Boxoffice (Oct-Dec 1963)

Feature reviews Symbol © denotes color; © CinemaScope; ® VistaVision; ® Techmrama; © other onamorphic processes. For story synopsis on each picture, see reverse side. Kings of the Sun 2Rat£ A“re °rama United Artists ( ) 108 Minutes Rel. Dec. ’63 A colorful and exciting adventure spectacle dealing with the ancient Mayan civilization, a period never before filmed, this Mirisch Co. presentation is ideal fare for the action enthusiasts and has Yul Brynner to attract the ladies and George Chakiris (of “West Side Story” fame) for the teenage fans. Magnificently filmed in Mexico in Panavision and De Luxe Color by producer Lewis J. Rackmil, the picture’s striking backgrounds and exotic headdresses and feathered costumes are always a treat for the eye and the battle scenes, in which swords, arrows and flaming weapons are used (there’s not a horse in the picture) , are realistic and thrilling. While the screenplay by Elliott Arnold and James Webb relies on some cliches and the romance is rather pallid, director J. Lee Thompson maintains interest throughout a picture in which pageantry and spectacle predominate. Yul Brynner, always at his best in costume roles, is impressive as an American Indian who tangles with the Mayans, and Richard Basehart, made up as a high priest, also turns in a convincing acting job. George Chakiris is weaklooking and merely adequate as the Mayan prince, but his many fans will probably remain loyal. Elmer Bernstein’s musical score is weird but effective. Yul Brynner, George Chakiris, Shirley Anne Field, Richard Basehart, Brad Dexter, Leo Gordon. The Comedy of Terrors ££ “j Farp““y American Int’l (819) 86 Minutes Rel. Jan. ’64 American International’s three masters of horror, Vincent Price, Peter Lorre and Boris Karloff, are joined by a fourth actor of fearsome, as well as Shakespearean, roles Basil Rathbone in this highly exploitable James H. Nicholson-Samuel Z. Arkoff production, a follow-up to ,n, their successful Edgar Allan Poe blockbusters. All four stars mugg outrageously and romp their merry way through a Richard Matheson screenplay, which accents comedy with almost no moments of actual terror, even if it does deal with two lazy, bungling funeral directors. The laughs are frequent as Price and Lorre try to dispose of their landlord, Rathbone, who is a victim of catalepsy and continues to awaken and rise from his coffin — all this is funny but never scary. Rathbone has an actor’s field day in which he spouts Shakespearean quotations in a declamatory fashion. Price is his usual suave self and Lorre bumbles about as a meek funeral assistant who is hopelessly in love with Price’s opera-shrieking wife, a role played to the ear-splitting hilt by Joyce Jameson. Karloff has little to do as a senile old man, but he is effective. And audiences will take delight in the appearance of Joe E. Brown. Also on hand is that famous cat, Rhubarb, who prowls about in menacing fashion. Jacques Tourneur directed. Vincent Price, Peter Lorre, Basil Rathbone, Boris Karloff, Joe E. Brown, Joyce Jameson, Paul Barsolow. The Three Lives of Thomasina Dram3©Fantasy Buena Vista ( ) 97 Minutes Rel. Feb. ’64 Walt Disney, who has long specialized in pictures about animals and children, has another beguiling and heartwarming live-action feature dealing with a cat that brings happiness, as well as a few tears, into the lives of some enchanting Scottish youngsters. Although the British players will mean little at the boxoffice, the Disney name, plus the best-selling novel by Paul Gallico, on which the film is based, will attract the youngsters and the millions of cat-lovers, if the theme is properly exploited. Directed by Don Chaffey and filmed in Technicolor against remarkably faithful Scottish backgrounds re-created in London’s Pinewood Studios, the picture tells its story through the eyes of Thomasina, a marmalade cat, that is the pet of the little daughter of a veterinary surgeon. Karen Dotrice, a seven-year-old blonde, does nicely but it is cute six-year-old Matthew Garber, who aI?d will win the hearts of all the ladies in the audience and ~ ' Vincent Winter, who won a special Academy Award in 1955 for his juvenile performance in “The Little Kidnappers,” is now a likable teenager. The adults include Patrick McGoohan, as the handsome widowed veterinary, and Susan Hampshire, as a lovely young healer, who supply the romantic element most capably. Patrick McGoohan, Susan Hampshire, Laurence Nai smith, Karen Dotrice, Vincent Winter, Jean Anderson. Cavalry Command “ Advent;e Drama Parade Pictures ( ) 80 Minutes Rel. Dec. 1, ’63 Riley Jackson and Robert Patrick have a “sleeper” here, which will make the top feature in any theatre. Set in the Spanish-American War period and photographed by capable Philippine production people in their own home island, this simple and interesting tale of one of America’s early army of occupation operations contains all the elements of a heavy-budgeted Technicolor adventure picture. Mixed with rough fights, love scenes with beautiful native villagers, conflicts between the suspicious townspeople and the small band of Army sergeants left to maintain order, is the authentic unspoiled locale of native Philippine villages and countryside, as a backdrop for the action film. A young actor of 8, Boy Planas, as the brother of the rebel loyalist captain, Pancho Magolona, provides an element of humor which is picked up easily by the capable performance of John Agar and Richard Arlen as tough Army sergeants. Eddie Infante plays a priest, who is the spokesman for the villagers scared by the idea of their village receiving the treatment accorded to them by Spaniards driven out. The story, screenplay and direction by Eddie Romero, and camera work by Felipe Sacdalan show great creativity and sensitivity. John Agar, Richard Arlen, Myron Healey, William Phipps, Alicia Vergel, Pancho Magolona, Eddie Infante. Square of Violence ^ War Drama MGM (329) 98 Minutes Rel. Nov. ’63 A stark, stirring World War II drama filmed in Yugoslavia by Leonardo Bercovici, this is far too grim for entertainment-minded audiences. Although Broderick Crawford is the only American name in the cast, Italy’s Valentina Cortesa and Sweden’s Bibi Andersson are familiar to art house devotees. Originally 114 minutes in length, the picture has recently been cut to 98 minutes, making it suitable for the supporting spot in many U.S. duals where it should be coupled with a lighter film, preferably a comedy. In the cutting, the character played by Anita Bjork has been eliminated. The original screenplay by Eric and Leonardo Bercovici is based on an actual World War II incident, in which an Italian patriot threw a bomb which killed 30 Nazi officers. In retaliation, the Nazis ordered 300 Italians to be shot in the town square if the bomb-thrower did not give himself up. Bercovici changed the locale of the film to Yugoslavia and used many native actors including Branko Plesa, who is outstanding as an arrogant Nazi officer. Naturally, there is no romantic interest and the picture ends tragically for almost everyone concerned. The English dubbing for the mostly-foreign actors is excellent but this type of fare might be better in a subtitled version. Broderick Crawford, Valentina Cortesa, Branko Plesa, Bibi Andersson, Viktor Starcic, Bert Sotlar. jj 0Q Alone Against Rome Medallion Pictures 100 Minutes Rel. Dec. ’63 This Atlantica production, in handsome Technicolor, can be sold as aggressively and imaginatively as anything previous within the sphere-and-scope of Roman spectacle, the local showman taking into certain consideration the appeal-and-allure of mighty legions thrashing about in vicious combat, coupled with a love story that’s inevitably resolved happily and heartily. Rossana Podesta, a lissome lovely, and Jeffries Lang, grim-countenanced leading man, do well indeed, and they’re provided spirited support by Philippe LeRoy, as the villain of the moment, in the guise of a Roman captain with far-from-honorable designs on Miss Podesta during occupation days and nights; Gabrial Tinti and Lucian Angelillo. Mario Vicaro produced and Herbert Wise directed, both hands admirably cognizant of the dramatic impact of Gasted Green’s novel, “The Gladiator.” The script, understandably, adheres most assiduously to predictable patterns, but the mass market for which this import, ably dubbed, has been geared will find little about matters, mood and manners to quibble. This type of film has met with a good audience responsiveness and this effort should attract patronage. Rossana Podesta, Jeffries Lang, Philippe LeRoy, ! Gabrial Tinti, Lucian Angelillo. Opinions on Current Productions 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. 2788 BOXOFFICE BookinGuide :: Dec. 16, 1963 2787