Boxoffice (Jan-Mar 1961)

Opinions on Current Productions Feature reviews Symbol © denotes color; © CinemoScope; ® Vlstovision; (§) Superscope; (K Noturomo; © Re^olsoope; ® Technlromo. For story synopsis on eoch picture, see reverse side. One-Eyed Jacks F Paramount ( ) 141 Minutes Rel. May '61 Tib. Marlon Brando has always selected and spaced his film in? roles so that each new appearance becomes an event and this long-awaited picture, his first producing-directing-acting chore, has been widely publicized and emerges as a power ) ful, turbulent and engrossing outdoor-action epic, well dinds'' rected, magnificently photographed and splendidly acted. The Brando want-to-see potential will be greatly enhanced by Paramount's "audience convenience'' policy to make it a boxoffice smash, comparable or greater than "Psycho.'' In addition to Brando's fine directing and acting job, the film's outstanding assets, both likely to win Academy Award consideration, are Charles Lang's rarely surpassed outdoor photography, which creates breath-taking Technicolor vistas of the rocky Lower California seacoast, and the remarkable debut performance of Pina Pellicer, the Mexican actress who gives a touching portrayal of the innocent young heroine. The star's penetrating and perceptive performance is forceful enough to appeal to male patrons, yet with tender moments to touch the hearts of feminine fans. His direction also rates high praise. Frank P. Rosenberg produced and George Glass and Walter Seltzer were executive producers for Brando's Pennebaker Productions. Marlon Brando, Karl Malden, Katy Jurado, Pina Pellicer, Ben Johnson, Larry Duran, Slim Pickens, Timothy Carey. The Secret Ways F Univ.-Int'l ( ) 112 Minutes Rel. Playing it across the boards for suspense and excitement, producer-star Richard Widmark and director Phil Karlson mditv inculcated action until it will run out of spectators' ears in Y °py this Europe-localed spy melodrama. The fact that there is ar~ never a dull moment and the established marquee voltage of the Widmark name should prove the two principal ingredients in attracting customers. Widmark's performance is characteristically convincing, although he absorbs more punishment than is usually the lot of the most tortured celluloid adventurers; and it is doubtful that any previous photoplay could boast more hair-raising chases than are herein evident. The remainder of the cast is largely Austrian — it was in their native land that most of the photography was exposed — but most performances are good. In fact, a few — especially the one contributed by youthful Sonja Zieman — are praiseworthy. Audiences will have to pay close attention to follow the somewhat confusing story, but once they determine who are the goodies and who the baddies they will sit on the edges of their seats observing the whirlwind climactic sequences. Another plus value lies in the backgrounds which take full photographic advantage of the architectural impressiveness of ancient Vienna. Richard Widmark, Sonja Zieman, Charles Regnier, Walter Rilla, Howard Vernon, Senta Berger, Heinz Moog. All in a Night's Work F “-i T’ Paramount (6010) 94 Minutes Rel. Apr. '61 What might have been just another diverting comedy is elevated to superior status by an excellent performance by versatile Shirley MacLaine and one of nearly comparable praiseworthiness by her fellow star Dean Martin. For those seeking unadulterated escapist fare — and that's a majority of ticket-buyers these days — the picture will prove entirely satisfactory and generate the favorable word-o'-mouth to assure profitable bookings. Moreover, there is plenty into which the showman can sink his exploitation molars — the eigr, proven MacLaine-Martin team, brilliant Technicolor photog sentc raphy and the expectedly lush productional mountings with which Hal Wallis endowed the offering. The supporting cast is generally good. If special mention is the due of anyaCA.j member thereof it must go to Cliff Robertson whose name, incidentally, is not entirely lacking in marquee worth. The hypercritical who subject the screenplay to miscroscopic analysis may opine — and with some justification — that its single, lad-meets-lassie, misplaced-suspicion thread is drawn too thin to support so much acting. But such possible criticism will mean nothing to average theatregoers who come to laugh and laugh — even at occasional slapstick — and will not be disappointed. Joseph Anthony directed. Dean Martin, Shirley MacLaine, Cliff Robertson, Charles Ruggles, Norma Crane, Jerome Cowan, Gale Gordon. Look in Any Window F “ Allied Artists (6101) 87 Minutes Rel. Jan. '61 Exhibitors of this New Films Co. feature, undoubtedly, will be looking into their boxoffice windows in high glee, for cash registers should ring up profitable returns wherever it is shown. In teenage jargon, this one's got it made. And for many reasons, not the least of which is the current drawing power of bluejean idol Paul Anka, the film's topliner. Young Anka herein has opportunity to prove that his talents include more than a singing voice, and he makes the most of the ^ histrionic challenge. Other plusses are the ever-pop^lar All $ juvenile delinquency theme with a liberal dash of suspense r.,la* added, some solidly delivered performances by "older" thespians Ruth Roman, Jack Cassidy and Carol Mathews, and, again for the younger set's delight, the appearance of Gigi Perreau as Paul's romantic interest. For the adults, there's plenty of attraction in the subtheme of marital infidelity, intrigue and excitement that underlies the main storyline. Coproduced by William Alland and Laurence E. Mascott, Alland is also responsible for the smooth direction. Paul Anka, Ruth Roman, Alex Nicol, Gigi Perreau, Carole Mathews, George Dolenz, Jack Cassidy. Terror of the Tongs F Columbia (530) 80 Minutes Rel. March '61 As a rip-roaring, old-fashioned melodrama of the days when tongs ruled Hong Kong in the early 1900s, this latest Hammer Film production is first-rate action fare, lacking in marquee names but with a strong title and exploitable angles so that it can top the bill in most situations, especially where gory thrillers are favored. Only the hatchet killings may be a bit too shuddery for the kiddies. Christopher Lee, a Hammer Films regular ("Curse of Frankenstein," "Horror of Dracula," "The Mummy," etc.) will be familiar to horror devotees and again he is effectively suave and evil in Mandarin makeup while Yvonne Monlaur, recently in AIP's "Circus of Horrors," is sympathetic and strikingly beautiful as an Eurasian bond slave who dies by the hatchet. However, their names and that of Geoffrey Toone, who is convincing as the middle-aged merchant seaman hero, will mean less at the boxoffice than the title and theme. Well produced by Kenneth Hyman with Eastman Color adding immeasurably to the period settings and costumes. And Anthony Bushell, former British actor, has persuaded his War actors to play Jimmy Songster's lurid tale absolutely r*' straight, as it should be. Michael Carreras, listed as execu tive producer, certainly has the right formula for film thrillers. lor 1 Christopher Lee, Yvonne Monlaur, Geoffrey Toone, Marne 1 Maitland, Brian Worth, Ewen Solon, Marie Burke. Hippodrome F ££; Ac“V”* Continental 96 Minutes Rel. March '61 The colorful and thrill-packed background of a European traveling circus makes for a highly exploitable picture which should be a smash in saturation bookings, as were the various "Hercules" and similar costume spectacles from abroad. Produced and directed by Arthur Maria Rabenalt in Germany for Sascha-Film and Lux-Film, the picture has been expertly dubbed into English and retitled "Hippodrome," a name synonymous with big spectacles for most Americans. Although the German players are unknown here, Gerhard Riedmann makes a ruggedly handsome tiger trainer with an appeal to feminine fans and Margit Nunke is attractive and graceful as the heroine who fearlessly dances inside the tiger cage. Splendidly photographed in Eastman Color, the sometimes glittering, sometime tawdry atmosphere is realistically created and includes deathdefying animal acts, a heart-warming sequence dealing with a drunken clown who makes a triumphant comeback when teamed with his motherless son, and a suspenseful sharp-shooting routine in which a girl assistant's earrings and clothes are shot off — a strip act which might startle the _ne. kiddies. But it's sure-fire for average audiences. Walter Giller, oltag. and Mady Rahl also contribute fine performances. Gerhard Riedmann, Margit Nunke, Willy Birgel, Walter Giller, Mady Rahl, Fred Bertelmann, Ljuba Welitsch. The reviews on these pages may be filed for future reference in any of the following ways; (1) in any standard three-ring loose-leaf binder; (2) individually, by company, in any standard 3x5 card index file; or (3) in the BOXOFFICE PICTURE GUIDE three-ring, pocket-size binder. The latter, including a year's supply of booking and daily business record sheets, may be obtained from Associated Publications, 825 Van Brunt Blvd., Kansas City 24, Mo., for $1.00, postage paid. 2514 BOXOFFICE BookinGuide :: March 27, 1961 2513