Pierre Brice. Action comedy.

■Januarv

COMEDY OF TERRORS, THE Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff, Basil Rathbone, Joe
E. Brown, Joyce Jameson. Horror, comedy.

Fpbriiarx

SOME PEOPLE Color. Kenneth More, Ray Brooks, Annika
Wills. Teenage Musical.

TORPEDO BAY James Mason, Lilli Palmer. Submarine
Action.

TWELVE GUNS FAST Stewart Granger, Dorian Gray.
Desert War story.

UNDER AGE Anne MacAdams, Judy Adler, Roland
Royter. Teenage drama.

March

MUSCLE BEACH PARTY Color, Panavision. Frankie
Avalon, Annette Funicello, Harvey Lembeck, John Ash-
ley, Jody McCrea, Candy Johnson, Morey Amsterdam,
Teenage musical.

Comtne

BIKINI BEACH Color, Panavision. Frankie Avalon, An-
nette Funicello, Harvey Lembeck. Teenage Comedy.

DUNWICH HORROR Color. Panavision. Science Fiction.

GENGHIS KHAN 70mm roadshow.

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester, Harvey
Lembeck. Horror comedy.

MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roger Corman. Based on Edgar
Allan Poe story.

UNEARTHLY STRANGER. THE John Neville, Philip Stone,
Gabriella Lucudi. Science fiction.

WHEN THE SLEEPER AWAKES Color. Vincent Price.
Producers Julian Wintle, Leslie Parkyn. H. G. Wells

classic.

June

SAVAGE SAM Brian Keith, Tommy Kirk, Kevin Cor-
coran Marta Kristen. Dewev Martin. Jeff York. Pro-
ducer Walt Disney. Director Norman Tokar. Tale of the
pursuit of renegade Indians who kidnap two boys and
a girl. 110 min. 6/10/63.

Juh

SUMMER MAGIC Hayley Mills, Burl Ives, Dorothy Mc-
Guire, Deborah Walley, Peter Brown, Eddie Hodges.
Director James Neilson. Comedy musical. 109 min.
7/8/63.

October

20,0000 LEAGUES UNDER THE SEA Re-release.
FANTASIA Re-release.

November

INCREDIBLE JOURNEY, THE Emile Genest, John Drainie,
Sandra Scott. Narrated by Rex Allen. Producer Walt
Disney. Director Fletcher Markle. Based on book by
Sheila Burnford. Adventure drama. 80 min. 10/28/63.

December

SWORD IN THE STONE. THE. Producer Walt Disney.
Director, Wolfgang Reitherman. Full-length animated
feature. 75 min. 10/14/63.

Coming

MISADVENTURES OF MERLIN JONES. THE Annette Funi-
cello, Tommy Kirk, Leon Ames, Stu Irwin. Director Rob-
ert Stevenson. Comedy of a mind reading wizard. 88 min.

THREE LIVES OF THOMASINA, THE Patrick McGoohan,
Susan Hampshire, Karen Dotrice, Matthew Garber.
Director Don Chaffey. Based on novel by Paul Gallico,
story of an enchanted cat who brings happiness to
three people. 97 min.

TIGER WALKS, A Brian Keith, Vera Miles, Pamela
Franklin, Sabu, Una Merkel. Director Norman Tokar.
Based on book by Ian Niall, story of a Bengal tiger's
escape from a small town circus.

June

JASON AND THE ARGONAUTS (Formerly The Argo-
nauts). Color. Todd Armstrong, Nancy Kovak. Pro-
ducer Charles H. Schneer. Director Don Chaffey. Film
version of Greek adventure classic. 104 min. 6/10/63.

Julv

L-SHAPED ROOM, THE Leslie Caron, Tom Bell. Pro-
ducer James Woolf, Richard Attenborough. Director
Bryan Forbes. Drama. 125 min. 7/22/63.

13 FRIGHTENED GIRLS Murray Hamilton, Joyce Tay-
lor, Hugh Marlowe. Producer-director William Castle.
Mystery. 89 min.

A ueust

GIDGET GOES TO ROME James Darren, Cindy Carol,
Jobv Baker. Producer Jerrv Bresler. Director Paul
Wendkos. Teenage romantic comedy. 101 min. 8/5/63.

September

IN THE FRENCH STYLE Jean Seberg, Stanley Baker.
Producers Irwin Shaw, Robert Parrish. Director, Par-
rish. Romantic drama. 105 min. 9/30/63.

SIEGE OF THE SAXONS Technicolor. Janette Scott, Ron-
ald Lewis. Producer, Charles H. Schneer. Director Nathan
Juran. Adventure. 85 minutes.

THREE STOOGES GO AROUND THE WORLD IN A
DAZE, THE. The Three Stooges. Producer-director
Norman Maurer. Comedy. 94 min. 9/2/63.

October

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, AnHtony Quinn, Joss
Ferrer, Jack Hawkins, Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

MANIAC Kerwin Mathews, Nadia Gray. Producer Jim-
my Sangster. Director Michael Carreras. Suspense
drama .

OLD DARK HOUSE, THE Tom Poston, Robert Moreley,
Joyce Greenfell. Producer-director William Castle.
Suspense drama. 86 min. I l/l 1/63.

RUNNING MAN, THE Laurence Harvey, Lee Remick,
Alan Bates. Producer-director Carol Reed. Suspense
melodrama. 103 min. 9/16/63.

November

UNDER THE YUM YUM TREE Jack Lemmon. Carol Lyn-
ley, Dean Jones, Edie Adams. Producers David Swift,
Fred Brisson. Director Swift. Sexy comedy. 110 min.
10/28/63.

December

CARDINAL, THE Tom Tryon, Romy Schneider, Carol
Lynley, John Saxon. Producer-director Otto Preminger.
Based on best-selling novel by Henry Morton Robinson.
175 min. 10/28/63.

January

DR. STRANGELOVE OR: HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers, George
C. Scott, Sterling Hayden, Keenan Wynn. Producer-
director Stanley Kubrick. Nightmare comedy.

STRAIT-JACKET Joan Crawford, Anne Helm. Producer
William Castle.

February

VICTORS. THE Vincent Edwards, Melina Mercouri,
Jeanne Moreau, Romy Schneider. Producer-director
Carl Forman.

March

BEHOLD A PALE HORSE Gregory Peck, Anthony Quinn.
Producer Fred Zinnemann.

Film

BULLETIN — THIS IS YOUR PRODUCT

DECEMBER SUMMARY

The traditional slackness in volume
of product available during the pre-
Christmas period is again evident this
year. A total of only 16 features are
scheduled for the month of December,
most of them crowded into the Holiday
week. United Artists, Paramount, Ameri-
can International, Allied Artists and
Embassy each offer two releases, while
all of the other national companies are
making one feature available in the
coming month.

LILITH Warren Beatty, Jean Seberg. Producer-director
Robert Rossen.

Coming

CONGO VIVO Jean Seberg, Gabriel© Ferzetti.

GOOD NEIGHBOR SAM Jack Lemmon, Romy Schneider,
Dorothy Provine. Producer David Swift.

LONG SHIPS, THE Richard Widmark, Sidney Poitier.
Producer Irving Allen.

LORD JIM Peter O'Toole, James Mason. Producer Rich-
ard Brooks.

SWINGIN' MAIDEN, THE (Formerly The Iron Maiden]
Michael Craig, Anne Helm, Jeff Donnell.

June

YOUR SHADOW IS MINE Jill Hawortn. Michael Ruhl.
Producer Pierre Courau. Director Andre Michel. A
European girl, raised by an Indo-Chinese family, has
to choose between her native sweetheart and the
society of her own people. 90 min.

July

THIS SPORTING LIFE Richard Harris, Rachel Roberts.
Producer Karl Reisi. Director Lindsay Anderson. Dra-
ma. 129 min. 7/22/63.

August

LORD OF THE FLIES James Aubrey, Tom Chapin,
Hugh Edwards. Producer Lewis Allen. Director Peter
Brooks. Dramatization of William Golden's best selling
novel. 90 min. 9/2/63.

NEVER LET GO Richard Todd, Peter Sellers, Elizabeth
Sellers. Producer Peter de Sarigny. Director John
Guillevmin. Crime melodrama. 90 min. 6/24/63.

September

HANDS OF ORLAC, THE Mel Ferrer, Christopher Lea,
Dany Carrel, Lucille Saint Simon. Producers Steven
Pallos, Donald Taylor. Director Edmond Greville.
Mystery. 86 min.

October

WUTHERING HEIGHTS Merle Oberon, Laurence
Olivier, David Niven. 107 min.

November

LADIES WHO DO Robert Morley, Peggy Mount. Pro-
ducer George H. Brown. Director C. M. Pennington-
Richards. Comedy. 85 min.

December

BILLY LIAR Tom Courtenay, Julie Christie. Producer
Joseph Janni. Director John Schlesinger. Drama about
a man who lives in a world of fantasy. 96 min.

TO BED OR NOT TO BED (Formerly The Devil) Alberto
Sordi. 103 min.

May

BEAR, THE lEnglish-dubbed) Renato Rascel, Francis
Blanche, Gocha.

July

FREDERICO FELLINI'S "BVi" Marcello Mastroianni,
Claudia Cardinale, Anouk Aimee, Sandra Milo. Pro-
ducer Angelo Rizzoli. Director Federico Fellini. Drama.
135 min. 7/8/63.

GENTLE ART OF MURDER. THE (Formerly Crime Does
Not Pay) Edwige Feuillere, Michele Morgan, Pierre
Brasseur, Richard Todd, Danielle Darrieux. Director
Gerard Oury. Drama. !22 min.

PASSIONATE THIEF THE Anna Magnani, Ben Gazzara,
Toto. Producer Silvio Clementelli. Director Mario
Monicelli. Comedy. 95 min.

WOMEN OF THE WORLD Technicolor. Narrated by
Peter Ustinov. Director Gualtiero Jacopetti. Women as
they are in every part of the world. 107 min. 7/8/63.

September

CONJUGAL BED, THE Marina Vlady, Ugo Tognazzi.
Producer Henry K. Chroucicki, Alfonso Sansone. Direc-
tor Marco Ferreri. Comedy drama. 90 min. 9/30/63.

November

LIGHT FANTASTIC Dolores McDougal, Barry Bartle.
Producer Robert Gaffney. Director Robert McCarty.
Drama. 84 min.

ONLY ONE NEW YORK Director Pierre-Dominique
Gaisseau. Documentary.

December

GHOST AT NOON. A Brigitte Bardot, Jack Palance,
Fritz Lang, Georgia Moll.

THREEPENNY OPERA Sammy Davis, Jr., Curt Jurgens,
Hildegarde Neff. Director Wolfqang Staudte. Screen
version of Bertolt Brecht and Kurt Weill classic.

Current Releases

BERNADETTE OF LOURDES IJanus Films) Daniele Ajoret
Nadine Alari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE (Lopert) Lan Carmichael, Belinda
Lee, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLOODY BROOD, THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR, A (Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

BURNING COURT, THE (Trans-Lux) Nadja Tiller, Jean-
Claude Brialy, Perrette Pradier. Producer Yvon
Guezel. Director Julien Duvivier.

CLEOPATRA'S DAUGHTER (Medallion) Color. Total-
scope. Debra Paget, Robert Alda. 93 min.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

DAV THE SKY EXPLODED, THE (Excelsior) Paul Hub-
schmid. Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR. THE (Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL'S HAND, THE Linda Christian, Robert Alda. 71
min.

ECLIPSE (Times Films) Alain Delon, Monica Vitti.

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS (Crown International)
Technicolor, Totalvision. Yoko Tani, Oldrick Lukes. 81
min.

FIVE DAY I OVER, THE (Kinosley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FORCE OF IMPULSE ISutton Pictures) Tony Anthony
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel

Hampton. 82 min.

FRENCH GAME. THE (Wilshire International) Franciose
Brion, Jean-Louise Trintignant. Producer Marceau-
Cocinor. Director Jacques Doniol-Valcroze. French im-
port .86 min. 9/30/63.

GIRL HUNTERS. THE (Colorama). Mickey Spillane,
Shirley Eaton, Lloyd Nolan. Producer Robert Fellows.
Director Roy Rowland. Mickey Spillane mystery. 103
min. 6/10/63.

GONE ARE THE DAYS (Hammer Bros.) Ruby Dee,
Ossie Davis. Producer-director Nicholas Webster. 100
min. 9/16/63.

GREENWICH VILLAGE STORY, THE (Shawn-Interna-
tional) Robert Hogan, Melinda Prank. Producer-direc-
tor Jack O'Connell. Drama. 95 min. 8/19/63.

HAND IN THE TRAP lAngel Films) Elsa Daniel, Fran-
cisco Rabal. Director Leopoldo Torre Nilsson. Horror.
90 min. 7/22/63.

HORROR HOTEL (Trans-Lux) Denis Lotis, Christopher
Lee, Betta St. John, Patricia Jessel. Producer Donald
Taylor. Director John Moxey. 76 min. 7/8/63.

HOUSEHOLDER. THE (Royal Int'l) Indian Comedy. 110
min. I l/l 1/63.

IMPORTANT MAN, THE (Lopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

14 NOTTE BRAVA IMiH«r Produrinq Co. I Elsa Mar-
tinelli. Producer Sante Chimirrt. Director Mauro Bolog-
nini. 96 min.

LA POUPEE (Gaston Hakim Productions International)
Zbigniew Cybulski, Some Teal. Director Jacques Bara-
tier. French farce. 90 min. 9/16/63.

LAST OF THE VIKINGS IMedallion) Color. Totalscope.
Cameron Mitchell, Edmond Purdom. 102 min.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin. Francoise Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

MONDO CANE (Times Film) Producer Gualtiero
Jacopetti. Unusual documentary. 105 min. 4/1/63.

MOUSE ON THE MOON, THE Eastmancolor (Lopert
Pictures) Margaret Rutherford, Bernard Cribbins. Terry
Thomas. Satirical comedy. 84 min. 6/24/63.

MY NAME IS IVAN IMosFilm] Kolya Burlaiev. Director
Andrei Tarkovsky. Drama. 94 min. 8/19/63.

NIGHT OF EVIL ISutton) Lisa Gaye, Bill Campbell.
88 min.

ONE POTATO, TWO POTATO (Bowalco Pictures) Bar-
bara Barrie, Bernie Hamilton, Richard Mulligan, Harry
Bellaver. Direclor Larry Peerce. Producer Sam Weston.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
I I 5 min.

RAIDERS OF LEYTE GULF (Hemisphere Pictures) Mich-
ael Parsons, Leopold Salcedo, Jennings Sturgeon. Pro-
ducer-director Eddie Romero. War melodrama. 80 min.

REACH FOR GLORY [Royal Film International) Harry
Andrews, Kay Walsh, Oliver Grimm. Producers Jud
Kinberg, John Kohn. Director Philip Leacock. Story of
youngsters in wartime. 89 min. 9/16/63.

ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

RUN WITH THE DEVIL (Jillo Films) Antonella Lualdi,
Gerard Blain, Franco Fabrizi. Director Mario Camerini.
Drama. 93 min. 8/19/63.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

7TH COMMANDMENT, THE Robert Clarke, Francine
York. 85 min.

SMALL WORLD OF SAMMY LEE, THE (Seven Arts)
Anthony Newley. Producer Frank Godwin. Director Ken
Hughes. 105 min. 9/16/63.

SON OF SAMSON IMedallion) Color, Totalscope. Mark
Forest. Chelo Alonso. 8? min.

STAKEOUT Ping Russell. Bill Hale. Eve Brent. 81 min.

THEN THERE WERE THREE lAlexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THREE FABLES OF LOVE IJanus) Leslie Caron, Ros-
sano Brazi, Monica Vitti, Sylva Koscina, Charles
Aznavour, Jean Poiret, Michel Serrault, Ann Karina.
Producer Gilbert de Goldschmidt. Director Alessandro
Blasetti, Heave Bromberger, Rene Clair. 8/5/63.

VARAN THE UNBELIEVABLE rvtyron Healy, Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE (Victoria) Narration by Thomas
L. Row and Pauline Girard. Producer-director Marion
Gering. 67 min. 7/8/63.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips,
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal, Francisco Rabal, Fernando
Rcy. Director Luis Bunuel. 90 min.

WEB OF PASSION [Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FCR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

METRO-GOLDWYN -MAYER

June

CATTLE KING Eastman Color. Robert Taylor, Joan

Caulfield. Producer Nat Hold. Director Tay Garnett.

Romantic adventure-story of the West. 89 min.

CORRIDORS OF BLOOD Boris Karloff, Betta St. John.
Finlav Currie. Producer John Croydon. Director Robert
Day Drama. 84 min. 6/10/63.

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.

90 min.

MAIN ATTRACTION, THE CinemaScope. Metrocolor.
Pat Boone, Nancy Kwan. Producer John Patrick. Direc-
tor Daniel Petrie. Drama centering around small
European circus. 85 min. 6/24/63.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh Griffith. Pro-
duce- A ""n R~<«nbe-n Director i -wis Mil-<*one.
Sea-adventure drama based on triology by Charles

Noroff and James Norman Hall. 179 min. 11/12/63.

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode. Producer Sy Weintraub. Director Robert Day.
Adventure. 92 min. 7/8/63.

WEREWOLF IN A GIRL'S DORMITORY Barbara Lass,
Carl Schell. Producer Jack Forrest. Director Richard
Benson. Horror show. 84 min. 6/10/63.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,

Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy. 85 min. 6/24/63.

TICKLISH AFFAIR, A (Formerly Moon Walk) Shirley

Jones, Gig Young. Producer Joe Pasternak. Director
George Sidney. Romantic comedy based on a story in
the Ladies Home Journal. 87 min. 7/8/63.

Film

BULLETIN — THIS IS YOUR PRODUCT

August

HOOTENANNY HOOT Peter Breck, Ruta Lee, Brothers
Four, Sheb Wooley, Johnny Cash. Producer Sam Katz-
man.' Director Gene Nelson. Musical comedyt 91 min.
9/16/63.

MURDER AT THE GALLOP Margaret Rutherford, Robert
Morley, Flora Robson. Producer George Brown. Direc-
tor George Pollock. Agatha Christie mystery. 81 min.
7/22/63.

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy. 84 min.
5/13/63.

September

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller. 112
min. 9/2/63.

V.I.P.s, The Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama. 119 min. 8/19/63.

October

TWI1IGHT OF HONOR Richard Chamberlain, Nick
Adams, Claude Rains. Joan Blackman. A Pearlberg-
Seaton Production. Director Boris Sagal. A young
lawyer falls victim to the biqoted wrath of a small
town when he defends a man accused of murdering
the town's leading citizen. 115 min. 9/30/63.

November

ANY NUMBER CAN WIN Jean Gabin, Alain Delon.
Prodcer Jacques Bar. Director Henry Verneuil. 118 min.

WHEELER DEALERS, THE Color James Garner, Lee
Remick, Phil Harris, Chill Wills. Jim Backus. Producer
Martin Ransohoff. Director Arthur Hilelr. Story of a
Texan who takes Wall Street by storm. 106 min. 9/30/63.

December

THE PRIZE Color. Paul Newman, Edward G. Robinson,
Elke Sommer. Producer-d;rector Mark Robson. Based on
the Irving Wallace bestseller.

January

CHILDREN OF THE DAMNED Ian Hendry, Barbara Ferris,
Alan Badel. Executive Producer Lawrence P. Bachmann.
Producer Ben Arbeid. Director Anton Leader. 81 min.

GLOBAL AFFAIR A Bob Hope, Lilo Pulver. Producer
Hall Bartlett. Director Jack Arnold. Comedy.

February

MAIL ORDER BRIDE Color. Buddy Ebsen, Lois Nettleton,
Keir Dullea. Comedy. Producer Richard Lyons. Director
Burt Kennedy.

NIGHT MUST FALL Albert Finney, Mona Washbourne.
Producer Karel Reisz, Albert Finney. Director Karel Reisz,
Psychological suspense thriller.

SUNDAY IN NEW YORK Color. (MGM-Seven Arts). Cliff
Robertson, Jane Fonda, Rod Taylor. Producer Everett
Freeman. Director Peter Tewksbury. The eternal ques-
tion: should a qirl or shouldn't she, prior to the
nuptials? 105 min.

March

MGM'S BIG PARADE OF COMEDY Great stars of the
past in memorable comedy moments from great MGM
films of the past. Producer Robert Youngson. 109 min.

OF HUMAN BONDAGE IMGM-Seven Artsl Kim
Novak, Laurence Harvey. Producer James Woolf. Di-
rector Ken Hughes. Film version of classic novel.

SEVEN FACES OF DR. LAO Color. Tony Randall, Arthur
O'Connell. Comedy. Producer-Director George Pal.

Coming

COUNTERFEITERS OF PARIS Jean Gabin, Martine
Carol Producer Jacques Bar Director Gilles Grangier.
99 m'n. French with English titles.

DAY AND THE HOUR, THE [Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and
infidelity in wartime.

FOUR DAYS OF NAPLES, THE Jean Sorel, Lea Messari,
Producer Goffredo Lombardo. Director Nanni Loy.
Italian with titles. 124 min.

GOLD FOR THE CAESARS Color. Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for » lost gold mine.

HOW THE WEST WAS WON Cinerama. Technicolor.
James Stewart, Debbie Reynolds. John Wayne, Gre-
gory Peck, Henry conda, Carroll Baker. Producer Ber-
nard Smith. Directors Henry Hathaway, John Ford,
George Marshall. Panoramic drama of America's ex-
pansion Westward. 163 min. 11/26/62.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.

Producer Jacques Bar Director H-r'i Verneuil. Sub-
titled French import. 104 min. 2/18/63.

TOM JONES (Lopert) Albert Finney, Susannah York,
Huqh Griffin, Edith Evans. Producer-director Tony
R'chardson. Film adaptation of Fieldings classic. 131 min.
10/14/63.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose
thirst for power leads to their downfall.

April

MY SIX LOVES Technicolor. Debbie Reynolds, Cliff

Robertson, David Janssen. Producer Gant Gaither.
Director Gower Champion Broadway star adopts six
abandoned children. 105 min. 3/18/63.

M ay

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director RiM.
Drama set in modern Texas. 122 min. 3/4/43.

June

DUEL OF THE TITANS CinemaScope, Eastman color.
Steve Reeves, Gordon Scott. Producer Alessandro
Jacovoni. Director Sergio Corbucci. The story of
Romulus and Remus, the twin brothers who founded

the city of Rome.

NUTTY PROFESSOR, THE Technicolor. Jerry Lewis,
Stella Stevens. Producer Ernest D. Glucksman. Direc-
tor Jerry Lewis. A professor discovers a youth-
restoring secret formula. 105 min. 6/10/63.

July

DONOVAN'S REEF Technicolor. John Wayne. Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific. 108 min. 8/5/63.

August

COME BLOW YOUR HORN Technicolor. Frank Sinatra,

Barbara Rush, Lee J. Cobb. Producer Howard Koch.
Director Bud Yorkin. A confirmed bachelor introduces
his young brother to the playboy's world. 112 min.
6/24/63.

October

NEW KIND OF LOVE, A Technicolor. Paul Newman.
Joanne Woodward, Thelma Ritter, Maurice Chevalier.
Producer-director Melville Shavelson. Romantic com-
edy. 105 min. 9/2/63.

WIVES AND LOVERS Janet Le;gh, Van Johnson, Shelley
Winters, Martha Hyer. Producer Hal B. Wallis. Direc-
tor John Rich. Romantic comedy. 102 min. 9/2/63.

November

ALL THE WAY HOME Robert Preston, Jean Simmons,
Pat Hingle. Producer David Susskind. Director Alex

Segal. Film version of play and novel. 103 min. I l/l 1/63.

FUN IN ACAPULCO Technicolor. Elvis Presley, Ur-
sula Andress. Producer Hal B. Wallis. Director Rich-
ard Thorpe. Musical-comedy.

December

WHO'S BEEN SLEEPING IN MY BED? Panavision.
Technicolor. Dean Martin, Elizabeth Montgomery, Carol
Burnett. Producer Jack Rose. Director Daniel Mann.
Comedy. 103 min. I l/l 1/63.

WHO'S MINDING THE STORE? Technicolor. Jerry
Lewis, Jill St. John, Agnes Moorehead. Producer Paul
Jones. Director Frank Tashlin. Comedy.

Coming

BECKET Technicolor. Richard Burton, Peter O'Toole.
Producer Hal B. Wallis. Director Peter Glenville. Film
version of Jean Anouilh's play.

CARPETBAGGERS. THE Technicolor. Panavision 70.
George Peppard, Carroll Baker. Producer Joseph E.
Levine. Director Edward Dmytryk. Drama based on the
best-seller by Harold Robbins.

LADY IN A CAGE Olivia de Havilland, Ann Southern.
Producer Luther Davis. Director Walter Grauman.
Horror drama.

LOVE WITH THE PROPER STRANGER Natalie Wood,
Steve McQueen. Producer Alan J. Pakula. Director
Robert Mulligan. A young musician falls in love with
a Macy's sales clerk.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed
on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Douglas,
Fredric March, Ava Gardner. Producer Edward Lewis.
Director John Frankenheimer. A Marine colonel un-
covers a militay plot to seize control of the U.S. gov-
ernment.

20TH CENTURY-FOX

M arch

HOUSE OF THE DAMNED CinemaScope. Ronald Foster,
Merry Anders. Producer-Director Maury Dexter. Archi-
tect inspects haunted house and runs across circus of
freaks. 62 min.

30 YEARS OF FUN Charlie Chaplin, Laurel and Hardy,
Buster Keaton, Charlie Chase, Harry Langdon. Compila-
tion of famous comedy sequences. 85 min. 2/18/63.

April

NINE HOURS TO RAMA CinemaScope, DeLuxe Color.
Horst Buchholz, Valerie Gearon, Jose Ferrer. Producer-
Director Mirk Robson Storv of the mrin who assassi-
nated Mahatma Gandhi. 125 min. 3/4/63.

May

YELLOW CANARY, THE CinemaScope. Pat Boone, Bar-
bara Eden. Producer Maury Dexter. Director Buzz Kulik.
Suspense drama. 93 min. 4/15/63.

■June

STRIPPER, THE (Formerly A Woman in July) Cinema-
Scope. Joanne Woodward, Richard Beymer. Gypsy Rose
Lee, Claire Trevor. Producer Jerry Wald. Director
Franklin Schaffner. Unsuccessful actress seeks happi-
ness. 95 min. 4/29/63.

July

LONGEST DAY, THE CinemaScope. John Wayne. Rich-
ard Todd, Peter Lawford, Robert Wagner, Tommy
Sands, Fabian, Paul Anka. Curt Jurgens. Red Buttons,
Irina Demich, Robert Mitchum, Jeffrey Hunter, Eddie
Albert, Ray Danton, Henry Fonda, Edmond O'Brien.
Robert Ryan. Producer Darryl Zanuck. Directors Gerd
Oswald, Andrew Marton, Elmo Williams, Bernhard
Wicki, Ken Annakin. 180 min.

August

LASSIE'S GREAT ADVENTURE DeLuxe Color. June Lock-
hart, Jon Provost. Producer Robert A. Golden. Director
William Beaudine. Lassie and his master get lost in
Canadian Rockies. 103 min.

OF LOVE AND DESIRE DeLuxe Color. Merle Oberon,
Steve Cochran. Curt Jurgens. Producer Victor Stoloff.
Director Richard Rush. Brother tries to break up sister's
romance. 97 min. 9/16/63.

^cnt prn her

CONDEMNED OF ALTONA. THE Sophia Loren, Maxi-
milian Schell, Fredric March, Robert Wagner. Producer
Carlo Ponti. Director Vittorio De Sica. Inspired by
Jean-Paul Sartre's stage success. 114 min. 9/16/63.

A FAREWELL TO ARMS. Re-release.

THE YOUNG SWINGERS CinemaScope. Rod Lauren,
Molly Bee. Producer-Director Maury Dexter.

October

LEOPARD THE CinemaScope, DeLuxe Color. Burt Lan-
caster. Alain Delon, Claudia Cardinale. Producer Gof-
fredo Lombardo. Director Luch'no Visconti. Based on
famous best-seller detailing disintegration of Italian
nobility. 165 min. 8/19/63.

MARILYN CinemaScope, DeLuxe Color. Screen clips
from Marilyn Monroe's films with narration by Rock
Hudson. 83 min.

THUNDER ISLAND Cinemascope. Gene Nelson. Fay
Spain. Producer-director Jack Leewood. Action drama.
65 min. 10/14/63.

November

TAKE HER. SHE'S MINE CinemaScope, DeLuxe Color.
James Stewart, Sandra Dee. Producer-Director Henry
Koster. Daughter's escapades at college cause comic
disturbance to father. 98 min. 10/14/63.

December

MOVE OVER, DARLING CinemaScope. DeLuxe Color.
Doris Day. James Garner, Polly Bergen. Producers
Aaron Rosenberg, Martin Melcher. Director Michael
Gordon. Romantic comedy of man with two wives.

Cctmms

CLEOPATRA Todd-AO Color. Soecial handling. Elizabeth
T»ylor, RVhard Burton, Rex Harrison. Producer Walter
Wanger. Director Joseph Mankiewicz. Story of famous
queen. 221 min. 6/24/63.

MAN IN THE MIDDLE (Formerly The Winstone Affair)

CinemaScope. Robert Mitchum. France Nuyen.

Army officer defends depraved murderer in name of

justice.

THIRD SECRET, THE CinemaScope. Stephen Boyd,
Patricia Neal, Jack Hawkins. Psychiatrist's death be-
lieved murder by patient and daughter.

UNITED ARTISTS

June

AMAZONS OF ROME Louis Jourdan. Sylvia Syms.

BUDDHA Technicolor, Technirama. Kojiro, Hongo,
Charito Solis. Producer Masaichi Nagata. Director
Kenji Misumi. Drama dealing with the life of one of
the world's most influential religious leaders. 134 min.
7/22/63.

July

GREAT ESCAPE, THE Deluxe Color, Panavision. Steve
McQueen, James Garner, Richard Attenborough. Pro-
ducer-director John SturaPs Based on true prisoner of
war escape. 168 min. 4/15/63.

Film BULLETIN — THIS IS YOUR PRODUCT

IRMA LA DOUCE Technicolor, Panavision. Jack Lem-
mon, Shirley MacLaine. Producer-director Billy Wilder.
Comedy about the "poules" of Pans, from the hit
Broadway play. 142 min. 6/10/43.

August

CARETAKERS, THE Robert Stack, Polly Bergen, Joan
Crawford. Producer-director Hall Bartlett. Drama
dealing with group therapy in a mental institution. 97
min. 8/19/63.

TOYS IN THE ATTIC Panavision. Dean Martin, Geral-
dine Page, Yvette Mimieux, Gene Tierney. Producer
Walter Mirisch. Director George Roy Hill. Screen
version of Broadway play. 90 min. 7/8/63.

September

LILIES OF THE FIELD Sidney Poitier, Litia Skala. Pro-
ducer-director Ralph Nelson. Story of ex-GI and Ger-
man refugee nuns who build a chapel in the Arizona
desert. 94 min. 9/2/63.

October

JOHNNY COOL Henry Silva, Elizabeth Montgomery.
Producer-director William Asher. Chrislaw Productions.
Gangland melodrama. 101 min. 10/14/63.

MY SON, THE HERO Color. Pedro Armendariz, Jacgue-
line Sassard. Producer Alexander Mnouchkine. Directed
by Doccio Tessari. Spoof on Gods and heroes. Ill min.
9/30/63.

STOLEN HOURS Color. Susan Hayward, Michael Craig,
Diane Baker. Mirisch-Barbican film presentation. Pro-
ducer Denis Holt. Directed by Daniel Petrie. Melo-
drama. 100 min. 10/14/63.

TWICE TOLD TALES Color. Vincent Price, Mari Blan-
chard. Producer Robert E. Kent. Director Sidney Salkow.
Based on famous stories of Nathaniel Hawthorne. Hor-
ror trilogy. 119 min. 10/28/63.

November

IT'S A MAD, MAD, MAD, MAD WORLD. Cinerama.
Technicolor. Spencer Tracy, Milton Berle, Sid Caesar,
Buddy Hackett, Ethel Merman, Mickey Rooney, Dick
Shawn, Phil Silvers, Terry-Thomas, Jonathan Winters.
Producer-director Stanley Kramer. Spectacular comedy.

MCLINTOCKI Color. John Wayne, Maureen O'Hara,
Yvonne De Carlo, Patrick Wayne, Ch'll Wills, Jack
Kruschen. Comedy Western. Producer Michael Wayne.
Director Andrew V. McLaglen. 127 min.

December

KINGS OF THE SUN Color. Yul Brynner, George Cha-
kiris. Producer Lewis Rachmil. Director J. Lee Thomp-
son. A Mirisch Company Presentation.

LADYBUG, LADYBUG Jane Connell, William Daniels.
Producer-director Frank Perry. Moving drama of false
nuclear attack warning on group of school children.

January

CEREMONY, THE Laurence Harvey, Sara Miles, Robert
Walker, John Ireland. Producer-director Laurence Har-
vey. Suspense drama of a bank robber await'ng execu-
tion for a murder he did not commit. 108 min.

Coming

PERANG. Color. William Holden, Susannah York, Capu-
cine. Producer-director Lewis Gilbert.

PINK PANTHER, THE Technicolor. Technirama. David
Niven, Peter Sellers, Robert Wagner, Capucine, Claudia
Cardinale. Producer-director Blake Edwards.

June

LIST OF ADRIAN MESSENGER, THE George C. Scott,
D^ina Wynter. Clive Brook, Herbert Marshall. Producer
Edward Lewis. Director John Huston. Mystery. 98
min. 6/10/63.

SWORD OF LANCELOT IFormerly Lancelot and Guini-
vere) Technicolor. Panavision. Cornel Wilde, Jean
Wallace, Brian Aherne. Producers Cornel Wilde, Ber-
nard Luber. Director Wilde. Legendary tale of love and
betrayal. 115 min. 5/13/63.

TAMMY AND THE DOCTOR Cilor. Sandra Dee Peter
Fonda, MacDonald Carey. Producer Ross Hunter. Direc-
tor Harry Keller. Romantic comedy. 88 min. 5/13/63.

July

GATHERING OF EAGLES, A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann. 116 min.

KING KONG VS. GODZILLA Color. Michael Keith,
Harry Holcomb, James Yagi. Producer John Beck.
Director Ray Montgomery. Thriller. 90 min. 6/10/63.

August

FREUD: SECRET PASSION IFormerly Freud) Mont-
gomery Clift, Susannah York. 120 min.

THRILL OF IT ALL, THE Color. Doris Day, James Gar-
ner, Arlene Francis. Producers Ross Hunter, Martin

Melechor. Uireciur Norman Jewison. Romantic comedy.
108 min. 6/10/63.

TRAITORS, THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson. 71 min.

September

KISS OF THE VAMPIRE Eastman Color. Clifford Evans,
Edward DeSouza, Jennifer Daniels. Producer Anthony
Hinds. Director Don Sharpe. 88 min. 8/5/63.

October

FOR LOVE OR MONEY IFormerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma
Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon. 108
min. 8/5/63.

February

DARK PURPOSE Eastman Color. Shirley Jones, Rossano
Brazzi, George Sanders, Micheline Presle, Georgia
Moll. Producer Steve Barclay. Director George Mar-
shall.

December

CHARADE Technicolor, Panavision. Cary Grant, Audrey
Hepburn, Walter Matthau, James Coburn. Producer-
Director Stanley Donen. Suspense, action and comedy.
I 14 min. 9/30/63.

Coming

BEDTIME STORY (Formerly King of the Mountain)
Color. Marlon Brando, David Niven, Shirley Jones.
Producer Stanley Shapiro. Director Ralph Levy.

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN, M.D. Eastman Color. Gregory
Peck, Tony Curtis, Angie Dickinson, Bobby Darin, Eddie
Albert. Producer Robert Arthur. Director David Miller.
126 min. I l/l 1/63.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

HE RIDES TALL IFormerly The Gun Hand) Tony Young,
Dan Duryea, Jo Morrow, Madlyn Rhue. Producer Gor-
don Kay. Director R. G. Springsteen.

HIDE AND SEEK Curt Jurgens, Ian Carmichael, Janet
Munro, Huqh Griffith. Producer Hal E. Chester. Director
Cy Endfield.

ISLAND OF THE BLUE DOLPHINS IColor) Celia Kaye,
George Kennedy. Producer Robert B. Radnitz. Director
James B. Clark.

IT'S ALL HAPPENING Tommy Steele, Michael Medwin,
Angela Douglas, Jean Harvey. Producer Norma Williams.
Director Don Sharpe. In Eastman Color.

KING OF THE MOUNTAIN Color. Marlon Brando,
David Niven, Shirley Jones, Dody Goodman.

MAN'S FAVORITE SPORT? Technicolor. Rock-Hudson,
Paula Prentiss, Maria Perchy. Producer-director How-
ard Hawks.

WILD AND WONDERFUL (Formerly Monsieur Cognac)
Color. Tony Curtis, Christine Kaufmann, Larry Storch,
Marty Ingles. Producer Harold Hecht. Director Michael
Anderson.

YOUNG AND WILLING Virginia Haskell, Paul Rogers,
Ian McShane. Producer Betty E. Box. Director Ralph
Thomas.

WARNER BROTHERS

May

ISLAND OF LOVE (Formerly Not On Your Life!) Tech-
n;color, Panavision. Robert Preston, Tony Randall,
Giorgia Moll. Producer-Director Morton Da 6osta.

Comtdy set in Greece. 101 mm. 5/13/63.

SUMMER PLACE, A Re-release.

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jin-, Rarrett Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family. 119 min. 3/4/63.

September

CASTILIAN, THE Panacolor. Cesar Romero, Franki*
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min. 10/14/63.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama. 112 min. 8/19/63.

October

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Producer William Fadiman. Direc-
tor Phil Karlson. Adventure drama. 98 min. 8/19/63.

November

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr. 126 min. 9/16/63.

PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens, Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort. 100 min. I l/l 1/63.

January

MAN FROM GALVESTON, THE Jeffrey Hunter, Joanna
Moore. Producer Michael Meshakoff. Director William
Conrad. Western drama.

4 FOR TEXAS Technicolor. Frank Sinatra, Dean
Martin, Anita Ekberg, Ursula Andress. Producer-direc-
tor Robert Aldrich Big-scale western with big star
cast.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

AME"'CA AM^RICV Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

CHEYENNE AUTUMN IFormerly The Long Flight) Spen-
cer Tracy, James Stewart, Richard Widmark, Carroll
Baker, Dolores Del Rio, Sal Mineo. Producer Bernard
Smith. Director John Ford. Super-adventure drama.

DEAD RINGER Bpt+e Davis, Ksrl Maiden, Peter Law-
ford. Producer William H. Wright. Director Paul Hen-
reid. Miss Davis plays a dual role of twin sisters in
this shocker.

DISTANT TRUMPET. A Technicolor. Panavision. Troy
Dm^hue, Suzanne Pleshette, Diane McBain. Producer
William H. Wrght. Director Raoul Walsh. Epic adven-
ture of Southwest.

DR. CRIPPEN Donald Pleasence. James Robertson
Justice, Coral Browne. Producer John Clein. Director
Robert Lynn. Shocker.

ENS'GN PU'V^R Ifoi-merly Mister Pulver and the
Captain) Technicolor. Robert Walker, Burl Ives. Walter
Matthau, M'llie Perkins, Tommy Sands. Producer-
director Joshua Logan. Comedy sequel to "Mister
Roberts".

GRFAT RACE. THE Technicolor. Burt Lancaster. Jack
Lemmon, Lee Remick. Producer Martin Jurow. Director
Blake Edwards. Story of greatest around-the-world
automobile race of all time.

INCREDIBLE MR. LIMPET, THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

KISSES FOR MY PRESIDENT Fred MacMurray. Polly
Bergen. Producer-director Curtis Bernhardt. Original
comedy by Robert G. Kane.

MY FAIR LADY Technicolor-SuperPanavision 70. Audrey
Hepburn, Rex Harrison. Producer Jack L. Warner, Direc-
tor George Cukor.

OUT-OF-TOWNERS, THE Color. Glenn Ford, Geraldine
Page, Angela Lansbury. Producer Martin Manulis. Di-
rector Delbert Mann. Comedy-drama about a small-
town "postmistress".

ROBIN AND THE 7 HOODS Technicolor-Panavision.
Frank Sinatra, Bing Crosby, Dean Martin, Sammy
Davis, Jr. Director Gordon Douglas.

YOUNGBLOOD HAWKE Suzanne Pleshette, James Fran-
ciscus. Producer-director Delmer Daves. From Herman
Wouk's best-selling novel.

To Better Serve You . . .

Office & Terminal Combined At

1018-26 Wood St. New Phones

labove Vine) Phila.: WAInut 5-3944-45

Philadelphia 7. Pa. N. J.: WOodlawn 4-7380

NEW JERSEY
MESSENGER SERVICE

Member National Film Carries

DEPENDABLE SERVICE!

CLARK
TRANSFER

Member National Film Carriers

New York, N. Y: .Circle 6-0815
Philadelphia, Pa.: CEnter 2-3100
Washington, D. C.i DUpont 7-7200

Film BULLETIN — THIS IS YOUR PRODUCT

IRA SICHELMAN FILMS

P.O. Box 12095, Mid-City Station
Washington, D.C.

ZipCode-20005, PHONE: (202)— 638-6528

Dear Fellow-Exhibitor:

Today must be your lucky day, because today is the day I give money away!
I have a black and white 2-reel (23 minutes) 35mm nudist picture:

CHRISTINE KEELER
the gal who gave
Profumo the works!
in

"CHRISTINE KEELER GOES NUDIST"

Because of the international publicity this lady has gotten, she is widely and
well known to all — including those who have never seen a nudist picture, but
who are dying to see what Christine Keeler looks like (and this picture really
shows Christine Keeler — in the nude!)

NOW, here's where I give money away....

Because Christine Keeler is red-hot right now, and because I want to cash in
fast, I'm going to let you cash in fast, and in a big, big way!
HERE'S THE SCOOP!

(1) Send a certified check, made out to C_;_ K\_ Films , Inc . , in the amount of
$1,000 to buy each print you want. All that you take in at the box office is
yours . You can play this for one day or one year — the print belongs to you.
There's no checker, no box office statements — it's all yours !

(2) Send me this check, postmarked by December 16, 1963.

(3) Shortly after deadline you will receive, prepaid, a brand-new print of
"CHRISTINE KEELER GOES NUDIST" direct from the lab.

(4) This print is yours to use in all states of the United States of America,
excluding Northern California, Oregon, Texas, Oklahoma, Louisiana, New Mexico, New
York, Maryland, District of Columbia, and Virginia, on a non-exclusive basis,
through December 15, 1964.

(5) We reserve the right to reject and return any checks or offers.

By the way, this picture is really good enough to play, on its own, even without
Christine Keeler 's name.

Grab this deal quick and send your check in now !

Also, for your information, I have press sheets, ads, one-sheets, and trailers
available .

If you need any more information, write me, or (if you pay the charges) call me.

IRA SICHELMAN FILMS

P.S. : American Premiere opens at Follies Theatre, Washington, D.C, Monday,
Nov. 25, 1963.

BULLETIN

Opinion of* tlie Industry

DECEMBER 23, 1963

"The right of petition is one of the
freedoms protected by the Bill of Rights."

— U.S. Supreme Court

The Pay-TV
Maneuver
Will Fail

■

IP? cither

for 1964

eviewi

FOUR FOR TEXAS
SUNDAY IN NEW YORK
KINGS OF THE SUN
AMERICA AMERICA

ACT ONE
LADYBUG. LADYBUG
THE THREE LIVES OF THOMASINA

THE COMEDY OF TERRORS
GUNFIGHT AT COMANCHE CREEK
THE CEREMONY
TIARA TAHITI
THE SOUND OF LAUGHTER

A

1

i

IAN HENDRY

With Screenplay by Produced by Directed by

ALAN BADEL- BARBARA FERRIS • JACK BRILEY • BEN ARBEID • ANTON M. LEADER

fron
the makei>
of "VILLAC:
OF Th:
DAMNE*

Anothe

Terrc
Suprem
an

PROFITS

GALORE

1

M IS ON THE MOVE

Wtet Tfiey'te hiking About

□ □ □ In the Movie Business □ □ □

STUDENTS & THE MOVIES. En masse, the
secondary school and college population of the
U.S. represents a lush and pregnant
patronage bloc, one presumably ready for
the picking. An insight into its magnitude
may be gleaned from the following figures.
Weekly film theatre attendance in 1963,
according to an estimate of the U.S.
Department of Commerce will run close to 43
million. The combined high school and college
population approximates 21 million. Few
among these are not film fans. Virtually all are
potential ticket buyers with money in their
jeans, consumers, seekers of recreation,
entertainment-oriented. If each student
purchased but one admission per week, the
industry would achieve 50% of its attendance
and substantially reinforce its future. Without
question, the student assemblage is the most
significant and fertile sub-division at large —
significant because of its numbers and, in a
general way, its unanimity of interests; fertile
because of its youth, leading to an ability to
shape and nurture moviegoing habits. Having
once won over this increasingly discerning
patronage bloc, the industry is assured of
continuing loyalty as it emerges into
adulthood. As the student population
re-cycles, added to it is a growing post-
graduate segment of repeat customers.

0

This is the potential. But are theatremen and
film makers tapping this rich vein to the
fullest? Regrettably, the answer would seem
to be no. A check of exhibitors in various
sections of the country indicates that little in
the way of special direct action is undertaken
to lure this large, latent audience into movie
theatres. Here and there, in isolated situations,
exhibitors make an effort to chase after student
groups specifically, and generally in terms of
one-shot promotions. Nor do the film makers
show more perception. Many students profess
that Hollywood neglects their essential

interests while pandering to synthetic values
and tastes, which are both over-sold and
patronizing. Little effort is put forth by any
branch of the industry to impress the values
of such films directly upon student groups,
perhaps through a basic lack of understanding
of their essential moviegoing requirements.

0

These opinions have recently come to light
as a by-product of an Audienscope, Inc. study
of Most Preferred films in which consumer-
type students were polled as one strata of a
national sample. The biggest complaint dealt
with admission prices. A vast number felt
that special student prices were both realistic
and necessary. Students in general, said they,
possess modest spendable income. This
becomes especially poignant in the dating
context, when, as many coed respondents
averred, prices serve as a deterrent to
moviegoing. Quite a few felt that mid-week
admissions should be reduced, indicating that
study schedules permitted various moviegoing
opportunities at these times.

0

The consensus of college students in
particular, who as a group now number about
5 million, is for more light comedy and less
"sick" movies. "I'm sick of Tennessee Williams
stories," was an oft-recited refrain. The real
hunger is for identifiable people and situations
— people in stories that are meaningful to
young persons about to strike forth in the
world, enter military service, marry and raise
families. They are all for serious pictures. But
they want them to be "thought-provoking."
They ask for more foreign pictures, and for
"foreign-type" pictures. They are looking for a
framework of reality in which they can see
themselves and their world — at least as
they see it. They adore the antic style of
Doris Day films and their sexually understated
modulations. They are currently against
spectaculars in the sense that they feel above
them, that they are offended by mere size
without substance. This is an interesting, and
perhaps deadly attitude, and one well worth
heed. They would like to know why more films
are not made dealing with the variegated
aspects of college life, which according to a
fair number of pollees "should make a great
deal of money." Some respondents,
Audienscope reports, said there hasn't been a
really outstanding film on this subject since
World War II — and that a tremendous
number of people have experienced college
life since that time. And, oh yes, several said
they would appreciate fresher popcorn, please!

Film BULLETIN December 23 1963 Page 3

I rather

for 1964

Grant thai it the light off wisdom shine ypon the statesmen of the world
that they may gyide Mankind ypon the road off Peace, Qramit ys tranquility
Sim which freedom can ffloyrish and in which men will byild, rather than
destroy.

Give ys the reason to (understand what is right and the coyrage to heed
the dictates of ©yr conscience. Grant that the people off the earth may
come to know that love is God's Messing ypon those who love, hate His
cyrse ypon those who hate-

Breathe into oyr hearts the spirit off Good Will, that we may always
and forever do ynto others as we woyld have them do ynto m§.

Preserve, in Thy infinite wisdom, the boynties with which Thoy hast
endowed oyr wonderffyl land, and, above all else, perpetyate the greatest off
these Iboynties, oyr Freedom,

Grant ynto the people off the motion pictyre indystry an even deeper
sense off responsibility in their roles as creators and exhibitors off this
wondroys mednym off entertainment and enlightenment. Reveal to the
makers off motion pictyres the ways by which they may pyrsye their art
with good taste and integrity. To those whose theatres provide enchant=
ment ypon silver screens, show the way to condyct their bysiness with
dignity, yet always in the happy spirit off showmanship.

Grant that the motion pictyre ffloyrish this new year, while earning
applayse for the happiness and syrcease it brings to the people of the
entire world.

Amen

To All Our Friends and Readers

CM

V,

tewpotnts

R 23. 1963 m VOLUME 31. NO. 2S

DECEMBER 23, 1963

Why the Pay-TV Maneuver Will Fail

The promoters of pay television in
California, it seems, had hoped to slip
in through the back door. They have no
taste for testing the issue of free vs.
pay TV at the ballot box.

This is the conclusion one must draw
from the legal stratagem pulled off last
week by Subscription Television, Inc.,
whose big west coast feevee promotion
is threatened by the threat of a referen-
dum at the state elections next Novem-
ber. Having won rather rapid, hush-
hush passage of a law by the California
Legislature last summer to permit the
licensing of pay TV, and having floated
a stock issue that gives it some $28
million to work with, Subscription Tele-
vision faced but one major obstacle —
the possibility that the free people of
the sovereign state of California might
have the opportunity to override the
quickie law by a referendum vote.

Their grandiose scheme menaced by
the Crusade for Free TV, the brains
behind Subscription Television, Inc.
filed a monstrous $117 million anti-
trust suit against the various theatere
interests sponsoring the referendum
move.

Subscription Television's anguished
cry is that the theatremen are not
playing fair in bringing the public —
which will have to pay — into the mat-
ter. The intent is obvious: to frighten
off the theatremen — who only stand to
lose their business if they don't defend
themselves.

This spurious legal maneuver will
fail. A decision of the United States
Supreme Court dooms it to failure.

Eastern Railroad Presidents Confer-
ence et al. v. Noerr Motor Freight, Inc.,
et al., (decided Feb. 20, 1961) was a
case in which a group of trucking com-
panies and their trade association sued
a group of railroads, a railroad associa-
tion and a public relations firm, under
the antitrust laws, charging that the
railroads had engaged the public rela-
tions firm to conduct a publicity cam-
paign against the truckers designed to

foster the adoption and retention of
laws, and destructive of the trucking
business, to create an atmosphere of
distaste for the truckers among the
general public, and to impair the rela-
tionships existing between the truckers
and their customers.

The ultimate Supreme Court decision,
reversing a lower court opinion, upheld
the rights of the railroads in terms that
are clearly applicable to the position
of the exhibitor organization involved
in the struggle with Subscription Tele-
vision, Inc. Following are pertinent
excerpts from that decision:

"The right of petition is one of the
freedoms protected by the Bill of
Rights."

* * *

"No violation of the (Sherman) Act
can be predicated upon mere attempts
to influence the passage or enforcement
of laws."

* * *

"The right of the people to inform
their representatives in government of
their desires with respect to the passage
or enforcement of laws cannot properly
be made to depend upon their intent
in doing so. It is neither unusual nor
illegal for people to seek action on
laws in the hope that they may bring
about an advantage to themselves and
a disadvantage to their competitors.
***Indeed, it is quite probably people

BULLETIN

Film BULLETIN: Motion Picture Trade Paper
published every other Monday by Wax Publi-
cations, Inc. Mo Wax, Editor and Publisher.
PUBLICATION-EDITORIAL OFFICES: 1239 Vine
Street, Philadelphia 7, Pa., LOcust 8-0950, 0951.
Philip R. Ward, Associate Editor; Leonard
Coulter, New York Associate Editor; Helen Per-
rone, Publication Manager; Norman Kllnger,
Business Manager; Robert Heath, Circulation Man-
ager. BUSINESS OFFICE 550 Fifth Avenue, New
York, 36, N. Y., Circle 5-0124; John Ano, N. Y.
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ONE YEAR, $3.00 in the U. S.: $5.00
$4.00; Europe, $5.00. TWO YEARS. $5.00
in the U. S.; Canada, Europe, $9.00

with just such a hope of personal ad-
vantage who provide much of the in-
formation upon which governments
must act. A construction of the Sherman
Act that would disqualify people from
taking a public position on mtters in
which they are financially interested
would thus deprive the government of
a valuable source of information and,
at the same time, deprive the people of
their right to petition in the very in-
stances in which that right may be of
the most importance to them. We reject
such a construction of the Act and hold
that, at least insofar as the railroads'
campaign was directed toward obtain-
ing governmental action, its legality
was not at all affected h>v any anti-
competitive purposes it may have had."

"It is inevitable, whenever an attempt
is made to influesce legislation by a
campaign of publicity, that an inci-
dental effect of that campaign may be
the infliction of some direct injury
upon the interests of the party against
whom the campaign is directed. And it
seems equally inevitable that those con-
ducting the campaign would be aware
of, and possibly even pleased by, the
prospect of such injur)'. To hold that
the knowing infliction of such injury
renders the campaign itself illegal
would thus be tantamount to outlawing
all such campaigns. We have already
discussed the reasons which have led us
to the conclusion that this has not been
done by anything in the Sherman Act."

"In rejecting each of the grounds
relied upon by the courts below to
justify application of the Sherman
to the campaign of the railroads, we
have rejected the very grounds upon
which those courts relied to distinguish
the campaign conducted h\ the truckers.
In doing so, we have restored what
appears to be the true nature of the
case — a 'no-holds-barred fight' between

(Continued on Pat>c 12)

Film BULLETIN December 23, 1963 Page 5

~fke Vieu frw OutAide

— by ROLAND PENDARIS — — «on^—

The Worst Audience

I attend movies in all kinds of places under all kinds of
circumstances, including screening rooms one size larger than
a Moviola and sneak previews at the largest theatres on Broad-
way. In the course of this varied round of moviegoing I meet
all kinds of audiences. I have just met the worst.

Ordinarily this would not qualify as headline news. One
audience can just happen to be worse than the next. But this
audience was different — not because it was worse than the
others, but because it should have known better. For this
audience was composed mainly of exhibitors. I daresay that
if any audience behaved in their theatres the way these ex-
hibitors behaved on this occasion, there would have been Hades
to pay; but the film company which sponsored this Broadway
theatre showing values these exhibitors as customers, so it let
them comport themselves as they saw fit.

We came into the theatre at least a half hour before the
starting time of the show. We were this early because the traffic
was surprisingly light and the cab had been amazingly easy to
get. We were lucky. When we got to the theatre there still
were seats. Five minutes later the seats were gone, and we sat
high in the balcony. Ah, says a voice from the wings, you can't
blame that on the exhibitors. The movie company just gave out
too many tickets. Not so. Whether the company overticketed
the house I do not know; I do know that the entire orchestra
was "taken" by people who had sat down in one seat and
draped coats, umbrellas, hats or newspapers over as many as
four adjacent seats to hold them for later arrivals. I haven't
seen such an epidemic of seat holding since the fight over
tickets to the last Presidential nominating conventions.

I would estimate that only a quarter of the orchestra seats
were occupied when people were forced up to the gallery. And
the manners in the gallery were of similar stripe. Right in
front of us, a man sat with his coat and a bulky briefcase on
the seat next to him. Feeble old ladies — at least two that we
counted — struggled up the stairs near him, looked at the seat,
decided it was occupied and went on their way. Finally a
younger woman with an oldster in tow asked him whether the
seat was taken. At first he pretended not to hear her; then he
pretended not to know, and finally, when she persisted, he
admitted that the seat was not taken and grudgingly removed
his stuff from it to permit the older lady to sit down.

Several hep exhibitors sneaked into the reserved loge seats,
knowing full well that the ushers would not be able to ask
every loge occupant to prove his right to that location once he
was sitting down. (The section was reserved, rather than the
individual seats.) As a result, legitimate holders of loge space
milled around and many had to leave without seeing the show.

Exhibitors should know about fire laws more than most
moviegoers. They had to be asked repeatedly to leave aisles
clear while the show was on. And the smoking in the balcony
was as feckless as any I have ever seen. The matches strewn on
the floor, the general shambles when the courtesy audience
rose to leave!

■< ►

Perhaps the best commentary on the performance of this
show business audience was made to me by an editor of my
acquaintance. There were members of the press present, though
not in overwhelming numbers, and some of them like my friend,
were sitting way back in the last rows of the balcony, a unique

experience for those with journalistic privileges. "I watched
this audience," said my friend the editor, "in morbid fascina-
tion. It was like a demonstration of what not to do when you
go to the movies. They even fought over seats. The only thing
they missed was cutting up the seats with a knife. And I hate
to think what the restrooms looked like afterwards."

The condition of the restrooms is beyond my ken. I felt no
need for any research in that direction — and I was disqualified
for half the research anyway. (Or do you stand outside the
ladies' lounge and ask some damsel as she exits how things
are in there?) Sanitary facilities aside, though, I saw with my
own eyes what I have reported here. I report it not as a
diatribe against exhibitors, and not because it greatly incon-
venienced me. I was lucky. I was seated without much trouble,
because I came so early.

►

The reason I have described the behavior of the audience
is that I think it is worth pondering. The behavior of motion
picture audiences is a problem for many exhibitors in many
parts of the country. One would therefore expect that exhib-
itors themselves would know how to behave themselves. I sus-
pect that one reason for bad behavior in theatres is that exhib-
itors tolerate it. If they felt and acted strongly about such
bad behavior, it might improve. But I doubt that the exhibitors
I saw that night consider what they did to be bad behavior.

This is not a situation unique to the motion picture industry.
More than once in the political arena we have seen cheap
politicians drafting codes of ethics, although they themselves
have dubious ethical qualifications. We have seen violence per-
petrated by self-elected vigilantes in the name of law and order.
We have seen low standards of teaching. All to often expediency
has triumphed over principle.

This is the language of philosophy, but it is also the prac-
tical fact. If we want less corruption in politics then we have
to stop tolerating the corrupt. If we want less bad behavior in
theatres then we have got to stop tolerating bad behavior.
We must face up to the fact that a theatre, in some respects,
is like a ship. The captain of a ship maintains law and order.
The manager of a theatre must do likewise; if he is tough about
it, he may antagonize customers here and there, but he will
probably bring in customers too.

Now when I say bad behavior I don't mean spitting in the
aisles or cussing. I mean the relatively little things that I
described at the beginning of this column — the hoggish hold-
ing of what should be unreserved seats for people who haven't
come in yet, the sneaking into seats to which you are not
entitled. To prevent this kind of thing happening in a theatre,
you must have sufficient staff to watch the seats. When your
house is half empty, there's no practical reason why a gal can't
hold a seat for her awaited friend. But when good seats are
hard to find, there should be ushers to prevent the sequestering
of vacant space.

The exhibitor audience at the show which got me started on
all this took gleeful advantage of the fact that a) there weren't
enough ushers and b) there was nobody to order the ushers to
take a firm stand. It was all left to negotiations between wand-
erers up and down the aisles and the early birds who had
spread their claims over the vast expanses of vacant seats.
The ushers carefully stayed away from the whole thing. Nobody
knows more than an exhibitor about how to take advantage
of an ushering weakness. Perhaps if some of the exhibitors at
this memorable show were as appalled as I they will take
steps to see that it doesn't happen again at their own theatres.

The picture itself, incidentally, was excellent — which only
makes me madder. A good picture deserves a good audience.
In this case, I must say that the picture was a great deal
better than the audience watching it. I'm just glad that the
audience was seen only by the trade.

Page 6 Film BULLETIN December 23. I?63

JOE LEVINE AND LEW WASSERMAN-TWO OF THE BIG NEWSMAKERS OF 1963

Anyway you look at it, 1963 was
Joe Levine's year. No matter the melan-
choly moods that gave the vapors to
many in all echelons, we could rely on
the ubiquitous Mr. Levine to spark all
sectors of the industry.

Having made the transition from
"Hercules" (a non-critic's picture that
pleased the public and Serge Semen-
enko) to the artistic magnus opus of
Fellini, Mr. Levine has consistently
devoted his time to proving that a
press conference should disclose the
fait accompli and should not be a
delphic exercise, either to say what's
wrong with the business or what should
be done to correct it.

I recall that Bosley Crowther, in one
of his more carping moods which are
manifest once in a while in the col-
umns of the New York Times, deni-
grated both the Motion Picture Pio-
neers and Mr. Levine when he was
designated "Pioneer of the Year." Mr.
Crowther felt that Joe had made no
contributions to the industry which,
by any stretch of the Timesman's imagi-
nation could justify this honor.

As evidence that Joe can take it as
well as dish it out, he set himself to
acquiring some pictures which Mr.
Crowther and other critics liked, and
admitted it in print. No doubt Joe has
his share of sensitivity, but let it be
said to his credit that he didn't with-
draw advertising from the Times just
because Mr. Crowther doubted his
qualifications for receiving the Pioneers
plaque.

It is difficult to assay the chemistry
of his personality or psyche. It is hard
to keep up with his deals, but there is
much substance in those that get into
the newspapers. For example, some
weeks ago he announced with appro-
priate sense that he had concluded an
arrangement involving $900,000 with
the best-selling Harold Robbins, whose
novel, "The Carpetbaggers", has al-
ready been transformed into film by
Mr. Levine. This deal not only gives
him title to novels already written, but
sews up Mr. Robbins' writings for the
next three years.

Shortly after this, Joe announced that
he had formed a company to produce
off-Broadway plays and disclosed that
he had taken possession of a theatre
where they could be performed. His
reasons for this are quite simple. He
believes this is another way to develop
properties and talent that will stand
him well in film production.

It might be added that such an idea

HI ir OCUl

ADAM WEILER

is not novel. Other film companies
have talked about doing this — but
never got around to it. What 1964 will
mean to Joe is anybody's guess. But
one thing is sure. He has set a dynamic
pattern that may well serve as a
paradigm for anyone who wants to
succeed in this business with really
trying.

We hear a lot about the need for
more showmanship and more boxoffice
pictures. We saw efforts by exhibitors
to get their own production companies
out of the talking stage. We have had
much discussion about the need for an
industry public relations program. We
got no place with any of these tentative
projects.

Instead, we got Joe Levine. Ain't we
lucky.

► ►

And speaking of action, congratula-
tions are due to Mr. Lew Wasserman,
who in his quiet way has gone ahead
to make MCA the first company to
modernize a film studio. Mr. Wasser-
man, who never speaks in public and
who is seldom the subject of an inter-
view, had the spotlight on him when,
according to the New York Times, "the
tallest structure ever built at a movie
studio was 'topped out' at Universal
City when a steel beam was hoisted 14
stories after a brief ceremony."

This building will be the world head-
quarters of MCA, Inc., the billion dol-
lar corporation that owns LJniversal
Pictures, Revue Productions, Decca
Records and a bank with assets of
about $90 million.

Mr. Wasserman gave no speech, but
one of his executives stated that this
was only the beginning of many other
developments that will follow in the
near future.

So Mr. Wasserman adheres to his
policy of no speeches but just keeps
building. In a business that has been
charged with blatancy and even vul-
garity, Mr. Wasserman may be con-
sidered a paradox. Oh yes, when he
was head of MCA during the years

when it was a talent agency, Mr. Was-
serman always wore a black suit. He
insisted that his executives adhere to
this same sartorial character.

If I recall correctly, Joe Levine also
retains the somber facade.

Let it be remembered that Mr. Was-
serman started as an usher in one of
the Warner Theatres in Cleveland.
That was twenty-seven years ago.

Would you agree it takes all kinds
of folks to become millionaires?

M ► ►

The board of directors of the Mo-
tion Picture Association of America is
considering whether or not they can
afford to enlarge the scope and circula-
tion of the Green Sheet.

In case you are not familiar with the
"Green Sheet" it is a grading system
for pictures that are distributed by the
member companies of MPA and serves
as a consolidating factor between the
MPA and many representative groups,
organizations and clubs which are in-
terested in the success of good audience
motion pictures.

The Green Sheet has been an impor-
tant factor in boosting boxoffice, and
it has stood the industry well in cen-
sorship and other legislative encoun-
ters, such as classification.

Organizations which are active in
the publishing and distribution of the
sheet have attested to its value as a
public relations vehicle for the in-
dustry, as well as a guide to the merit
of film productions. There is nothing
prissy about it, nor is it unaware that
good motion pictures are a vital part
of the American culture.

It seems odd that, while the board
of the MPA is considering appropria-
tions for a public relations campaign,
it should hesitate to get behind the idea
of expanding the Green Sheet, which
has already proved its value.

Isn't this again a case of not fully
utilizing available apparatus? Shouldn't
we make good use of what machinery
exists for public relations and business-
building?

I remember how difficult it was for
the Children's Library (a department
of MPA) to acquire films from the
companies to show to children in the
country's theatres on Saturday morn-
ing. Nobody seemed to care about this
and in fact considered it a big nuisance.
It seems that unless there is an emer-
gency which requires maximum mobili-
zation, simple devices for aiding public
relations are either ignored or treated
with passivity.

Film BULLETIN December 23. 1963 Page 7

■ CAST & CREDITS ■

HYMAN

Hyman Sees Product
Boom for April & May

Edward L. Hyman is confident that
his long-range, concerted drive to shore
up the traditional April-May "orphan
period" is showing results.

Last Friday (20th) he announced
that he anticipates a minimum of 55
pictures during that usually laggard
spell. Thus far, he told the trade press,
46 new features are listed for release.
In addition, 4 reissues are on the slate.
While this large number is noteworthy,
Hyman pointed out, even more im-
pressive is the fact that a number of
front-rank quality pictures are included.
"Just numbers mean nothing," he said.
"A picture must have legs, and coming
up to this period are a lot of good
pictures that we can do a job on."

The American Broadcasting-Para-
mount Theatres vice president urged
theatremen to go all-out in promoting
the available product during April and
May to demonstrate to the film com-
panies that these months are "no worse
than any other time of the year."

Hyman expressed the view that some
of the film companies are now con-
vinced that there is profit in releasing
good product near the end of the year.
If this conclusion is carried forward to
include, also, the April-May period, the
year-round boxoffice picture will be
greatly improved.

Attendance, Gross
Up— Commerce Dep't

Motion picture theatres in case you
hadn't noticed, were more crowded
this year than last. And prospects are
even rosier for 1964. So says the United
States Department of Commerce.

In its year-end review, the Depart-
ment reports weekly attendance climbed
fdom 40.4 million patrons in I960 to
an estimated 43.0 million in 1963. This
compares to 42.5 million in '62.

1963 receipts are expected to reach
$1.45 billion, a 3% increase over the
'62 figure of $1,405 billion. The De-
partment estimates that receipts will
rise to $1.5 billion in the year ahead.
A major factor in the increased revenues
is the progressive increase in admission
prices, especially in children's tickets,
the report states.

The 43 million paying customers
also had more theatres to attend. Al-
most 650 new theatres have been built
since 1958. The government agency sets
the total number of theatres in the U.S.
at 17,000, including drive-ins.

'No Merit7 in Feevee
Suit, says Childhouse

The Crusade for Free TV, exhibi-
tion's organized drive to halt the pay-
TV invasion of California, drew some
return fire from the enemy on the
west coast.

In an apparent attempt to frighten
off the massed anti-feevee forces, Sub-
scription Television, Inc., initiated a

$117 million damage suit against twelve
exhibition chains, five theatre organiza-
tions and three individuals. The suit is
asking, among other things, for the
U. S. district court in Los Angeles to
issue a restraining order to force the
anti-feevee campaigner to desist in their
activity against subscription tv.

Arnold C. Childhouse, state chairman
of the Southern California Committee
of the Crusade, issued the official word
for his group:

"We have examined the action filed
by Subscription TV and believe it to
be entirely without legal merit or sub-
stance. It appears simply an effort to
discourage the people of California
from exercising their rights at the bal-
lot box next November. We are con-
fident that in the Free TV initiative
being placed on the ballot at the next
November election the people over-
whelmingly will support free TV and
reject pay TV in their homes."

RK0 To Convert 10
Into 70mm Deluxers

A "chain within the existing chain"
is what Harry Mandel, RKO Theatres
president, calls the plan for conversion
of at least ten existing major city thea-
tres into what has been dubbed RKO
International 70 Theatres.

In the vanguard of the units which
will carry the new name is the RKO
Orpheum in Denver, scheduled for
Xmas Day opening. The success of the
refurbished Denver project will be the
barometer for the eventual renovation
of other theatres in the near future.

All of the converted theatres will
have facilities that will enable them to
present any film on any projection sys-
tem— with the exception of three-panel
Cinerama. The project entails an ex-
penditure of "several million dollars".

%W (Shorter
Opens 35mm

Phase 2 in the accelerated plan of
distribution for "Cleopatra" goes
into effect in March, when 35mm
reserved-seat engagements will start
in smaller city situations not equip-
ped for 70mm exhibition.

In making the announcement,
20th-Fox executive vice president
Seymour Poe did not reveal what the
running time of the 35mm prints

Version?)
Runs in 3Mareh

will be. Reports have it that a new
version, running 3 hours, 5 minutes,
has been edited by president Darryl
F. Zanuck, and it is likely that this
will be the one presented in all new
engagements.

Poe said the extravagant extrava-
ganza has grossed $13,820,419 in the
first 24 weeks of 48 domestic road-
show engagements.

Page 8 Film BULLETIN December 23, 1963

SCHNEIDER

FINANCIAL REPORT

Shareholder Asks Col. Management:
Why Is Price of Stock So Low?

"Only Wall Street
knows the reason for the
low market-value of our
stock," A. Schneider, Co-
lumbia Pictures president,
told shareholders at their
annual meeting on Dec.
18. Schneider, in response to a stockholder who contended
that the paying of cash dividends would help boost the value
of the stock, explained that Columbia management, too, is
disappointed in the low price (closing Dec. 18), but that

the company prefers to invest its earnings "in the future of
the business." "Because of this we do not have to go outside
for financing," he said. In lieu of cash dividends, Columbia
distributes 2l/2% stock bonuses semi-annually.

Columbia has high hopes for the coming year, ending next
June 3, which, according to Schneider "will probably be the
best we've had to look at in the past five years." Most of the
optimism is based upon "Lawrence Of Arabia" which thus far
has grossed $13,832,000. The current year's first quarter (end-
ing Sept. 28) saw an upswing in film rentals to $20,000,000,
compared to $18,580,000 in the first quarter of the preceeding
year. The company netted $791,000 (44c per share) in this
period, compared to $577,000 (32c) last year.

During the question and answer period, motion picture
exhibitor Trueman Rembusch charged the company with "price
fixing" on engagements of "Lawrence Of Arabia", and warned
that such actions could lead to costly litigation. Schneider denied
the charges and asserted that "we think we are doing business
in the proper fashion." Rembusch urged the company's man-
agement to "put their house in order" to avoid law suits.

Executive vice president Leo Jaffe reassured the shareholders
on the vital issue of excessive production costs: "The industry
has been confronted with many problems during the past year,
particularly with rising costs in all phases of creative and pro-
duction endeavor, including the cost of talent. We have had
our share of these problems, but the various challenges have
been met aggressively and, we believe, in a manner that will
continue to improve the position of our company in the
industry."

Stockholders approved an employees' retirement program, and
ratified stock options to M. J. Frankovich, first vice-president
in charge of world production, and Sol Schwartz, a senior vice-

517 °' the foremost
financial houses in the U.S.

read

BULLETIN

president. The entire board of directors was re-elected. They are
Schneider, Leo M. Blancke, Donald M. Stralem, Alfred Hart,
Abraham M. Sonnabend, Mendel B. Silberberg, Samuel J.
Briskin, and Jerome Hyams.

United Artists, NGC Report Earnings

United Artists showed a sharp decline in earnings in the
first nine months of this year compared to 1962. The net for
the 3 quarters, after provision for income taxes, was $1,610,000
(87c per share) compared with $3,103,000 ($1.68), it was
announced by board chairman Robert S. Benjamin.

Improved theatre earnings was one of the primary reasons
of National General Corporation's financial upswing in the last
fiscal year, according to president Eugene V. Klein. NGC's
consolidated earnings for the year ending Sept. 24 showed a
30% increase over the 1962 statistics— $3,459,600 ($1.00 per
share) as compared to '62 s $2,641,084 (77c). The figures
are exclusive of non-recurring special items which totaled
$637,876 in 1962 and nothing in 1963.

The gross income for 1963 was $48,912,798, compared with
1962's income of $45,808,084. Besides the theatre earnings,
gains in both the total income and net earnings are laid to
NGC's real estate activities.

FILM & THEATRE STOCKS

Close Close

Film Companies 12/5/63 12/19/63 Change

ALLIED ARTISTS 2% 2%

ALLIED ARTISTS (Pfd.) .8 8 -

CINERAMA 14% 13% - %

COLUMBIA 223/4 22% - %

COLUMBIA (Pfd.) 82y2 82% + %

DECCA 45V2 45% •• %

DISNEY 4iy4 38% -2%

FILM WAYS 83/4 7% -1%

MCA 581,4 583/4 + i/2

MCA (Pfd.) 36 36 —

M-G-M 28 263/4 -1%

PARAMOUNT 53% 54% + %

SCREEN GEMS 20% 22% +1%

20TH-FOX 26% 25% -1%

UNITED ARTISTS 20% 19% - %

WARNER BROS 133/4 13% + %

Theatre Companies

AB-PT 33% 30% -3

LOEWS 17% 17% + %

NATIONAL GENERAL 9% 9 - %

STANLEY WARNER 25% 26 + %

TRANS-LUX 11% 11% + %

* * *

(Allied Artists, Cinerama, Screen Gems, Trans-Lux, American
Exchange; all others on New York Stock Exchange.)

* * *

12/5/63 12/19/63

Over-the-counter Bid Asked Bid Asked

COMMONWEALTH OF P.R No quotation No quotation

GENERAL DRIVE-IN 10% 11% 10% 11%

MAGNA PICTURES 1% P/4 1% p/4

MEDALLION PICTURES 17 18% 18% 19%

SEVEN ARTS 63/4 7% 7% 8%

UA THEATRES 10% lP/4 8 9%

UNIVERSAL No quotation 66 70%

WALTER READE STERLING . . 3% 33/4 2% 3%

WOMETCO 33% 36% 33 35%

(Quotations courtesy National Assn. Securities Dealers, Inc.)

Film BULLETIN December 23, {Hi Page 9

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BULLETIN

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"Sunday in New York"
SuUkcm IZatUf O O ©

Lively, youthful romantic-comedy , with clean sex over-
tones, should have strong appeal for wide audience.
Cheerful entry, in color.

Where it is backed by a strong promotion campaign, "Sunday
in New York" will be a lively boxoffice event. Seven Arts'
bright, youthful adaptation of Norman Krasna's Broadway
comedy furnishes a steady flow of laughter. Its fresh approach
to an old theme — is virginity worth the trouble it causes? —
and the casting of Jane Fonda, Rod Taylor, and Cliff Robertson
in leads will give this M-G-M release strong appeal among the
late teen and college-age sets. Sophisticated Moviegoers, too,
will find it to their liking. Krasna's bright, brittle, and occa-
sionally farcical screenplay, while sex-oriented, maintains an
upright moral tone and is never in bad taste. Peter Tewkesbury's
facile direction and the enthusiasm of the players help to
overcome the few lulls in the plot. Everett Freeman's produc-
tion is bright and cheery (in Metrocolor) and the lilting back-
ground score, composed and performed by Peter Nero, con-
tains an exploitable title tune. The story takes place on a
single Sunday in New York. Miss Fonda arrives unexpectedly
at the bachelor flat of brother Robertson and confesses that
she has left Albany and come to the big city to muse over the
state of her virginity. Reassured by Robertson's insistence that
men marry "nice" girls, she ventures onto a Fifth Avenue
bus and promptly impales Taylor on her corsage. One thing
leads to another and the couple, caught in a rainstorm, take
refuge in Robertson's deserted apartment. When our heroine
discovers that her brother has set a double standard for her
and for other girls, Miss Fonda sets out to seduce Taylor, a
noble chap who, though tempted, respects her innocence.
Suddenly, Miss Fonda's muscle-conscious fiance, Robert Culp,
barges in and mistakes Taylor, in a bathrobe, for Robertson,
and, later, Robertson for a friend. After matters are straight-
ened out to Culp's dismay and disbelief, the still virtuous
Miss Fonda and Taylor realize they are in love. In the mean-
time, Robertson has been maneuevered by boss Jim Backus
into proposing marriage to pretty Jo Morrow, so it looks like
there will be a double wedding.

M-G-M. 105 minutes. Rod Taylor, Jane Fonda, Cliff Robertson. Produced by Everett
Freeman. Directed by Peter Tewkesbury.

"Kings of the Sun"

S«<Unedd ^txtcHQ O O Plus

Fast-moving, colorful adventure spectacle for action fans
and the young-in-mind. Not for sophisticated audiences.
Brynner provides marquee amperage.

This United Artists' release is a rousing, fast-moving adven-
ture that is eminently suited for the action fans and family
trade. The plot, however, is in those broad, spectacle-oriented
terms that do not figure to find favor with class or dis-
criminating audiences. Yul Brynner provides the marquee
amperage for this type of action-adventure, and George Chakiris
adds an effective bit of fancy swordsplay that will please action
devotees. Lewis J. Rachmil's production for the Mirisch Com-
pany appears to be painstakingly authentic in its recreation
of early Mayan culture — right down to the absence of horses
and dogs — and often it is breathtakingly beautiful in Pana-
vision and Deluxe color, but director J. Lee Thompson ("Taras
Bulba") concentrates on physical action rather than story tell-
ing. This leaves the cast, which includes such able supporting
players as Shirley Anne Field, Richard Basehart, Brad Dexter,
and Barry Morse, to struggly vainly — and with a variety of

acting styles — with the stilted, comic-strip dialogue provided
by Elliott Arnold and James R. Webb. After fleeing their
Mexican homeland, the Mayans, under youthful and inex-
perienced king Chakiris, attempt to build a new city on the
southwest coast of what one day will become Texas. Chakiris
is attacked by Brynner, a warlike chieftain from a nearby Indian
camp, but is rescued by kinsmen Dexter and Morse. Brynner,
severely wounded, is taken captive and nursed back to health
by Miss Field so that he may be used as a sacrifice to the Gods.
Just before the axman is to strike the fatal blow, Chakiris
spares Brynner's life, whereupon Basehart, the high priest,
warns that the gods must be appeased and commits suicide.
Brynner's tribe and the Mayans agree to live in peace together,
but the two leaders' ever-growing love for Miss Field leads to
friction. Before war can break out, however, the Mayans are
attacked by barbarians. The Indians join in the fight and
Brynner is killed trying to save the Mayan king's life.

United Art'sts. 108 minutes. Yul Brynner, George Chakiris, Shirley Anne Field. Pro-
duced by Lewis J. Rachmil. Directed by J. Lee Thompson.

"The Comedy of Terrors"

Sututete &atut$ Q Q Plus

Plenty of laughs in this tongue-in-cheek AIP horror-
comedy. Price, Karloff, Lorre, Rathbone all ham it up
for fun. Exploitable item.

With cutlass in in hand, ageless lothario Peter Lorre chal-
lenges master-fiend Vincent Price to a duel to the death for
the love of luscious Joyce Jameson. The sheer ludicrousness of
it all will give this tongue-in-cheek American International
release strong exploitation values in the mass markets. Although
there is absolutely no suspense and the gags are antique, the
players are so wonderfully miscast that only the dourest of
viewers will fail to be amused. Picture a lovable Boris Karloff,
a hammy Basil Rathbone, a grim Joe E. Brown, and a seductive
Rhubarb (that's a cat, man), and you get the general idea.
As usual with these James H. Nicolson-Samuel Z. Arkoff pro-
ductions, the Pathecolor processing is excellent and the photog-
raphy and production design by Floyd Crosby and Daniel
Haller, respectively, belie a modest budget. Richard Matheson's
screenplay and Jacques Tourneur's direction are adequate to
allow the players their hammy fun, and Les Baxter's rollicking
background score, consisting mostly of player-piano ditties and
other such cornball devices, is pure delight. The story has oppor-
tunist Price marrying Miss Jameson to gain control of papa
Karloff's undertaking business, and creating unhappiness for
all by belittling and abusing his spouse, attempting to poison
his father-in-law with "medicine," and blackmailing his kindly
assistant Lorre. Gradually, love blossoms between wife and
assistant and the two decide to run away together, but their
escape is prevented by Rathbone, a "dead" customer who refuses
to stay dead. Most of the humor arises from the cataleptic
corpse's efforts to escape from his casket (nearly frightening
gravekeeper Brown to death), and is climaxed bv Karloff's
absent-minded eulogy and by a death scene in which Rathbone,
having been shot by Price, re-enacts a host of Shakespearean
demises. Eventually, Price falls victim to his "medicine", and
Lorre and Miss Jameson are free to marry,

AIP. 88 minutes. Vincent Price, Peter Lorre, Boris Karloff, Basil Rathbone, Joe E.
Brown, Joyce Jameson. Produced by James H Nicholson and Samuel Z Arkoff.
Directed by Jacques Tourneur.

faiieu fating*

• POOR • • FAIR

• • • GOOD • • • • TOPS

Film BULLETIN December 23, 1963 Page 11

"The Ceremony"

Scuinete fcatUf O plus

Muddled melodrama intended as indictment of capital
punishment is wholly unconvincing. Laurence Harvey
provides mild marquee value.

Although it will find little favor with audiences, the mild
marquee value of Laurence Harvey's name may enable this
United Artists release to get by as a supporting dualler in the
general markets. Harvey not only stars, but serves as producer,
director, and contributing writer for this disastrous LHP pro-
duction. Dealing with a man awaiting execution, the muddled
story has been dressed up with a pompous Orson Welles-style
production that unintentionally verges on travesty. Ben Barz-
man's screenplay (with additional dialogue by Harvey), from
Frederick Grendel's novel, serves as a sounding board for
mawkish anti-violence philosophies and for tasteless religiosity.
It is wholly unconvincing. Harvey is seen as an atheistic convict
about to be executed for a crime he tried to prevent. At times
hysterical, he becomes tight-lipped whenever interrogator John
Ireland tries to draw the identity of the actual criminals from
him, and turns cynical when confronted by a priest (Jack
McGowan) who wants to save his soul. While preparations for
the execution "ceremony" are going on, the prisoner muses on
the injustices of capital punishment. Finally, in the closing
minutes of the picture, the story comes to life as Harvey's
younger brother, Robert Walker, steals into the prison and
effects an escape for the condemned man. Taken to the home
of his girl (Sarah Miles), Harvey learns that his brother has
been paramouring the fickle lassie and becomes so distraught
that he loses the will to live. At the last minute, however,
Walker sacrifices himself in his brother's place. Realizing that
such courage must be heaven-sent, Harvey, at peace with him-
self, returns to the prison.

United Artists. 105 minutes. Laurence Harvey, Sarah Miles, Robert Walker, John
Ireland. Produced and directed by Laurence Harvey.

"The Sound of Laughter"

Compilation of clips from old comedies is weak.

Since most of the material in this awkward compilation of
comedy clips from early talkies has been seen with frequency
on kiddie tv programs, it will have difficulty in securing even
second-feature bookings. There's precious little laughter in the
fleeting glimpses one gets of Imogene Coca, Joan Davis, Edgar
Kennedy, Billy Gilbert, Andy Clyde, Will Mahoney, and Joe
Gilbert. Milton Berle's appearance is funny, because it wasn't
intended that way. It appears that Uncle Miltie once was

groomed to follow in the footsteps of the crooning Dick
Powell! Buster Keaton and Harry Langdon get a poor break
in the excerpts from their shorts, and the Ritz Brothers are
dragged in for a long, unfunny routine snitched from an early
feature. On the plus side, there are some mildly comic moments
by a singing Bob Hope, a youthful Danny Kaye, a be-wigged
Bert Lahr, and a coy Shirley Temple. Ironically, two scenes
evidently inserted only to stretch the film to feature-length
proportions — a blues song by the Pickens Sisters and a render-
ing of "Please" by Bing Crosby — provide the most rewarding
moments of nostalgia. Ed Wynn appears briefly and supplies
the witless narration (written by Fred Saidy for the Barry
B. Yellen and Irvin S. Dorfman production.

Union Films. 75 minutes. Buster Keaton, Harry Langdon, Shirley Temple, Bert Lahr,
Danny Kaye, Bob Hope, Bing Crosby. Produced by Barry B. Yellen and Irvin S.
Dortman .

"Tiara Tahiti"

&U4CHt44 ^OttKf O PIUS

James Mason, John Mills, colorful scenic backgrounds
give this British entry fair second feature value.

James Mason and John Mills merely serve as topping for a
scenic Eastman colored tour of Tahiti in this indifferent
J. Arthur Rank presentation. The Zenith International release
might serve as an adequate supporting feature in class and
general market dual bills. Performing like a pair of relaxed
hams, the stars are given little to do except sip cocktails against
the travel-brochure backdrops. Thrown in almost as an after-
thought is sarong-clad Rosenda Monteros, who garners a fair
share of footage simply by swimming through lagoons, frolick-
ing in the sand and bathing, a la Dorothy Lamour, 'neath a
waterfall. Claude Dauphin contributes his Gallic charm to a
few scenes and Herbert Lorn is also around briefly, disguised
as an Oriental merchant. The direction by William T. Kotcheff
is as placid and innocuous as the screenplay by Geoffrey
Cotterell and Foxwell. Mason portrays a millionaire playboy
industrialist and Mills, one of his impoverished clerks. Years
pass. Mills rises to wealth and power, while Mason, betrayed
by an associate, is disgraced for his involvement in smuggling.
When Mills journeys to Tahiti to convert it into a tourists'
paradise, he comes upon the exiled Mason who recognizes
his old employee as an overbearing prude in need of deflating.
The opportunity comes when Lorn, jealous of Mason's mistress
Miss Monteros, attempts to assassinate him. Suspicion falls on
Mills when it is learned that he had been responsible (unknown
to Mason) for the intended victim's downfall. Mason refuses
to press charges and is regarded as a hero when he allows Mills
to "escape" the island, his reputation and self-esteem forever
destroyed.

Zenith International. 100 minutes. James Mason, John Mills, Rosenda Monteros.
Produced by Ivan Foxwell. Directed by Wiliam T. Kotcheff.

viewpoints

(Continued from Page 5)

two industires both of which are seek-
ing control of a profitable source of
income. Inherent in such fights which
are commonplace in the halls of legisla-
tive bodies, is the possibility, and in
many instances even the probability,
that one group or the other will get
hurl by the arguments that are made. In

this particular instance, each group ap-
pears to have utilized all the political
powers it could muster in an attempt
to bring about the passage of laws that
would help it or injure the other. But
the contest itself appears to have been
conducted along lines normally accepted
in our political system, except to the
extent that each group has deliberately
deceived the public and public officials.
And that deception, reprehensible as it
is, can be of no consequence so far as
the Sherman Act is concerned. That
Act was not violated by either the

railroads or the truckers in their respec-
tive campaigns to influence legislation
and law enforcement. Since the rail-
roads have acquiesced in the dismissal
of their counterclaim by not challeng-
ing the Court of Appeals' affirmance of
that order in their petition for cer-
tiorari, we are here concerned only with
those parts of the judgments below
holding the railroads and Byoir liable
for violations of the Sherman Act. And
it follows from what we have said that
those parts of the judgments below are
wrong. They must be and are Reversed."

Page 12 Film BULLETIN December 23, 1963

r our ror lexas

%U4iH€44, IZattH? GOO

Sinatra and Martin feudin' and fussin' in bit of shallow
nonsense. Strictly for the escapist-minded trade. In
color.

Frank Sinatra and Dean Martin, feudin', fussin', and fightin'
their way across the wild, wild west, provide their devoted fans
with the kind of nonsense that seems to satisfy escapist-minded
filmgoers. This Warner Bros, release has all the expected ingre-
dients: comedy, adventure, fisticuffs, scenic glories, and the
beauteous forms of Anita Ekberg and Ursula Andress. Robert
Aldrich's sumptuous Technicolor production, which he directed,
also includes bits of completely irrelevant fun by The Three
Stooges and Arthur Godfrey. Discriminating viewers, however,
are likely to balk at the level of humor, much of it very, very
tired, and at the "inside" jokes which tend to slow down the
proceedings. The screenplay by Aldrich and Teddi Sherman,
a whacky bit of nonsense, casts Sinatra as a gunslinging gambler,
Martin as a gambling gunslinger. The two men find $100,000
hidden in a secret compartment of an overturned stagecoach
and, rather than share the loot, each tries to cheat the other
of it. Martin finally makes off with the money and heads for
Galveston where he illogically saves Sinatra's life when evil
banker and gunman Charles Bronson try to do him in. Mean-
while, the boys dally with the damsels, Sinatra with the
amazonish Miss Ekberg, a lady barber ( !), and Martin with the
svelte Miss Andress, a rifle-toting hellion who goes by the name
of "Max." Miss Andress convinces Martin that he should trans-
form her dilapidated riverboat into a gambling ship. On open-
ing night, Sinatra and his buddies arrive to claim half owner-
ship. A riotous free-for-all breaks out and then Buono's hench-
men enter the fracas, determined to do away with the brawling
heroes. Sinatra and Martin ally themselves, overcome their
adversaries, and decide on a partnership and a double wedding.

W rner Bros. 124 minutes. Frank Sinatra, Dean Martin, Anita Ekberg, Ursula Andress.
Produced and directed by Robert Aldrich.

"Ladyhug, Ladyhug"

Perry team of "David and Lisa" fame have less success
with this one. Mild art house entry.

Frank and Eleanor Perry, the husband and wife team who
created "David and Lisa," have come up with a downbeat civil
defense story that figures to be only a mild art market entry.
Individual sequences surge with power and the climax has a
nerve-shattering intensity, but, on the whole, this United
Artists release, more pacifist polemic than drama, is too uneven
and verbose to win general market bookings, except, perhaps,
in special class houses. Effectiveness often is vitiated by a dis-
turbing inadequacy in casting and by producer-director Perry's
tendency to linger too long over obvious symbolisms. Although
Mrs. Perry's screenplay (based on an actual incident) is timely,
it would have benefitted from a more naturalistic, less self-
consciously arty production. In the large, unknown cast, some
of the children perform with sensitivity, but the adults, largely
off-Broadway performers, are unable to dispel exaggerated stage
mannerisms. A quiet day at a rural schoolhouse is disrupted by
a sudden, ominous buzz from the air-raid alert system. The prin-
cipal (William Daniels), convinced that nuclear attack is immi-
nent, orders the children sent home under the supervision of
teachers. Reactions of children, their parents, and teachers are
shown. In one heart-wrenching moment, a nine-year-old (Linda
Rogers) hugs a goldfish bowl and seeks refuge under her bed,
but a later episode i which a mother (Elena Karam) drags
her two children to their knees for a session of hellfire-and-

brimstone prayer is embarrassing. By the time school authori-
ties learn that the alarm was set-off by faulty mechanism, some
of the children have taken refuge in a bomb shelter. When a
panic-stricken classmate (Marilyn Rogers) is refused admission
to the shelter, she crawls into an abandoned ice-box and locks
herself in. Her boyfriend (Christopher Howard,) leaving the
shelter to find her, hears an approaching plane. As the noise
from its engines fills the air, the camera draws closer and
closer to the lad until only his mouth is seen screaming "Stop!
. . . Stop! . . . Stop! . . ."

United Artists. 84 minutes. William Daniels, Christopher Howard, Marilyn Rogers.
Produced and directed by Frank Perry.

"America, America"

Often stirring, but far too lengthy tale of Greek boy's
burning desire to come to America. Should do well in
art houses, but lacks popular elements for general
market.

Elia Kazan has fashioned a cinematic odyssey of power and
inspiration, brutality and beauty — but not a very commercial
movie in "America America". It was made with obvious dis-
regard for boxoffice values. Filmed in Greece with a cast of
unknowns, parts of the story are vague and difficult to follow,
and the early scenes require an understanding of history that
few viewers will possess. In the nearly three-hours' running
time, producer-director-writer Kazan lingers too lovingly over
details and irrelevancies, and he concentrates too intensely on
the ugliness and — for some — the futility of life. There are
subtleties and undercurrents of thought that will reward only
patient viewers with a drama that becomes a deeply-felt
experience of life. Best prospects are for art houses, for this
will be one of the most talked-about and admired films of the
yeir. Word-of-mouth and critical response will be encouraging
factors in better class markets, but, unless the film is drastically
shortened (and thereby simplified), this Warner Bros, release
is hardly likely to find favor with general market patrons.
Newcomer Stathis Giallelis, playing the central role, conveys
the intense, brooding spirit of the eager, hopeful immigrant.
Kazan's fluid direction is stunningly set-off by Haskell Wex-
ler's sharp black-and-white photography and by Manos ("Never
On Sunday") Hadjidakis' ethnic-flavored background score.
The story is based upon legends within Kazan's family. It be-
gins in Turkey in 1896, when the Greek and Armenian minori-
ties suffered severe oppression. An opportunity for young
Giallelis to journey from his mountain home to Constantinople
to enter a cousin's rug business awakens the Greek boy's dreams
of someday reaching freedom in America. On his journey, he
is robbed of all his possessions and money and is forced to
kill a treacherous Turk (Lou Antonio). Hardened by his
experiences, the boy's dream becomes an obsession. Seeing no
future in his cousin's threadbare business, he takes menial
waterfront jobs, then aspires to wealth though marriage to a
homely heiress (Linda Marsh). Absconding with the girl's
dowry, he books third-class passage to America. Aboard ship,
he continues a flirtation with a woman he had met earlier,
Katherine Balfour, the wife of an American rug buyer
(Richard H. Harris). When Harris discovers the lovers, he is
almost strangled by Giallelis who is taken into custody and
ordered back to Turkey. The boy escapes and hides out in the
hold of the ship where a quirk of fate enables him, reluctant I v,
to substitute himself for a dying tubercular youth (Gregory
Rozakis) he had earlier befriended. Giallelis takes Rodakis'
place as an indentured shoeshine boy, and rudely, brusquely
— in the American way — eventually earns enough, through
tips, to bring his entire family to the New World.

Warner Bros. 174 minutes Stathis Giallelis. Produced and directed by Elia Kazan.

Film BULLETIN December 23. 1943 Page 13

"Act One"

Sutute&i fcatuty O O Plus

Sentiment-filled version of Moss Hart autobiography.
Fame of book will attract sophisticated metropolitan
trade, but heavy promotion needed in general market.

This sentimental tribute to the late playwright Moss Hart
will require strong promotion by Warner Bros, to overcome
general audience resistance to the story's lack of romantic
interest, its literary background, and the absence of marquee
names. The success of Hart's best-selling autobiography gives
the film built-in pre-release value for sophisticated class audi-
ences, but it will not mean much in the big mass market. For
the most part, readers of the book will not be disappointed.
Producer-director-writer Dore Schary has remained remarkably
faithful to the original, both in mood and spirit. The tale of
the wide-eyed innocent from the YMHA who suddenly finds
himself thrust from poverty into a glamorous world of make-
believe is made effective — and audience pleasing — by a slick,
somewhat artificial production that is remindful of the Cole
Porter-George Gershwin biographies that Warner's turned out
so successfully in the 1940 s. Jason Robards, Jr., as George S.
Kaufman, Hart's first collaborator, dominates the screen every
second with his outrageous, delightfully exaggerated char-
acterization. George Hamilton, as Hart, the lamb led to Kauf-
man, is overshadowed by the more colorful characterizations of
Robards, Jack Klugman, Eli Wallach and, in richly-woven
cameos, Sam Levine, Ruth Ford, and Louise Larabee. The anec-
dotal story follows Hart's career from the point at which he
decides to write a "Hollywood" comedy. Wallach, a producer,
takes an interest in the manuscript, but when months go by
without an option, friend Klugman (as Joe Hyam) sends a
copy to Sam H. Harris (Sammy Smith) who agrees to produce
it if he can secure Kaufman as collaborator and director.
Kaufman agrees to do the play, but wants to star in it as well.
The constant clash of personalities between the seemingly
egomaniacal Kaufman and the shy, withdrawn Hart, and the
strong personal relationship that gradually develops between
these diverse personalities provides a series of warm vignettes.
After a series of try-out flops and much re-writing, the play —
"Once In A Lifetime" — opens on Broadway, a resounding suc-
cess. Hart, fearing that his own contributions may be over-
looked in the public's adoration of Kaufman, learns the depth
of the man's true humility when Kaufman, in an enormously
affecting moment, peers at the audience over the tip of his
glasses and announces that "eighty percent of this play is
Moss Hart." Unfortunately, the story does not end here. Hart
returns to the Brooklyn slums of his youth to provide a
mawkish finale.

Warner Bros. 110 minutes. George Hamilton, Jason Robards Jr. Produced and di-
rected by Dore Schary.

"The Three Lives of Thomasina"

Bland little Disney offering about a cat and a girl. Will
get by with the family trade.

The Walt Disney label will give this leisurely feline fable
fair response in the family market. Filmed in Scotland with
an all British cast, the Buena Vista release has Technicolored
storybook settings, lovely animal scenes, and a few moments of
genuine charm, but its appeal will be limited to the very young
and to girls rather than boys. Don Westerby's screenplay, based
on a turn-of-the-century tale by Paul Gallico, is a bit too naive
for all but the most innocent kiddies, and Don Chaffey's direc-
tion does little to instill a feeling of movement into the rather
bland story. The cast of unknowns performs with competence,

but the heroine, Thomasina, a marmalade cat, is less winning
than most of Disney's four-legged friends. Growing tired of
life as an alley cat, Thomasina "adopts" lonely little Karin
Dotrice, daughter of Patrick McGoohan, a dour veterinarian
embittered by his wife's untimely death. When Thomasina
(nobody, including McGoohan, had realized that she was a
female — hence the name) is injured in a market place accident,
tetanus sets in and McGoohan orders her destroyed. Horrified,
Miss Dotrice vows that she will never speak to her father again.
Fortunately, cats have many lives and after a rather bizarre
visit to pussy heaven, Thomasina returns to life as good as
new except for a slight case of amnesia. A kindly woodland
witch (Susan Hampshire) gives the dazed cat a home with her
menagerie of assorted beasts, but our fuzzy-minded heroine soon
recovers her memory and scoots home just in time to save her
poor little mistress from pining her life away. So enchanted
is Thomasina, that she even manages to arrange a romance
between McGoohan and Miss Hampshire who, it appears, just
has a way with animals and isn't a witch, after all.

Buena Vista. 97 minutes. Patrick McGoohan, Susan Hampshire. Produced by Walt
Disney. Directed by Don Chaffey.

"Gunfight at Comanche Creek"

Su4 CH€44 1£ctU*U? O O

OK Audie Murphy western, in color.

Western devotees will find this an average Audie Murphy
oater, and it should serve well as a dualler in the action markets.
The Allied Artists release has the advantages of an off-beat,
tight script, terse direction, and a Panavision-DeLuxe color
production. Producer Ben Schwalb has made good use of a
semi-documentary technique (narrated by Reed Hadley) to tell
the story of a Federal detective (Murphy) who poses as an
outlaw in order to crack an old west crime ring. According
to Edward Bernds' ingenious, though occasionally cliched,
script, a gang of robbers wait until a man with a price on his
head is jailed, then they break him loose and make him front
as the unmasked (and unarmed) leader of their holdups.
When their victim's price reaches a high figure, he is mur-
dered for the reward. Unded Frank McDonald's direction,
suspense builds all the way as Murphy sees himself coming
ever nearer to the moment of assassination. First, his undercover
man (Jan Merlin) is gunned down, then a young outlaw
(Ben Cooper) who befriends him is slain. Murphy believes that
DeForest Kelley, the nominal head of the gang is fronting for
a bigger man. Just as Murphy is about to be shot by the out-
laws, Federal authorities arrive and a gunfight ensues. After
the smoke clears, saloon hostess Colleen Miller, who has a
yen for Murphy, exposes Sheriff John Hubbard as the brains
behind the operation.

Allied Artists. 90'A minutes. Audie Murphy, Ben Cooper, Colleen Miller, DeForest
Kelley, Jan Merlin. Produced by By Schwalb. Directed by Frank McDonald.

BULLETIN

reviews have one aim:
to give honest judgment
of entertainment merit
— and boxoffice value

Page 14 Film BULLETIN December 23, 1963

"The Victors" and "The Cardinal" Both Draw
Mixed Notices . . . "America America" Well Received

"QUOT6S"

What the Newspaper Critics Say About New Films

"THE VICTORS" (Columbia)

". . . Mr. Foreman's picture has, too often,
an artificial look — a look of romantic fabrication
and of having been made in an overheated
studio ... I well recognize that Mr. Foreman is
trying to do something pointed here***He is
obviously trying to remind us of the mockery of
sentimentality in war. But the device itself is
almost as specious, sentimental and false to the
norm of soldier nature and the realities of war.

There really is not one good performance —
one strong characterization — in the whole film."
— CROWTHER, N.Y. Times

". . . "The Victors' is constructed from a series
of loosely related episodes, intended to unite an
ironic fervor in protest against war. Some of
them soar compellingly in emotion and con-
viction, leaving a memorable experience in their
wake. An annoying few fizzle into futility ... A
film with moments of grandeur, occasionally
jerked jarringly down to earth, the continuity of
spirit shattered. The answer to whether to see
it is resoundingly YES — but go prepared for
tantalizing times of disappointment." — COOK,
N.Y. World Telegram & Sun

"... A strong picture and an absorbing one
. . . Each of the vignettes is designed to convey
a feeling of what war does to people, with the
various segments ranging in mood from the
rowdy to the bitter, from the sentimental to the
tragic and frequently ironic . . . Some are
arrestingly handled and make a valid point,
some are contrived. The film is not without its
faults, but its accomplishments are impressive."
— PELSWICK, N.Y. Journal- American

". . . The action is all-absorbing and is filled
with shock . . . One of the most shocking of the
war films, and the shock is put there for a cer-
tain, planned effect. Although it is one of the
best, it comes to us after a succession of films
that have been inundating the screen for the past
20 years . . . There are many fine scenes in the
film, but little cohesion between them." — CAM-
ERON, N. Y. Daily News

". . . Although a great number of right-think-
ing people can agree with Foreman in theory,
when they face this picture of his, they are apt
to feel, obscurely, that something is wrong, that
it's dull, that it's leaden, that it fails to inspire,
come to a climax or explore in fine, war fashion,
and that, in a word, it plods ... It strikes me
that this is probably the most accurate film ever
made about modern war . . . Carl Foreman de-
serves enormous amounts of gratitude, especially'
since his film probably won't triumph either at
box-office or art festival."— WINSTEIN, N. Y.
Post

". . . Not one of the great war films, despite
its several searing and soul-shattering moments,
its scope and interesting structure and its basic
thesis . . . There are unforgettable vignettes
. . . These episodes are brilliant and clear in
their narration, for Carl Foreman has a master's
touch as scriptwriter. But his hand falters in
this, his first role as director . . . Triteness tri-
umphs over the intrinsic validity of a number
of episodes." — CRIST, N. Y. Herald Tribune

"AMERICA AMERICA" (Warner Brothers)

". . . Good picture-making . . . The Kazan
direction is, as always, dramatic, personally
vivid, and quite clear in its narrative line. The
dialogue, some of it presumably dubbed, is not
always as easy to follow ... It is the work of
honesty and integrity, but one you cannot like
as much as you would wish." — WINSTEN,
N. Y. Post

"Elia Kazan has lovingly written and directed
his family legendry in his new film, 'America
America' ... It may not be Kazan's most pol-
ished, but it certainly is his most emotionally
volatile and strongly felt achievement." — COOK,
New York World Telegram & Sun

. . . "A film devoid of sentimentality, of the
mawkish reverence too often brought to bear
upon the travelers to the promised land. A blend
of the beauty and the ugliness that is the fab-
ric of life, honest and compassionate in its
gauge of men and of their aspirations, 'America
America' is a brilliant and powerful film." —
CRIST, N. Y. Herald Tribune

"... A minor odyssey that has the major con-
notations of a rich lyric-epic poem . . . An
assault upon the senses that may leave one com-
pletely overwhelmed. One may also find one's
senses exhausted by the sheer length and bulk
of the film ... If Mr. Kazan's pictures weren't
so overwhelmingly long and consequently, so
often redundant, it would be — what? Even finer
than it is."— CROWTHER, N. Y. Times

"... A dramatic account of the migration of
a young Greek boy from Turkey to the United
States in 1896 . . . Pictorially striking and emo-
tionally moving. In his concentration on realism,
however, Mr. Kazan frequently lets many of his
atmospheric and descriptive passages run too
long . . . Stathis Giallelis portrays the central
figure with convincing intensity." PELSWICK,
N. Y . Journal-American

". . . The producer-director must be faulted
on the film's length, since the depressing aspects
of the picture make its running time of 2 hours
and 54 minutes much, much too long." — CAM-
ERON, N. Y. Daily News

"THE CARDINAL" (Columbia)

". . . An expansion of the book into an absorb-
ing picture of a dedicated man . . . The picture
will be a subject of controversy on a number of
counts, but I'm sure it will appeal strongly to
a massive audience, as the story is presented
with dramatic vigor." — CAMERON, N. Y.
Daily News

"... A staggering film saga . . . Pictorially
exquisite, intelligently cast, and painstakingly,
if not thrillingly directed. This is a big and im-
portant movie, and for many, a moving, mean-
ingful one . . . There are those who will argue-
that Robert Dozier's script is not all-faithful
to Robinson's novel. But, Preminger's appeal to
the millions for whom this is the first introduction
to 'The Cardinal' is ,i worthy one ... A storied
extravaganza well worth seeing — for many reas-
ons."—THIRFR, N. Y. Post

". . . Otto Preminger sets his sights on the
wrong cardinal in his new film . . . John Huston
who is one of this country's top film directors
arrests and fascinates me . . . The young priest,
played by Tom Tryon, is no more than a callow
cliche, a stick around which several fictions of
a melodramatic nature are draped. He is in the
Bing Crosby priest tradition, but without Father
Bing's ease and charm, and the things he has
to do in the picture are, in the most distasteful
sense, sheer Hollywood ... As colorless as is
the hero, that colorful is the film, Mr. Premin-
ger has filled it with bright details and specta-
cular ceremonials . . . Even the melodrama is
perfunctory and weak."— CROWTHER, N. Y.
Times

"... A colorful, dramatic and spectacular
three-hour movie ... A compound of many
things, not always cohesive, but in most re-
spects a fine, worthwhile and often stirring
entertainment . . . Like most Preminger pictures,
the film is not an inspired one, but it is a spec-
tacular and generally fine entertainment." —
ZUNSER, Cue Magazine

". . . The struggle of an individual's faith,
the force that can be at once elusive and thun-
derous, is a ravaging, awesome and inspiring
theme by turn in "The Cardinal' . . . Preminger's
enormous supporting cast is extraordinary in
its uniform excellence . . . The magnificence of
its great moments make one unduly intolerant
of its much fewer and less important moments
of comparative failure." — COOK, N. Y. World
Telegram & Sun

"... A soap opera that cloaks its banality,
tastelessness and pretension in topicality and
religiosity . . . The cheapness of plot result in
a melange of meandering melodrama, mouthed
pieties and pretentious irrelevancy. For all its
pomp and circumstances, 'The Cardinal' serves
only to demonstrate the length (175 uninter-
rupted minutes) to which cynicism can go." —
CRIST, N. Y. Herald Tribune

"THE THREE LIVES OF THOMASINA" (Buena Vista)

". . . The young ones likely will have a little
difficulty interpreting the dialect, but once they
do, they'll take the yarn to their hearts." —
THIRER, N. Y. Post

". . . An entrancing rarity in today's exploi-
tation of naked passions and peephole exposure.
With fair>- tales so hard to come by, this one is
a boon to those in search of family fare for the
holidays."— MASTERS, N. Y. Daily News

". . . While it does have a certain charm,
and a good deal of the Disney stamp about it,
this live-action entry tends to sag noticeably
after the first few scenes and does not pick up
until the final segments . . . The color work and
the sets are just fine, and there are some arrest-
ing scenes along the way, but unless we miss
our guess, this talkv tabby tale is too tame for
the tots. "— SALMAGGI, N. Y. Herald Tribune

". . . It's a nice one, but it is far from top-
drawer Disney. This sentimental and extremely
genteel little movie seems best suited for small
girls ' — THOMPSON, ,\\ V. Times

Film BULLETIN December 23, 1943 Page 15

THIS IS YOUR PRODUCT

All The Vital Details on Current & Coming Features

(Date of Film BULLETIN Review Appears At End of Synopsis)

ALLIED ARTISTS

August

GUN HAWK, THE Rory Calhoun, Rod Cameron Ruta
Lee, Rod Lduren. Producer Richard Bernstein. Direc-
tor Edward Ludwig. Outlaws govern peaceful town of
Sanctuary. 92 min. 10/14/63.

September

CRY OF BATTLE Van Heflin, Rita Moreno, James Mac-
Arthur. Producer Joe Steinberg. Director Irving Lerner.
Three people caught in vicious guerilla war. 99 min.
10/28/63.

SHOCK CORRIDOR Peter Breck, Constance Towers,
Gene Evans, James Best, Hari Rhodes. Producer-direc-
tor Samuel Fuller. A Leon Fromkess-Sam Firks Produc-
tion. A suspense drama. 101 min. 7/22/63.

October

WAR IS HELL Tony Russell, Baynes Barron, Judy Dan.
Producer-director Burt Topper. Korean War story.

November

GUNFIGHT AT COMANCHE CREEK Color. Panavision.
Audie Murphy, Ben Cooper, Colleen Miller, DeForest
Kelley, Jan Merlin. Producer Ben Schwalb. Director
Frank McDonald. Private detective breaks up outlaw
gang.

SOLDIER IN THE RAIN Jackie Gleason, Steve Mc-
Queen, Tuesday Weld, Tony Bill, Tom Poston, Ed Nelson.
Producer Martin Jurow. Director Ralph Nelson. Peace-
time Army comedy. 88 min. 11/25/63.

STRANGLER, THE Victor Buono, David McLea n, Diane
Sayer, Davey Davison. Producers Samuel Bischoff, David
Diamond. Director Burt Topper. Suspense drama.'

YANK IN VIET NAM (Formerly Year of The Tiger)
Marshall Thompson, Enrique Magalona. Producer Wray
Davis, Director Marshall Thompson. Action in Viet Nam.

December

LIFE IN DANGER Darren Nesbitt, Julie Hopkins. Pro-
ducer Jack Parsons, Director Terry Bishop. An unusual
suspense drama.

NOW IT CAN BE TOLD Robert Hutton, Martin Benson,
Peter llling, Sandra Dome. An espionage thriller.

January

NAKED KISS, THE Constance Towers, Anthony Eisley,
Michael Dante. A Leon Fromkess-Sam Firks production!
Producer-director Samuel Fuller. Drama.

Coming

MAHARAJAH Color. George Marshall, Polan Banks.
Romantic drama.

NEVER PUT IT IN WRITING Pat Boone, Milo O'Shea,
Reginald Beckwith, Fidelma Murphy. Producer-direc-
tor Andrew Stone.

THE THIN RED LINE, THE Keir Dullea, Jack Warden.
Producer Philip Yordan, Director Andrew Marton.

UNARMED IN PARADISE Maria Schell. Producer Stuart
Millar.

AMERICAN INTERNATIONAL

June

DEMENTIA #13 IFilmgroupl William Campbell, Luana
Anders, Mary Mitchell. Suspense drama.

ERIK, THE CONQUEROR (Formerly Miracle of the
Viking). Color, CinemaScope. Cameron Mitchell
Kessler Twins. Action drama. 90 min.

July

TERROR. THE IFilmgroupl Color, Vistascope. Boris Kar-
loff. Sandra Knight. Horror. 81 min.

August

BEACH PARTY Color, Panavision. Robert Cummings,
Dorothy Malone, Frankie Avalon, Annette Funicello]
Producer James H. Nicholson. Director William Asher.
Teenage comedy. 100 min. 7/22/63.

September

HAUNTED PALACE, THE Color, Panavision. Vincent
Price, Debra Paget, Lon Chaney. Producer-director
Roger Corman. Edgar Allan Poe classic. 85 min.
?/2/63.

October

SUMMER HOLIDAY Technicolor, Technirama. Cliff
Richard, Lauri Peters. Teenage musical comedy. 100
min.

"X" — THE MAN WITH THE X-RAY EYES Ray Milland,
Diana Van Der Vlis, John Hoyt, Don Rickles. Producer-
director Roger Corman. Science fiction. 80 min.
10/14/63.

November

PYRO— THE MAN WITHOUT A FACE Color. Barry
Sullivan, Martha Myer. Horror drama. 93 min.

December

GOLIATH AND THE SINS OF BABYLON Color and
Techniscope. Mark Forest, Scilla Gabel, John Chevron.

SAMSON AND THE SLAVE QUEEN Color, Scope. Mark
Forest, Allen Steele, Pierre Brice. Action comedy.

January

COMEDY OF TERRORS. THE Color, Panavision. Vincent
Price, Peter Lorre, Boris Karloff, Basil Rathbone, Joe
E. Brown, Joyce Jameson. Horror, comedy.

February

SOME PEOPLE Color. Kenneth More, Ray Brooks, Annika
Wills. Teenage Musical.

TORPEDO BAY James Mason, Lilli Palmer. Submarine
Action.

TWELVE GUNS EAST Stewart Granger, Dorian Gray.
Desert War story.

UNDER AGE Anne MacAdams, Judy Adler, Roland
Royter. Teenage drama.

March

BLACK SABBATH Boris Karloff, Mark Damon. Horror.
HOUSE OF TERROR Leticia Roman, John Saxon. Horror.
MUSCLE BEACH PARTY Color, Panavision. Frankie
Avalon, Annette Funicello, Buddy Hackett, John Ash-
ley, Jody McCrea, Candy Johnson, Morey Amsterdam,
Teenage musical.

April

LAST MAN ON EARTH, THE Vincent Price, Franca
Bettoia, Emma Danieli, Giacomo Rossi Stewart.
UNEARTHLY STRANGER. THE John Neville, Philip Stone,
Gabriella Licudi. Science fiction.

May

CAPTIVE CITY David Niven, Ben Gazzara.
MASQUE OF THE RED DEATH Color, Panavision. Vin-
cent Price. Producer Roqer Corman. Based on Edgar
Allan Poe story.

Coming

BIKINI BEACH Color, Panavision. Frankie Avalon, An-
nette Funicello, Harvey Lembeck. Teenage Comedy.

DUNWICH HORROR Color. Panavision. Science Fiction.

GENGHIS KHAN 70mm roadshow.

GOLDBUG, THE Color, Panavision. Vincent Price, Peter

Lorre, Elsa Lanchester, Joyce Jameson.

GRAVESIDE STORY, THE Vincent Price, Peter Lorre,

Boris Karloff, Basil Rathbone, Elsa Lancaster.

IT'S ALIVE Color. Peter Lorre, Elsa Lanchester, Harvey

Lembeck. Horror comedy.

IT'S A WONDERFUL LIFE Technicolor, Cinemascope.
Cliff Richards, Walter Slezak, Susan Hamphire.
RUMBLE Color Panavision. Frankie Avalon, Annette
Funicello, John Ashley, Harvey Lembeck. Teenage
drama.

WHEN THE SLEEPER AWAKES Color. Vincent Price.
Producers Julian Wintle, Leslie Parkyn. H. G. Wells

classic.

June

SAVAGE SAM Brian Keith, Tommy Kirk, Kevin Cor-
coran Marta Kristen. Dewev Martin. Jeff York. Pro-
ducer Walt Disney. Director Norman Tokar. Tale of the
pursuit of renegade Indians who kidnap two boys and
a girl. I 10 min. 6/10 /63.

July

SUMMER MAGIC Hayley Mills, Burl Ives, Dorothy Mc-
Guire, Deborah Walley, Peter Brown, Eddie Hodges.
Director James Neilson. Comedy musical. 109 min.
7/8/63.

October

20,0000 LEAGUES UNDER THE SEA Re-release.
FANTASIA Re-release.

November

INCREDIBLE JOURNEY, THE Emile Genest, John Drainie,
Sandra Scott. Narrated by Rex Allen. Producer Walt
Disney. Director Fletcher Markle. Based on book by
Sheila Burnford. Adventure drama. 80 min. 10/28/63.

December

SWORD IN THE STONE, THE. Producer Walt Disney.
Director, Wolfgang Reitherman. Full-length animated
feature. 75 min. 10/14/63.

January

TIGER WALKS. A Brian Keith, Vera Miles, Pamela
Franklin, Sabu, Una Merkel. Director Norman Tokar.
Based on book by Ian Niall, story of a Bengal tiger's
escape from a small town circus.

Coming

MARY POPPINS Julie Andrews, Dick Van Dyke.

MISADVENTURES OF MERLIN JONES, THE Annette Funi-
cello, Tommy Kirk, Leon Ames, Stu Irwin. Director Rob-
ert Stevenson. Comedy of a mind reading wizard. 88 min.

THREE LIVES OF THOMASINA, THE Patrick McGoohan,
Susan Hampshire, Karen Dotrice, Matthew Garber.
Director Don Chaffey. Based on novel by Paul Gallico,
story of an enchanted cat who brings happiness to
three people. 97 min.

July

L-SHAPED ROOM, THE Leslie Caron, Tom Bell. Pro-
ducer James Woolf, Richard Attenborough. Director
Bryan Forbes. Drama. 125 min. 7/22/63.

13 FRIGHTENED GIRLS Murray Hamilton, Joyce Tay-
lor, Hugh Marlowe. Producer-director William Castlt.
Mystery. 89 min.

August

GIDGET GOES TO ROME James Darren, Cindy Carol,
Jobv Baker. Producer Jerrv Bresler. Director Paul
Wendkos. Teenage romantic comedy. 101 min. 8/5/63.

September

IN THE FRENCH STYLE Jean Seberg, Stanley Baker.
Producers Irwin Shaw, Robert Parrish. Director, Par-
rish. Romantic drama. 105 min. 9/30/63.

SIEGE OF THE SAXONS Technicolor. Janette Scott, Ron-
aid Lewis. Producer, Charles H. Schneer. Director Nathan
Juran. Adventure. 85 minutes.

THREE STOOGES GO AROUND THE WORLD IN A
DAZE, THE. The Three Stooges. Producer-director
Norman Maurer. Comedy. 94 min. 9/2/63.

October

LAWRENCE OF ARABIA Technicolor. Superpanavision.
Peter O'Toole, Alec Guinness, Anthony Quinn, Jose
Ferrer, Jack Hawkins. Claude Rains. Producer Sam
Spiegel. Director David Lean. Adventure spectacle.
222 min. 12/24/62.

MANIAC Kerwin Mathews, Nadia Gray. Producer Jim-
my Sangster. Director Michael Carreras. Suspense
drama. 86 min. 11/25/63.

OLD DARK HOUSE. THE Tom Poston, Robert Moreley,
Joyce Greenfell. Producer-director William Castle.
Suspense drama. 86 min. I l/l 1/63.

RUNNING MAN. THE Laurence Harvey, Lee Remick,
Alan Bates. Producer-director Carol Reed. Suspense
melodrama. 103 min. 9/16/63.

November

UNDER THE YUM YUM TREE Jack Lemmon. Carol Lyn-
ley, Dean Jones, Edie Adams. Producers David Swift,
Fred Brisson. Director Swift. Sexy comedy. 110 min.
10/28/63.

December

CARDINAL, THE Tom Tryon, Romy Schneider, Carol
Lynley, John Saxon. Producer-director Otto Preminger.
Based on best-selling novel by Henry Morton Robinson.
175 min. 10/28/63.

Film

BULLETIN — THIS IS YOUR PRODUCT

January

September

DR. STRANGELOVE OR: HOW I LEARNED TO STOP
WORRYING AND LOVE THE BOMB Peter Sellers, George
C. Scott, Sterling Hayden, Keenan Wynn. Producer-
director Stanley Kubrick. Nightmare comedy. 93 min.

STRAIT-JACKET Joan Crawford, Anne Helm. Producer
William Castle. 89 min.

February

VICTORS, THE Vincent Edwards, Melina Mercouri,
Jeanne Moreau, Romy Schneider, George Hamilton,
George Peppard. Producer-director Carl Forman. Anti-
war document, told in personal terms. 175 min.
I 1/25/43.

March

BEHOLD A PALE HORSE Gregory Peck, Anthony Ouinn.
Producer Fred Zinnemann.

LILITH Warren Beatty, Jean Seberg. Producer-director
Robert Rossen.

Coming

CONGO VIVO Jean Seberg, Gabriele Ferzetti.

GOOD NEIGHBOR SAM Jack Lemmon, Romy Schneider,
Dorothy Provine. Producer David Swift.

LONG SHIPS, THE Richard Widmark, Sidney Poitier.
Producer Irving Allen.

LORD JIM Peter O'Toole, James Mason. Producer Rich-
ard Brooks.

SWINGIN' MAIDEN. THE (Formerly The Iron Maiden)
Michael Craig, Anne Helm, Jeff Donnell.

H i h'HI.'l

June

YOUR SHADOW IS MINE Jill Haworth. Michael Ruhl.
Producer Pierre Courau. Director Andre Michel. A
European girl, raised by an Indo-Chinese family, has
to choose between her native sweetheart and the
society of her own people. 90 min.

July

THIS SPORTING LIFE Richard Harris, Rachel Roberts.
Producer Karl Reisz. Director Lindsay Anderson. Dra-
ma. 129 min. 7/22/63.

August

LORD OF THE FLIES James Aubrey, Tom Chapin,
Hugh Edwards. Producer Lewis Allen. Director Peter
Brooks. Dramatization of William Golding's best selling
novel. 90 min. 9/2/63.

NEVER LET GO Richard Todd, Peter Sellers, Elizabeth
Sellers. Producer Peter de Sarigny. Director John
Guillevmin. Crime melodrama. 90 min. 6/24/63.

September

HANDS OF ORLAC, THE Mel Ferrer, Christopher Lee,
Dany Carrel, Lucille Saint Simon. Producers Steven
Pallos, Donald Taylor. Director Edmond Greville.
Mystery. 86 min.

October

WUTHERING HEIGHTS Merle Oberon, Laurence
Olivier, David Niven. 107 min.

November

LADIES WHO DO Robert Morley, Peggy Mount. Pro-
ducer George H. Brown. Director C. M. Pennington-
Richards. Comedy. 85 min. 12/9/63.

December

BILLY LIAR Tom Courtenay, Julie Christie. Producer
Joseph Janni. Director John Schlesinger. Drama about
a man who lives in a world of fantasy. 96 min.

TO BED OR NOT TO BED (Formerly The Devil) Alberto
Sordi. 103 min.

May

BEAR, THE (English-dubbed) Renato Rascel, Francis
Blanche, Gocha.

July

FREDERICO FELLINI'S "8V2" Marcello Mastroianni,
Claudia Cardinale, Anouk Aimee, Sandra Milo. Pro-
ducer Angelo Rizzoli. Director Federico Fellini. Drama.
135 min. 7/8/63.

GENTLE ART OF MURDER. THE I Formerly Crime Does
Not Pay) Edwige Feuillere, Michele Morgan, Pierre
Brasseur, Richard Todd, Danielle Darrieux. Director
Gerard Oury. Drama. 122 min.

PASSIONATE THIEF THE Anna Magnani, Ben Gazzara,
Toto. Producer Silvio Clementelli. Director Mario
Monicelli. Comedy. 95 min.

WOMEN OF THE WORLD Technicolor. Narrated by
Peter Ustinov. Director Gualtiero Jacopetti. Women as
they are in every part of the world. 107 min. 7/8/63.

CONJUGAL BED, THE Marina Vlady, Ugo Tognazzi.
Producer Henry K. Chroucicki, Alfonso Sansone. Direc-
tor Marco Ferreri. Comedy drama. 90 min. 9/30/63.

December

EASY LIFE, THE Vittorio Gassman, Catherine Spaak,
Jean Louis Trintignant. Producer-director Dino Risi.
Drama. 105 min.

Current Releases

AN AFFAIR OF THE SKIN IZenith International) Vivica
Lind Furs, Kevin McCarthy, Lee Grant. Producer Ben
Maddow, Helen Levitt. Director Maddow. Drama.
102 min. I 1/25/63.

BERN ADETTE OF LOURDES (Janus Films) Daniele Ajoret
Nadine Alari, Robert Arnoux, Blanchette Brunoy. Pro-
ducer George de la Grandiere. Director Robert Darene.
90 min.

BIG MONEY, THE (Lopert) Lan Carmichael, Belinda
Le«, Kathleen Harrison, Robert Helpman, Jill Ireland.

BLOODY BROOD, THE (Sutton) Peter Falk, Barbara
Lord, Jack Betts.

BOMB FOR A DICTATOR. A (Medallion) Pierre Fres-
nay, Michel Auclair. 72 min.

BURNING COURT, THE (Trans-Lux) Nadja Tiller, Jean-
Claude Brialy, Perrette Pradier. Producer Yvon
Guezel. Director Julien Duvivier.

CLEOPATRA'S DAUGHTER (Medallion) Color, Total-
scope. Debra Paget, Robert Alda. 93 min.

DANGEROUS CHARTER Technicolor, Panavision. Chris
Warfield, Sally Fraser, Richard Foote, Peter Forster.
76 min.

DAY THE SKY EXPLODED, THE (Excelsior) Paul Hub-
schmid, Madeleine Fischer. Director Paolo Heusch.
Science fiction. 80 min.

DESERT WARRIOR, THE (Medallion) Color, Totalscope.
Richardo Montalban, Carmen Sevilla. 87 min.

DEVIL'S HAND. THE Linda Christian, Robert Alda. 71

EVA (Times Films) Jeanne Moreau, Stanley Baker.

FEAR NO MORE (Sutton) Jacques Bergerac, Mala
Powers. 78 min.

FIRST SPACESHIP ON VENUS ICrown International)
Technicolor, Totalvision. Yoko Tani, Oldrick Lukes. 81

FIVE DAY LOVER, THE IKingsley International) Jean
Seberg, Micheline Presle. Producer Georges Dancigers.
Director Philippe de Broca. 86 min.

FIVE MINUTES TO LIVE (Sutton) Johnny Cash, Gay
Forester, Pamela Mason, Donald Woods. 86 min.

FORCE OF IMPULSE (Sutton Pictures) Tony Anthony,
J. Carrol Nash, Robert Alda, Jeff Donnell, Lionel
Hampton. 82 min.

FRENCH GAME, THE (Wilshire International) Franciose
Brion, Jean-Louise Trintignant. Producer Marceau-
Cocinor. Director Jacques Doniol-Valcroze. French im-
port .86 min. 9/30/63.

GONE ARE THE DAYS (Hammer Bros.) Ruby Dee,
Ossie Davis. Producer-director Nicholas Webster. 100
min. 9/16/63.

GREENWICH VILLAGE STORY. THE (Shawn-Interna-
tional) Robert Hogan, Melinda Prank. Producer-direc-
tor Jack O'Connell. Drama. 95 min. 8/19/63.

HAND IN THE TRAP (Angel Films) Elsa Daniel, Fran-
cisco Rabal. Director Leopoldo Torre Nilsson. Horror.
90 min. 7/22/63.

HORROR HOTEL (Trans-Lux) Denis Lotis, Christopher
Lee, Betta St. John, Patricia Jessel. Producer Donald
Taylor. Director John Moxey. 76 min. 7/8/63.

HOUSE HOLDER. THE (Royal Films International)
Shashi Kapoor, Leela Naidn. Producer Ismael Merchant.
Director James Ivory. 110 min. I l/l 1/63.

IMPORTANT MAN, THE (Lopert) Toshiro Mifune, Co-
lumba Dominguez. Producer-Director Ismael Rodriguez.
99 min. 7/23/62.

JULIE THE REDHEAD (Shawn International) Pascale
Petit, Daniel Gelin. Producer Georges Glass I Films
Matignin) and Metzgeor and Woog. Directed by
Claude Boissol. 100 min. I l/l 1/63.

KNIFE IN THE WATER (Kanawha Films, Ltd.) Leon
Niemczy, Jolanta Umecka. Produced by Kamera Unit
of Film Polski. Director Roman Polanski. 95 min.
I 1/25/63.

LA NOTTE BRAVA I Miller Producing Co.) Elsa Mar
tinelli. Producer Sante Chimirrl. Director Mauro Bolog-
nlnl. 96 min.

LA POUPEE (Gaston Hakim Productions International!
Zbigniew Cybulski, Some Teal. Director Jacques Bara-
tier. French farce. 90 min. 9/16/63.

LAST OF THE VIKINGS (Medallion) Color. Totalscope.
Cameron Mitchell. Edmond Purdom. 102 min.

LES PARISIENNES (Times Films) Dany Saval, Dany
Robin, Francois* Arnoul, Catherine Deneuve.

LISETTE (Medallion) John Agar, Greta Chi. 83 min.

MOUSE ON THE MOON. THE Eastmancolor ILopert
Pictures) Margaret Rutherford, Bernard Cribbins. Terry
Thomas. Satirical comedy. 84 min. 6/24/63.

JANUARY SUMMARY

At this tabulation, the release chart
for the first month of the new year
shows a sparse total of 10 films to be
offered. Columbia and Warner Brothers
head the list with two features each.
Six companies — M-G-M, United Artists,
Allied Artists, American International,
Buena Vista and Paramount — each
promise one release. 20th-Fox, Univer-
sal, Continental and Embassy have not
as yet announced any new product for
January.

MURIEL (Lopert) Delphine Seyrig, Jean-Pierre Kerien.
Producer Anatole Dauman. Director Alain Resnais.
Drama. 115 min. I 1/25/63.

MY NAME IS IVAN IMosFilm) Kolya Burlaiev. Director
Andrei Tarkovsky. Drama. 94 min. 8/19/63.

NIGHT OF EVIL (Sutton) Lisa Gaye. Bill Campbell.
88 min.

ONE POTATO, TWO POTATO (Bowalco Pictures) Bar-
bara Barrie, Bernie Hamilton, Richard Mulligan, Harry
Bellaver. Director Larry Peerce. Producer Sam Weston.

PURPLE NOON (Times Films sub-titles) Eastmancolor.
Alain Delon, Marie Laforet. Director Rene Clement.
115 min.

RAIDERS OF LEYTE GULF (Hemisphere Pictures) Mich-
ael Parsons, Leopold Salcedo, Jennings Sturgeon. Pro-
ducer-director Eddie Romero. War melodrama. 80 min.

REACH FOR GLORY (Royal Film International) Harry
Andrews, Kay Walsh, Oliver Grimm. Producers Jud
Kinberg, John Kohn. Director Philip Leacock. Story of
youngsters in wartime. 89 min. 9/16/63.

ROMMEL'S TREASURE (Medallion) Color Scope. Dawn
Addams, Isa Miranda. 85 min.

RUN WITH THE DEVIL (Jillo Films) Antonella Lualdj,
Gerard Blain, Franco Fabrizi. Director Mario Camerini.
Drama. 93 min. 8/19/63.

SECRET FILE HOLLYWOOD Jonathon Kidd, Lynn Stat-
ten. 82 min.

7TH COMMANDMENT. THE Robert Clarke, Francine
York. 85 min.

SMALL WORLD OF SAMMY LEE. THE (Seven Arts)
Anthony Newley. Producer Frank Godwin. Director Ken
Hughes. 105 min. 9/16/63.

SON OF SAMSON (Medallion) Color, Totalscope. Mark
Forest, Chelo Alonso. 89 min.

SOUND OF TRUMPETS. THE Sandro Panzer!, Loredane
Detto. Produced by Titanus — The 24 Horses. Director
Ermann Olmi. Italian comedy-drama. 90 min. 11/25/63.

STAKEOUT Bing Russell. Bill Hale, Eve Brent. 81 min.

THEN THERE WERE THREE (Alexander Films) Frank
Latimore, Alex Nicol, Barry Cahill, Sid Clute. Producer-
Director Alex Nicol. 82 min.

THREE FABLES OF LOVE (Janus) Leslie Caron. Ros-
sano Brazzi, Monica Vitti Sylva Koscina, Charles
Aznavour, Jean Poiret, Michel Serrault, Ann Karina.
Producer Gilbert de Goldschmidt. Director Alessandro
Blasetti, Heave Bromberger, Rene Clair. 8/5/63.

TOM JONES ILopert) Albert Finney, Susannah York.
Hugh Griffin, Edith Evans. Producer-director Tcxiy
Richardson. Film adaptation of Fieldings classic. 131
min. 10/14/63.

VARAN THE UN8ELIEVABLE Myron Healy. Tsuruko Ko-
bayashi. 70 min.

VIOLATED PARADISE I Victoria) Narration by Thomas
L. Row and Pauline Girard. Producer-director Marion
Gering. 67 min. 7/8/63.

VIOLENT MIDNIGHT (Times Films Eng.) Lee Phillips.
Shepard Strudwick, Lorraine Rogers. Producer Del
Tenney. Director Richard Hilliard.

VIRIDIANA Silvia Pinal Francisco Rabal, Fernando
Rey. Director Luis Bunuel. 90 min.

WEB OF PASSION [Times Films sub-titles) Eastman-
color. Madeleine Robinson, Jean-Paul Belmondo,
Jacques Dacqmine. Director Claude Chabrol. 97 min.

WILD FOR KICKS (Times Films) David Farrar, Shirley
Ann Field. Producer George Willoughby. Director Ed-
mond T. Greville. 92 min.

METRO-GOLDWYN-MAYER

June

CATTLE KING Eastman Color. Robert Taylor. Joan
Caulfield. Producer Nat Hold. Director Tay Garnett.
Romantic adventure-story of the West. 89 min.

Film

BULLETIN — THIS IS YOUR PRODUCT

FLIPPER Chuck Connors. Producer Ivan Tors. Director
James B. Clark. Story of the intelligence of Dolphins.
90 min.

MUTINY ON THE BOUNTY Color. Ultra Panavision.
Marlon Brando, Trevor Howard, Hugh GriffTTh. Pro-
ducer Aaron Rosenberg. Director Lewis Milestone.
Sea-adventure drama based on trlology by Charles
Norort and James Norman Hall. 179 min. 11/12/63.

TARZAN'S THREE CHALLENGES Jock Mahoney, Woody
Strode. Producer Sy Weintraub. Director Robert Day.
Adventure. 92 min. 7/8/63.

July

CAPTAIN SINDBAD Guy Williams, Pedro Armendariz,
Heidi Bruehl. Producers King Brothers. Director Byron
Haskin. Adventure Fantasy. 85 min. 6/24/63.

TICKLISH AFFAIR, A I Formerly Moon Wolk) Shirley

Jones, Gig Young. Producer Joe Pasternak. Director
George Sidney. Romantic comedy based on a story in
the Ladies Home Journal. 87 min. 7/8/63.

August

HOOTENANNY HOOT Peter Breck, Ruta Lee, Brothers
Four, Sheb Wooley, Johnny Cash. Producer Sam Katz-
man. Director Gene Nelson. Musical comedy. 91 min.
9/16/63.

MURDER AT THE GALLOP Margaret Rutherford, Robert
Morley, Flora Robson. Producer George Brown. Direc-
tor George Pollock. Agatha Christie mystery. 81 min.
7/22/63.

YOUNG AND THE BRAVE, THE Rory Calhoun, William
Bendix. Producer A. C. Lyles. Director Francis D.
Lyon. Drama of Korean G.l.'s and orphan boy. 84 min.
5/13/63.

September

HAUNTING, THE Julie Harris, Claire Bloom, Richard
Johnson, Russ Tamblyn. Producer-director Robert Wise.
Drama based on Shirley Jackson's best seller. 112
min. 9/2/63.

V.I.P.s, The Color. Elizabeth Taylor, Richard Burton,
Louis Jordan. Producer Anatole de Grunwald. Director
Anthony Asquith. Comedy drama. 119 min. 8/19/63.

October

TWILIGHT OF HONOR Richard Chamberlain, Nick
Adams, Claude Rains, John Blackman. A Perlberg
Seaton Production. Director Boris Sagal. A young
lawyer falls victim to the bigoted wrath of a small
town when he defends a man accused of murdering
the town's leading citizen. 115 min. 9/30/63.

November

ANY NUMBER CAN WIN Jean Gabin, Alain Delon.
Producer Jacques Bar. Director Henry Verneuil. I 18 min.

WHEELER DEALERS, THE Color James Garner, Lee
Remick, Phil Harris, Chill Wills, Jim Backus. Producer
Martin Ransohoff. Director Arthur Hiller. Story of a
Texan who takes Wall Street by storm. 106 min. 9/30/63.

December

THE PRIZE Color. Paul Newman, Edward G. Robinson,
Elke Sommer. Producer-director Mark Robson. Based on
the Irving Wallace bestseller. 135 min. 12/9/63.

January

CHILDREN OF THE DAMNED Ian Hendry, Barbara Ferris,
Alan Badel. Executive Producer Lawrence P. Bachmann.
Producer Ben Arbeid. Director Anton Leader. 81 min.

February

GLOBAL AFFAIR A Bob Hope, Lilo Pulver. Producer
Hall Bartlett. Director Jack Arnold. Comedy.

MAIL ORDER BRIDE Color. Buddy Ebsen, Lois Nettleton,
Keir Dullea. Producer Richard Lyons. Director Burt
Kennedy. Comedy.

SUNDAY IN NEW YORK Color. IMGM-Seven Arts). Cliff
Robertson, Jane Fonda, Rod Taylor. Producer Everett
Freeman. Director Peter Tewksbury. The eternal ques-
tion: should a qirl or shouldn't she. prior to the
nuptials? 105 min.

March

KISSIN' COUSINS Color. Elvis Presley, Pamela Aus-
tin. Producer Sam Katzman.

MGM'S BIG PARADE OF COMEDY Great stars of the
past in memorable comedy moments from great MGM
films of the past. Producer Robert Youngson. 109 min.

OF HUMAN BONDAGE IMGM-Seven Artsl Kim
Novak, Laurence Harvey. Producer James Woolf. Di-
rector Ken Hughes. Film version of classic novel.

SEVEN FACES OF DR. LAO Color. Tony Randall, Arthur
O'Connell. Comedy. Producer-Director George Pal.

April

NIGHT MUST FALL Albert Finney, Mona Washbourne.
Producer Karl Reisz, Albert Finney. Director Karl Reisz,
Psychological suspense thriller.

Coming

COUNTERFEITERS OF PARIS Jean Gabin, Martine
Carol. Producer Jacques Bar. Director Gilles Grangier.
99 min. French with English titles.

DAY AND THE HOUR, THE I Formerly Today We Live)
Simone Signoret, Stuart Whitman. Producer Jacques
Bar. Director Rene Clement. Drama of temptation and

infidelity in wartime. 115 min.

FAMILY DIARY Marcello Mastroianni, Jacques Perrin.
Produced by Titanus. Director Valerio Zurlini. Drama.
I 14 min. I 1/25/63.

GOLD FOR THE CAESARS Color. Jeffrey Hunter, Mylene
Demongeot. Producer Joseph Fryd. Director Andre de
Toth. Adventure-spectacle concerning a Roman slave
who leads the search for a lost gold mine.

HOW THE WEST WAS WON Cinerama. Technicolor.
James Stewart, Debbie Reynolds, John Wayne, Gre-
gory Peck, Henry Fonda, Carroll Baker. Producer Ber-
nard Smith. Directors Hi.ory Hathaway, John Ford,
George Marshall. Pane „ drama of America's ex-
pansion Westward. 163 min. I 1/26/62.

MONKEY IN WINTER Jean Gabin, Jean-Paul Belmondo.

Producer Jacques Bar. Director Henri Verneuil. Sub-
titled French import. 104 min. 2/l8/6i.

TWO ARE GUILTY Anthony Perkins, Jean Claude
Brialy. Producer Alain Poire. Director A. Cayette.
A murder tale. 131 min.

VICE AND VIRTUE Annie Girardot, Robert Hassin. Pro-
ducer Alain Poire. Director Roger Vadim. Sinister his-
tory of a group of Nazis and their women whose

thirst for power leads to their downfall. 100 min.

May

HUD Paul Newman, Patricia Neal, Melvyn Douglas.
Producers Irving Ravetch, Martin Ritt. Director Rltt.
Drama set in modern Texas. 122 min. 3/4/63.

June

DUEL OF THE TITANS CinemaScope, Eastman color.
Steve Reeves, Gordon Scott. Producer Alessandro
Jacovoni. Director Sergio Corbucci. The story of
Romulus and Remus, the twin brothers who founded
the city of Rome.

NUTTY PROFESSOR, THE Technicolor. Jerry Lewis,
Stella Stevens. Producer Ernest D. Glucksman. Direc-
tor Jerry Lewis. A professor discovers a youth-
restoring secret formula. 105 min. 6/10/63.

July

DONOVAN'S REEF Technicolor. John Wayne, Lee Mar-
vin. Producer-director John Ford. Adventure drama in
the South Pacific. 108 min. 8/5/63.

August

COME BLOW YOUR HORN Technicolor. Frank Sinatra,

Barbara Rush, Lee J. Cobb. Producer Howard Koch.
Director Bud Yorkin. A confirmed bachelor introduces
his young brother to the playboy's world. 112 min.
6/24/63.

October

NEW KIND OF LOVE, A Technicolor. Paul Newman,
Joanne Woodward, Thelma Ritter, Maurice Chevalier.
Producer-director Melville Shavelson. Romantic com-
edy. 105 min. 9/2/63.

WIVES AND LOVERS Janet Leigh, Van Johnson, Shelley
Winters, Martha Hyer. Producer Hal B. Wallis. Direc-
tor John Rich. Romantic comedy. 102 min. 9/2/63.

November

ALL THE WAY HOME Robert Preston, Jean Simmons.
Pat Hingle. Producer David Susskind. Director Alex

Segal. Film version of play and novel. 103 min. I l/l 1/63.

FUN IN ACAPULCO Technicolor. Elvis Presley, Ur-
sula Andress. Producer Hal B. Wallis. Director Rich-
ard Thorpe. Musical-comedy.

December

WHO'S BEEN SLEEPING IN MY BED? Panavision,
Technicolor. Dean Martin, Elizabeth Montgomery, Carol
Burnett. Producer Jack Rose. Director Daniel Mann.
Comedy. 103 min. I l/l 1/63.

WHO'S MINDING THE STORE? Technicolor. Jerry
Lewis, Jill St. John, Agnes Moorehead. Producer Paul
Jones. Director Frank Tashlin. Comedy. 90 min.
I 1/25/63.

January

LOVE WITH THE PROPER STRANGER Natalie Wood,
Steve McQueen. Producer Alan J. Pakula. Director
Robert Mulligan. A young musician falls in love with
a Macy's sales clerk.

Coming

BECKET Technicolor. Richard Burton, Peter O'Toole.
Producer Hal B. Wallis. Director Peter Glenville. Film
version of Jean Anouilh's play.

CARPETBAGGERS. THE Technicolor. Panavision 70.
George Peppard, Carroll Baker. Producer Joseph E.
Levine. Director Edward Dmytryk. Drama based on the
best-seller by Harold Robbins.

LADY IN A CAGE Olivia de Havilland, Ann Southern.
Producer Luther Davis. Director Walter Grauman.
Horror drama.

PARIS WHEN IT SIZZLES Panavision, Technicolor. Wil-
liam Holden, Audrey Hepburn. Producer George Axel-
rod. Director Richard Quine. Romantic-comedy filmed

on location in Paris.

SEVEN DAYS IN MAY Burt Lancaster, Kirk Douglas,
Fredric March, Ava Gardner. Producer Edward Lewis.
Director John Frankenheimer. A Marine colonel un-
covers a militay plot to seize control of the U.S. gov-
ernment.

20TH CENTURY -FOX

June

STRIPPER, THE (Formerly A Woman in July) Cinema-
Scope. Joanne Woodward, Richard Beymer, Gypsy Rose
Lee, Claire Trevor. Producer Jerry Wald. Director
Franklin Schaffner. Unsuccessful actress seeks happi-
ness. 95 min. 4/29/63.

July

LONGEST DAY, THE CinemaScope. John Wayne, Rich-
ard Todd, Peter Lawford, Robert Wagner, Tommy
Sands, Fabian, Paul Anka, Curt Jurgens, Red Buttons,
Irina Demich, Robert Mitchum, Jeffrey Hunter, Eddie
Albert, Ray Danton, Henry Fonda, Edmond O'Brien,
Robert Ryan. Producer Darryl Zanuck. Directors Gerd
Oswald, Andrew Marton, Elmo Williams, Bernhard
Wicki, Ken Annakin. 180 min.

August

LASSIE'S GREAT ADVENTURE DeLuxe Color. June Lock-
hart, Jon Provost. Producer Robert A. Golden. Director
William Beaudine. Lassie and his master get lost in
Canadian Rockies. 103 min.

OF LOVE AND DESIRE DeLuxe Color. Merle Oberon,
Steve Cochran, Curt Jurgens. Producer Victor Stoloff.
director Richard Rush. Brother tries to break up sister's
romance. 97 min. 9/16/63.

September

CONDEMNED OF ALTONA. THE Sophia Loren, Maxi-
milian Schell, Fredric March, Robert Wagner. Producer
Carlo Ponti. Director Vittorio De Sica. Inspired by
Jean-Paul Sartre's stage success. 114 min. 9/16/63.

A FAREWELL TO ARMS. Re-release.

THE YOUNG SWINGERS CinemaScope. Rod Lauren.
Molly Bee. Producer-Director Maury Dexter. 71 min.

October

LEOPARD THE CinemaScope, DeLuxe Color. Burt Lan-
caster, Alain Delon, Claudia Cardinale. Producer Gof-
fredo Lombardo. Director Luchino Visconti. Based on
famous best-seller detailing disintegration of Italian
nobility. 165 min. 8/19/63.

MARILYN CinemaScope, DeLuxe Color. Screen clips
from Marilyn Monroe's films with narration by Rock
Hudson. 83 min.

THUNDER ISLAND Cinemascope. Gene Nelson. Fay
Spain. Producer-director Jack Leewood. Action drama.
65 min. 10/14/63.

November

TAKE HER, SHE'S MINE CinemaScope, DeLuxe Color.
James Stewart, Sandra Dee. Producer-Director Henry
Koster. Daughter's escapades at college cause comic
disturbance to father. 98 min. 10/14/63.

December

HARBOR LIGHTS CinemaScope. Kent Taylor, Jeff Mor-
row. Producer-Director Maury Dexter. Search for a pre-
cious jewel results in murder. 68 min.

MOVE OVER, DARLING CinemaScope, DeLuxe Color.
Doris Day, James Garner, Polly Bergen. Producers
Aaron Rosenberg, Martin Melcher. Director Michael
Gordon. Romantic comedy of man with two wives. 103
min. 12/9/63.

Coming

CLEOPATRA Todd-AO Color. Special handling. Elizabeth
Taylor, Richard Burton, Rex Harrison. Producer Walter
Wanger. Director Joseph Mankiewicz. Story of famous
queen. 221 min. 6/24/63.

MAN IN THE MIDDLE (Formerly The Winstone Affair)
CinemaScope. Robert Mitchum, France Nuyen. Pro-
ducer Walter Seltzer. Director Guy Hamilton. Army offi-
cer defends depraved murderer in name of justice.

SHOCK TREATMENT CinemaScope. Stuart Whitman,
Carol Lynley, Lauren Bacall. Producer Aaron Rosen-
berg. Director Denis Sanders. Actor searches for
murderer in mental institution.

THIRD SECRET, THE CinemaScope. Stephen Boyd,
Pamela Franklin, Jack Hawkins. Psychiatrist's death be-
lieved murder by patient and daughter.

UNITED ARTISTS

June

AMAZONS OF ROME Louis Jourdan. Sylvia Syms.

July

GREAT ESCAPE, THE Deluxe Color, Panavision. Steve
McQueen, James Garner, Richard Attenborough. Pro-
ducer-director John Sturges. Based on true prisoner of
war escape. 168 min. 4/15/63.

IRMA LA DOUCE Technicolor, Panavision. Jack Lem-
mon, Shirley MacLaine. Producer-director Billy Wilder.
Comedy about the "poules" of Paris, from the hit
Broadway play. 142 min. 6/10/63.

August

CARETAKERS, THE Robert Stack, Polly Bergen, Joan
Crawford. Producer-director Hall Bartlett. Drama
dealing with group therapy in a mental institution. 97
min. 8/19/63.

Film

BULLETIN — THIS IS YOUR PRODUCT

TOYS IN THE ATTIC Panavision. Dean Martin, Geral-
dine Page, Yvette Mimieux, Gene Tierney. Producer
Walter Mirisch. Director George Roy Hill. Screen
version ot Broadway play. 90 min. 7/8/63 .

September

LILIES OF THE FIELD Sidney Poitier, Litia Skala Pro-
ducer-director Ralph Nelson. Story of ex-GI and Ger-
man refugee nuns who build a chapel in the Arizona
desert. 94 min. 9/2/63.

October

JOHNNY COOL Henry Silva, Elizabeth Montgomery.
Producer-director William Asher. Chrislaw Productions.
Gangland melodrama. 101 min. 10/14/63.

MY SON, THE HERO Color. Pedro Armendariz, Jacque-
line Sassard. Producer Alexander Mnouchkine. Directed
by Doccio Tessari. Spoof on Gods and heroes. Ill min.
9/30/63.

STOLEN HOURS Color. Susan Hayward, Michael Craig,
Diane Baker. Mirisch-Barbican film presentation. Pro-
ducer Denis Holt. Directed by Daniel Petrie. Melo-
drama. 100 min. 10/14/63.

TWICE TOLD TALES Color. Vincent Price, Mari Blan-
chard. Producer Robert E. Kent. Director Sidney Salkow.
Based on famous stories of Nathaniel Hawthorne. Hor-
ror trilogy. 119 min. 10/28/63.

November

IT'S A MAD, MAD, MAD, MAD WORLD. Cinerama.
Technicolor. Spencer Tracy, Milton Berle, Sid Caesar,
Buddy Hackett, Ethel Merman, Mickey Rooney, Dick
Shawn, Phil Silvers, Terry-Thomas, Jonathan Winters.
Producer-director Stanley Kramer. Spectacular comedy.
192 min. I 1/25/63.

MCLINTOCK! Color. John Wayne, Maureen O'Hara,
Yvonne De Carlo, Patrick Wayne, Chill Wills, Jack
Kruschen. Comedy Western. Producer Michael Wayne.
Director Andrew V. McLaglen. Comedy about a man
who tamed a territory, but couldn't tame his family.
127 min. I 1/25/63.

December

KINGS OF THE SUN Color. Yul Brynner, George Cha-
kiris. Producer Lewis Rackmil. Director J. Lee Thomp-
son. Epic stcry of the struggle of the Morman civila-
zation for survival. A Mirisch Company Presentation.
108 min.

LADYBUG, LADYBUG Jane Connell, William Daniels.
Producer-director Frank Perry. Moving drama of false
nuclear attack warning on group of school children.
84 min.

January

CEREMONY, THE Laurence Harvey, Sara Miles, Robert
Walker, John Ireland. Producer-director Laurence Har-
vey. Suspense drama of a bank robber awaiting execu-
tion for a murder he did not commit. 105 min.

February

ONE MAN'S WAY Don Murray, Diana Hyland. Pro-
ducer Frank Ross. Director Denis Sanders. The inspira-
tional story of Dr. Norman Vincent Peale who went
from police reporter to "minister for millions."

Coming

FROM RUSSIA, WITH LOVE Sean Connery, Pedro
Armendaris. Adventure.

PERANG. Color. William Holden, Susannah York, Capu-
cine. Producer-director Lewis Gilbert.

PINK PANTHER, THE Technicolor. Technirama. David
Niven, Peter Sellers, Robert Wagner, Capucine, Claudia
Cardinale. Producer-director Blake Edwards.

REACH FOR THE STARS Don Murray, Diana Hyland.
Drama.

June

LIST OF ADRIAN MESSENGER. THE George C. Scott,
Dana Wynter, Clive Brook, Herbert Marshall. Producer
Edward Lewis. Director John Huston. Mystery. 98
min. 6/10/63.

SWORD OF LANCELOT I Formerly Lancelot and Guini-
vere) Technicolor. Panavision. Cornel Wilde, Jean
Wallace, Brian Aherne. Producers Cornel Wilde, Ber-
nard Luber. Director Wilde. Legendary tale of love and
betrayal. I 15 min. 5/13/63.

TAMMY AND THE DOCTOR Color. Sandra Dee, Peter
Fonda, MacDonald Carey. Producer Ross Hunter. Direc-
tor Harry Keller. Romantic comedy. 88 min. 5/13/63.

July

GATHERING OF EAGLES, A Color. Rock Hudson,
Mary Peach, Rod Taylor, Barry Sullivan, Leora Dana.
Producer Sy Bartlett. Director Delbert Mann. 116 min.

KING KONG VS. GODZILLA Color. Michael Keith,
Harry Holcomb, James Yagi. Producer John Beck.
Director Ray Montgomery. Thriller. 90 min. 6/10/63.

August

FREUD: SECRET PASSION (Formerly Freudl Mont-
gomery Clift, Susannah York. 120 min.

THRILL OF IT ALL, THE Color. Doris Day, James Gar-
nar, Arlene Francis. Producers Ross Hunter, Martin

Melecher. Director Norman Jewison. Romantic comedy.
108 min. 6/10/63.

TRAITORS, THE Patrick Allen, James Maxwell, Jac-
queline Ellis. Producer Jim O'Connolly. Director Robert
Tronson. 71 min.

September

KISS OF THE VAMPIRE E Color. Clifford Evans,

Edward Dcf.c.'T], Jennifer Daniels. Producer Anthony
Hinds. Director Don Sharpe. 88 min. 8/5/63.

October

FOR LOVE OR MONEY (Formerly Three Way Match)
Color. Kirk Douglas, Mitzi Gaynor, Gig Young, Thelma

Ritter, Julia Newmar, William Bendix, Leslie Parrish.
Producer Robert Arthur. Director Michael Gordon. 108
min. 8/5/63.

December

CHARADE Technicolor, Panavision. Cary Grant, Audrey
Hepburn, Walter Matthau, James Coburn. Producer-
Director Stanley Donen. Suspense, action and comedy.
I 14 min. 9/30/63.

February

DARK PURPOSE Technicolor. Shirley Jones, Rossano
Brazzi, George Sanders, Micheline Presle, Georgia
Moll. Producer Steve Barclay. Director George Mar-
shall.

MAN'S FAVORITE SPORT? Technicolor. Rock-Hudson,
Paula Prentiss, Maria Perchy. Producer-director How-
ard Hawks.

Coming

BEDTIME STORY (Formerly King of the Mountain)
Color. Marlon Brando, David Niven, Shirley Jones.
Producer Stanley Shapiro. Director Ralph Levy.

BRASS BOTTLE, THE Color. Tony Randall, Burl Ives,
Barbara Eden. Producer Robert Arthur. Director Harry
Keller.

CAPTAIN NEWMAN, M.D. Eastman Color. Gregory
Peck, Tony Curtis, Angie Dickinson, Bobby Darin, Eddie
Albert. Producer Robert Arthur. Director David Miller.
126 min. I l/l 1/63.

CHALK GARDEN, THE Technicolor. Deborah Kerr,
Hayley Mills, John Mills, Dame Edith Evans. Producer
Ross Hunter. Director Ronald Neame.

HE RIDES TALL (Formerly The Gun Hand) Tony Young,
Dan Duryea, Jo Morrow, Madlyn Rhue. Producer Gor-
don Kay. Director R. G. Springsteen.

HIDE AND SEEK Curt Jurgens, Ian Carmichael, Janet
Munro, Hugh Griffith. Producer Hal E. Chester. Director
Cy Endfield.

ISLAND OF THE BLUE DOLPHINS (Color) Celia Kaye,
George Kennedy. Producer Robert B. Radnitz. Director
James B. Clark.

IT'S ALL HAPPENING Eastman Color. Tommy Steel,
Michael Medwin, Angela Douglas, Jean Harvey. Pro-
ducer Norma Williams. Director Don Sharpe.

KITTEN WITH A WHIP Ann Margret, John Forsythe

LIVELY SET, THE James Darren.

RAIDERS, THE Eastman color. Robert Culp, Brian Keith,
Judi Meredith, James McMullan, Alfred Ryder.

RICHEST GIRL IN TOWN. THE Color. Sandra Dee,
Robert Goulet, Andy Williams, Maurice Chevalier.

SEND ME NO FLOWERS Color. Rock Hudson, Doris
Day, Tony Randall.

WILD AND WONDERFUL (Formerly Monsieur Cognac)
Color. Tony Curtis, Christine Kaufmann, Larry Storch,
Marty Ingles. Producer Harold Hecht. Director Michael
Anderson.

YOUNG AND WILLING Virginia Haskell, Paul Rogers,
Ian McShane. Producer Betty E. Box. Director Ralph
Thomas.

WARNER BROTHERS

June

BLACK GOLD Philip Carey, Diane McBain. Producer
Jim Barrett. Director Leslie H. Martinson. Drama of
Oklahoma oil-boom. 98 min.

July

PT 109 Technicolor, Panavision. Cliff Robertson. Pro-
ducer Bryan Foy. Director Leslie H. Martinson. Drama
of Lt. John F. Kennedy's naval adventures in World
War II. 140 min. 3/18/63.

SPENCER'S MOUNTAIN Technicolor. Henry Fonda,
Maureen O'Hara. Producer-director Delmer Daves.
Modern drama of a mountain family. 119 min. 3/4/63.

September

CASTILIAN, THE Panacolor. Cesar Romero, Frankie
Avalon, Tere Velasquez. Producer Sidney Pink. Direc-
tor Javier Seto. Epic story of the battles of the Span-
iards against the Moors. 129 min. 10/14/63.

WALL OF NOISE Suzanne Pleshette, Ty Hardin, Dor-
othy Provine. Producer, Joseph Landon. Director, Rich-
ard Wilson. Racetrack drama. 112 min. 8/19/63.

October

RAMPAGE. Technicolor. Robert Mitchum, Jack Hawk-
ins, Elsa Martinelli. Producer William Fadiman. Direc-
tor Phil Karlson. Adventure drama. 98 min. 8/19/63.

November

MARY, MARY Technicolor. Debbie Reynolds, Barry
Nelson. Producer-director Mervyn LeRoy. From the
Broadway comedy hit by Jean Kerr. 126 min. 9/16/63,

PALM SPRINGS WEEKEND Technicolor. Troy Donahue,
Connie Stevens, Ty Hardin. Producer Michael Hoey.
Director Norman Taurog. Drama of riotous holiday
weekend in California's desert resort. 100 min. I l/l 1/63.

January

MAN FROM GALVESTON, THE Jeffrey Hunter, Joanna
Moore. Producer Michael Meshakoff. Director William
Conrad. Western drama. 57 min.

4 FOR TEXAS Technicolor. Frank S'natra, Dean
Martin, Anita Ekberg, Ursula Andress. Producer-direc-
tor Robert Aldrich. Comedy western. 115 min.

February

AMERICA AMERICA. Stathis Giallelis. Producer-direc-
tor, Elia Kazan. Kazan's drama of a Greek immigrant
youth.

DEAD RINGER Bette Davis. Karl Maiden, Peter Law-
ford. Producer William H. Wright. Director Paul Hen-
reid. Miss Davis plays a dual role of twin sisters in
this shocker.

DR. CRIPPEN Donald Pleasence, James Robertson
Justice, Coral Browne, Producer John Clein. Director
Robert Lynn. Shocker.

Coming

ACT ONE George Hamilton, Jason Robards, Jr. Pro-
ducer-director Dore-Schary. Based on Moss Hart's best
selling autobiography.

CHEYENNE AUTUMN [Formerly The Long Flight) Spen-
cer Tracy, James Stewart, Richard Widmark, Carroll
Baker, Dolores Del Rio, Sal Mineo. Producer Bernard
Smith. Director John Ford. Super-adventure drama.

DISTANT TRUMPET. A Technicolor. Panavision. Troy
Donahue, Suzanne Pleshette, Diane McBain. Producer
William H. Wright. Director Raoul Walsh. Epic adven-
ture of Southwest.

ENSIGN PULVER (formerly Mister Pulver and the
Captain) Technicolor. Robert Walker, Burl Ives, Walter
Matthau, Millie Perkins, Tommy Sands. Producer-
director Joshua Logan, Comedy sequel to "Mister
Roberts".

GREAT RACE, THE Technicolor. Burt Lancaster, Jack
Lemmon, Lee Remick. Producer Martin Jurow. Director
Blake Edwards. Story of greatest around-the-world
automobile race of all time.

INCREDIBLE MR. LIMPET. THE Technicolor. Don Knotts,
Carole Cook. Producer John Rose. Director Arthur
Lubin. Combination live action-animation comedy with
music.

KISSES FOR MY PRESIDENT Fred MacMurray, Polly
Bergen. Producer-director Curtis Bernhardt. Original
comedy by Robert G. Kane.

MY FAIR LADY Technicolor-SuperPanavision 70. Audrey
Hepburn, Rex Harrison. Producer Jack L. Warner, Direc-
tor George Cukor.

OUT-OF-TOWNERS, THE Color. Glenn Ford, Geraldine
Page, Angela Lansbury. Producer Martin Manulis. Di-
rector Delbert Mann. Comedy-drama.

ROBIN AND THE 7 HOODS Technicolor-Panavision.
Frank Sinatra, Bing Crosby, Dean Martin, Sammy
Davis, Jr. Director Gordon Douglas.

YOUNGBLOOD HAWKE Suzanne Pleshette, James Fran-
ciscus. Producer-director Delmer Daves. From Herman
Wouk's best-selling novel.

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