Independent Exhibitors Film Bulletin (1963)

"David and Lisa" 'Scuutete TZatiKQ O Q Plus Engrossing, provocatively filmed drama about two emotionally 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 filmmakers 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 supporting 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 metamorphosis 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 students. Then he is withdrawn from the school by his domineering mother (Neva Patterson) and his weakling father (Richard MacMurray), who cannot bear the boy's change.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 experience. 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 engrossing. Involved in this tension building drama about three egocentered 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 matron 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. Produced 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. Newcomer 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