Boxoffice (Apr-Jun 1961)

Opinions on Current Productions Feature reviews Symbol © denotes color; © CinemoScope; ® Vistovision; © Superscope; (g) Noturomo; (fi) Regolscope; © Techniroma. For story synopsis on each picture, see reverse side. Ferry to Hong Kong F 2“S’i ® ” itiTx 20th-Fox (110) 103 Minutes Rel. April '61 tre ci 'opor The magnificently filmed CinemaScope-De Luxe Color ) location backgrounds of the Hong Kong waterfront and -> harbor place this Rank Organization production a cut above the average action-adventure film. Orson Welles, whose broad portrayal of a blustering, pudgy ship's captain is almost a caricature, and Curt Jurgens have good marquee value and Sylvia Syms, recently in "The World of Suzie Wong," makes an attractive heroine. Even though based on an actual case, the story is wildly implausible and director Lewis Gilbert has permitted Welles to bluster to the extent that he gets many unintentional laughs. The screenplay by Gilbert and Vernon Harris, based on the novel by Simon Kent, is filled with action and excitement, including a typhoon which nearly sinks a crowded Hong Kong-toMacao ferry boat and an attack by pirates. Jurgens turns in a fine acting job as a drunken derelict in exile although his attraction for the ladylike schoolteacher played by Miss Syms is somewhat unbelievable. Noel Purcell, as always, is a standout as a lusty seaman with a wife and family in each port. Produced by George Maynard. Orson Welles, Curt Jurgens, Sylvia Syms, Noel Purcell, Jeremy Spenser, Margaret Withers, Ray Chiao. Two Loves F ££ MGM (117) 100 Minutes Rel. May '61 If it weren't for the magnitude of its cast and its lavish ., bek productional mountings, this somewhat-confusing sally into or°fij/ psychiatry and sociology could be considered a prime venture for booking into so-called art houses where habitual, discerning patrons have full appreciation of excellent acting and relish probing the hidden connotations of screenplays. But in view of its obvious high cost, the photoplay, to be profitable to those who fabricated it and those who exhibit, will have to depend upon rank-and-file patronage. It appears unlikely that such mass custom will be attracted following first runs for which the individual and collective popularity of its trio of stars should generate reasonable satisfactory business. It is apparent, therefore, that the best approach to merchandising lies in the stellar names — especially that of Shirley MacLaine — CinemaScope, MetroColor, title and unusual locale. Although it is a marked departure from anything she has previously undertaken, Miss MacLaine's performance is superior, as is that of Jack Hawkins. Laurence Harvey, in a difficult role, could be accused of overacting. The picture's physical aspects are superb, particularly the screen-filling photography of the New Zealand backgrounds. Julian Blaustein produced. Charles Walters directed. Shirley MacLaine, Laurence Harvey, Jack Hawkins, Nobu McCarthy, Ronald Long, Norah Howard. The Right Approach F J^-i “ 20th-Fox (127) 92 Minutes Rel. May '61 Adapted to the screen from the Garson Kanin play “The Live Wire," the offering serves to showcase the talents of Frankie Vaughan, Britain's top popular singer. Whether or not the carefully calculated vehicle will win over American audiences remains to be determined at the boxoffices, but there's no doubt that Frankie, despite his role in the film as an attractive but unsavory cad, will tote up his share of kudos as a screen personality to be reckoned with on both office, sides of the Atlantic. Exploitation possibilities are strong, topped by some sharp new tunes (notably the title song) ) which are bound to catch on with the young set and hence — get a plug from disc jockeys, and the marquee value of several cast names — Bing's eldest son, Gary, Sinatra's publicized romantic interest, Juliet Prowse, and beauteous, well-established Martha Hyer. All perform admirably and are up to the snappy dialog provided by scripters Fay and Michael Kanin, particularly veteran troupers Jane Withers and Jesse White, who deliver their comedy straight and fast. Direction by David Butler is smooth, with special attention to atmosphere and plausibility. Oscar Brodney produced. Juliet Prcwse, Frankie Vaughan, Martha Hyer, Gary Crosby, David McLean, Jesse White, Jane Withers. Master of the World F s‘i™0F",i" American Int'l (607) 104 Minutes Rel. June '61 Richly deserving of bookings and playing time not normally accorded AIP product is this engrossing, actionful sciencefiction drama, personally produced by company topper James H. Nicholson, and which goes forth as a James H. Nicholson-Samuel Z. Arkoff Production, the latter being executive vice-president of the outfit. True, it has to be classified as sci-fi, but from any perspective of evaluation it transcends the countless preceding quickies that have been made for that market. While there are no cast names of extraordinary brillance to theatre marquees, performances \ are universally sincere and praiseworthy. Topliner Vincent tIb*' Price is his characteristic suave, sinister and convincing self, and the role of the father is made to order for Henry Hull. Mary Webster and David Frankham are good in the romance department, and Charles Bronson is fine as the ultimate winner of Miss Webster's love. Other saleable assets are excellent StereoSonic sound, MagnaColor photography, a stirring musical score by Les Baxter — and, above all, the special effects. Richard Matheson's screenplay, fashioned from two Jules Verne's classics, is topnotch as is direction by William Witney. Vincent Price, Charles Bronson, Henry Hull, Mary Webster, David Frankham, Richard Harrison. Beyond All Limits A ISi """”e °”" Omat-Corp. 100 Minutes Rel. May '61 A clandestine affair figures importantly in this romantic drama played out against the Pacific Ocean along the remote Mexican coast. Jack Palance, a figure of first-rank importance to the action and adventure crowd; Pedro Armendariz and Maria Felix, two of Latin America's top stars, are other principals in the adaptation of the Vicente Blasco Ibanez novel, "Flor de Mayo." The story is concerned with Palance's return to the place of a former affair hoping to rekindle some spark in the heart of his former sweetheart Miss Felix. Undaunted by the fact that she's now the wife of his pal, Armendariz, wealthy shrimp fisherman, Palance schemes to engage Armendariz in illegal fishing activity, the while carrying on with Miss Felix. The momentary renewal of affections plunges these three people into a stream of circumstances, some anticipated, some dramatically strong and compelling. The picture is in Eastman Color, Gabriel Figueroa's photographic effects vividly capturing the bleak Mexican coastline. Ollallo Rubio jr. produced and Robert Gavaldon directed, from a screenplay by Edwin Blum and , Julien Silva. This is a Lester Braunstein-Howard Beck preseni ro) tation. '\2Jr Jack Palance, Maria Felix, Pedro Armendariz, Johnny Muzquiz, Paul Stewart, Carlo J. Montalban. The Steel Claw F T’ Warner Bros. (012) 96 Minutes Rel. May '61 Apparently the theatrical screen is due for a rash of photoplays made in the Philippines Islands and treating with the guerrilla warfare that accompanied and followed the Japanese invasion of those islands during World War II. This one is toplined and was produced, directed and collaboratively written by erstwhile sagebrush star George Montgomery, so he will have to take the raps for its frailties, which are far from few. His is the only name that will mean anything at all to American audiences, which indicates the film will have to be largely sold on the drawing power thereof, on the action in which the offering specializes and on Technicolor, the use of which on striking marine, mountain and jungle backgrounds probably is the photoplay's most outstanding asset. There seems to be no other exhibition niche than double bills where it will serve satisfactorily, if without distinction. Montgomery's performance is typically jut-jawed. The Filipino troupers are above average and most of them read their English lines surprisingly well and free of accent. There is, however, too much dialogue in Chick native tongue, which bilingual treatment will do nothinq ) to endear the vehicle to ticket buyers. George Montgomery, Charito Luna, Mario Barri, Paul Sorensen, Amelia De La Rama, Carmen Austin. 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. 2526 BOXOFFICE BookinGuide :: May 15, 1961 2525