Motion Picture Daily (Oct-Dec 1960)

4 Motion Picture Daily Wednesday, December 21, 19jj Ask Temporary Stay In S.F. 'Trust' Action Special to THE DAILY SAN FRANCISCO, Dec. 20. Plaintiffs in the two anti-trust suits against major distributors and exhibitor circuits in which triple damages of more than $2,000,000 dollars is sought in the fight to "break the Market Street monopoly" today had amended both Federal Court complaints to ask for a preliminary injunction to prohibit the defendents "from continuing to discriminate" against district theatres to benefit downtown first-run houses. Seven neighborhood exhibitors here have accused 10 major distributors and exhibition circuits of a "monopolistic conspiracy" dating back to 1933, and in the second suit A. J. Longtin, operator of the Encore Theatre, Sacramento, lists similar complaints against most of the same defendents, plus Buena Vista Film Distributing Corp., United California Theatres, Inc., and Blumenfeld Enterprises, Inc., the latter two being northern California's two major circuits. Joseph L. Alioto, attorney representing the plaintiff in both actions, also inserted in both suits the demand for a jury trial. Pepe TOA Report ( Continued from page 1 ) when the pre-'48s went en masse to tv. The TOA compilation reports 81 features sold by 20th Century-Fox to National Telefilm Associates, of which 27 were post-'48s and 54 pre'48s; 26, all post-'48, sold by United Artists to U.A. Associates; 110, all post'48s, sold by Warners to Creative Telefilms Artists; 30, all post'48s, sold by Lippert Films to NTA; 275 sold by Columbia (Screen Gems) to CBS-TV, of which 200 were post'48s, and 22 post'48s sold by Pine-Thomas to Colorama Features. "Many big pictures are included in these packages," TOA comments, "but of some reassurance to exhibitors is the fact that the film companies appear determined to avoid the 1953-'54 mistakes of mass-dumping of their post-1948 libraries. "More films will be sold to television but the numbers should be relatively small compared both to the film companies' total libraries and the demands of television." 'Misfits' Bookings ( Continued from page 1 ) of February, it was announced yesterday by William Heineman, United Artists vice president in charge of distribution, and Frank E. Taylor, producer of the film. The schedule includes the New York premiere in February of the Seven Arts Productions presention, at the Capitol. "The Misfits" also will open in England in February, and during the Easter holiday in other overseas situations. ■ _CONTINUED FROM PAGE 1 neverland of Hollywood, to some of Mexico's loveliest and most interesting spots and over to Las Vegas for long enough to break the bank at The Sands. Nevertheless, within those boundaries it catches up with 30 or more top names in the entertainment world, who play themselves in incidental roles well-integrated with the story. Dan Dailey and Shirley Jones are the co-stars of the George Sidney production, in color by Technicolor and photographed in Panavision, with special sequences in CinemaScope. Among its further resemblances to "80 Days" may be recorded its length-three hours and 15 minutes exclusive of intermission time-and its emphasis on comedy and romance in telling its tale. The picture has all the marks of good craftsmanship, in acting, in Sidney's production and direction, in photography and all other departments, including its music, to which contributions were made by such illustrious tunesmiths as Sammy Cahn, Roger Edens, Andre Previn, Dory Langdon, Hans Wittstatt, Johnny Green and Augustin Lara, and the strikingly staged choreography of Eugene Loring and Alex Romero. These are but to catalogue "Pepe's" more substantial assets, and they are numerous, and certainly should include the white stallion Don Juan, about whom much of the story revolves. Obviously, they add up to an important property and to theatre business of the same order. ALTHOUGH CANTINFLAS has been Mexico's most popular motion picture star for years, he was not well known to the American and world public prior to his appearance in "80 Days." It may be said without qualification that in this lengthy and often demanding role as "Pepe," the kind-hearted Mexican comedian proves himself a real trouper, always appearing to excellent advantage in the company of some of Hollywood's best known names-Crosby, Sinatra, Chevalier, Durante, Lawford, Lemmon, Dailey, Robinson and many others. He is sure to ingratiate himself with audiences of all ages and his trusting, sympathetic, good-natured, uncomplaining character is one that is well suited to family trade. His comedic style, ill-fitting yet not tramp-like garb, and his sense of aloneness, suggest a chaplinesque character with a south-of-the-border accent. Yet his style is less broad than was Chaplin's and, in the story of "Pepe," at least, the character is more innocently and forthrightly humorous than is the traditional Pagliacci, tears-beneath-the-smile performer's. But there is no mistake about it. Cantinflas emerges from this production as a warm, likeable comedian whom audiences will respond to as have those of his native land. This is of basic importance because Cantinflas is Pepe. AH else is the come-on. The story, by Leonard Spigelgass and Sonya Levien, based on a play by L. Bush-Fekete, with the screen play by Dorothy Kingsley and Claude Binyon, runs to standard plot lines. It has Cantinflas, as Pepe, following the horse, Don Juan, to Hollywood after it has been purchased in Mexico by Dailey. The latter plays a has-been Hollywood director, too fond of the bottle, who attempts a come-back by offering the stallion, which Edward G. Robinson, as a producer, is anxious to add to his stable, as an inducement to back a new picture. The horse is disconsolate and useless when separated from Pepe, so where one goes the other goes, too. Robinson distrusts Dailey and refuses to back the latter's picture. Meanwhile, Pepe has met and become a friend of Miss Jones's and wants to help her achieve success as a performer. He takes his savings to Las Vegas and wins a quarter of a million which he turns over to Dailey to start production on his film. SHOOTING SWITCHES to Mexico and Cantinflas falls in love with Miss Jones just as Dailey does, too. Miss Jones is attracted to Dailey but feels warm friendship for Cantinflas, which he misinterprets as romantic love. Dailey runs out of money before the picture is completed and, to refinance, sells Don Juan to Robinson. As Dailey 's picture is completed and Robinson pronounces it a success, Catinflas learns that Miss Jones and Dailey are in love and that Don Juan has been sold. As he reconciles himself to his romantic loss, a happy ending is achieved by the horse being presented to Cantinflas and the two being returned to Mexico, where Cantinflas glories in a wide variety of frisky colts sired by his stallion. Guest stars in addition to those already named include Michael Callan, Richard Conte, Bobby Darin, Sammy Davis, Jr., Zsa Zsa Gabor, Greer (Continued on page 6) IDA Honors Sherman At Campaign Dinnei Over 300 leaders of the amusemei industry gathered at the Waldorf A toria last night to pay tribute to Be: jamin Sherman, chairman of t; board, ABC Vending Corp., at a dli ner on behalf of Joint Defen Appeal. The dinner represented a mail event in the industry's campaign raise funds in support of hum; rights programs current with JD> two constituent agencies, the Ame; can Jewish Committee and the Anl Defamation League of B'nai Brit: This year, the JDA is seeking a nj tional total of $6,100,000 to sub dize programs designed to comb discriminatory practices and groi intolerances that threaten democrat freedoms. The highlight of the evening w; the presentation of the industry JDA Human Relations Award \ Sherman. A pioneer in the motion pi< ture industry before embarking c his present vending concessional! career, he was cited for his distil guished service record in civi< philanthropic and industry indeavor Principal speaker of the evenin was Arnold Forster, general couns of the Anti-Defamation League an national director of ADL's Civ Rights Division. Qualification Age ( Continued from page 1 ) years between ages of 60 and 6" This requirement now can be me in the years between 55 and 60 The age at which a retiree can star collecting benefits remains at 65. The annual election of officers wa held yesterday with Ted Leonard o Paramount succeeding IATSE inter national representative George Fla herty as chairman of the board. T Fredericks of Revue was elected vice chairman, Paul O'Brien of Cinetechnicians Local 789 was elected secretary and Hank Rohrbach of Laborers Local 724 was elected vice secretary The current year is the first in which pension payments have been made. As of Jan. 1, 1961, 826 pensioners will be receiving $95 per month plus retiree health and welfare benefits. Amount of the benefits was increased this year from $75 per month. Canada Roadshows ( Continued from page 1 ) month, there will be "Spartacus" at the Uptown, "Ben-Hur" at the University, an art film at Yvonne Taylor's Little Cinema, "Windjammer" at the Eglinton and "The Alamo" at the Tivoli. Longest running of the group is "Ben-Hur" which with its other engagement at the Alouette, Montreal, has grossed in the year it has been running, more than $500,000. Smallest of the operations is the 130-seats of the Little Cinema, which offers art pictures on a hardticket basis. Montreal has threehouses with hard-ticket policies.