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Spectacle, Scope and Excitement Underscore Potential for Sodom ’
THE LAVISH THRONE ROOM SET of "The Last Days of Sodom and Gomorrah" at the Titanus Studios in Rome is visited by Joseph E. Levine, president of Embassy Pictures. Flanking Levine are director Robert Aldrich, left, and executive producer Maurice Lodi-Fe. Seated at the table, from left, are stars Rossana Podesta, Pier Angeli, Stewart Granger, Anouk Aimee and Mitsuko. Filming in Rome and Morocco, the Embassy International Pictures-Titanus Films coproduction is in CinemaScope and Eastman Color.
By HENRY MANCHENELLI
The absolute need for top-quality pictures aimed at the broadest possible audience has never been more pronounced than it is today. The truly “big” pictures, the ones that capture the imagination and enthusiasm of the man in the street, are unfortunately few and far between. In the past decade there has been only a handful of such outstanding boxoffice attractions, though the exhibitors’ call for a continued supply has been loud and constant.
So, when a new giant comes along with all the makings of boxoffice with a capital B, loaded with the spectacle, scope and excitement of which top grosses and long-run engagements are made, it is an occasion for exhibitor rejoicing and optimism.
Joseph E. Levine’s Biblical spectacle, “The Last Days of Sodom and Gomorrah,” telling in human and epic terms the dramatic story of the destruction of the legendary cities, is being power-packed with all the sock selling qualities and built-in promotion values that have become Levine’s trademark.
Representing the producer-showman's most ambitious and expensive production to date, the $5,000,000 Eastman Color and CinemaScope attraction is headed by an international cast of players including Stewart Granger, Pier Angeli, Rossana Podesta, Stanley Baker and Anouk Aimee, and is being directed by Robert Aldrich on the desert locations of Morocco.
With the picture more than half completed, Aldrich is highly confident and optimistic about its boxoffice potential, basing his opinion on the footage he has seen, the performances of starring players
and the immediate impact a production of this size and scope, abounding in built-in selling and promotion values, is certain to have on exhibitors and audiences alike throughout the world.
“As never before,” the director states, “motion picture audiences are ripe, eager and waiting to support the big, truly outstanding entertainment spectacle that can only be provided by the widescreen of the movie theatre. Current boxoffice reports in America and in other markets of the world are ample evidence of the public’s
growing taste for quality movies on a big canvas,” according to Aldrich.
Exhibitors will be pleased to note that the boxoffice potential will be further enhanced by a $4, 000, 000-plus global promotion campaign, now in work and described, in Levine’s own words as “the biggest and most comprehensive Embassy Pictures has ever undertaken.” Coming from a man who has built an industry reputation on promises unstintingly fulfilled, these are indeed encouraging and heartening words for the nation’s theatremen.
Director Aldrich goes over a scene with Pier . . . and rehearses another in which Granger,
Angeli, as Stewart Granger looks on . . . Rossana Podesta and Miss Angeli appear.
BOXOFFICE :: June 19, 1961
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