Boxoffice (Apr-Jun 1962)

I Opinions on Current Productions ^EATUR[ REVIEWS Symbol O denotes color; © CinemoSeope; ® VistaVision; ® Superscope; ® Ponovision; Regalscope; (f) Techniromo. for story synopsis on co.-h picture, see reverse sioe. I T H’ Ratio; Adventure Drama r 2.55-1 © © 20th-Fox (210) 112 Minutes Rel. June '62 A suspenseful chase melodrama, photographed in De Luxe ,-E IX .iXyf Color and CinemaScope against actual European back ce J grounds, ranging from London, through Holland's canals to * Tangier and, finally, the shores of Palestine, has many of the exciting qualities of "Exodus," Stephen Boyd and Dolores Hart have fair marquee value but the subject and backgrounds shoulld be heavily exploited to attract action fans. The new title is better than 'The Inspector," title of Jan De Hortog's original novel, but neither gives a true indication of the picture's content. Produced by Mark Robson and well directed by Philip Dunne from a screenplay by Nelson Gidding, the picture maintains spectator interest by introducing various fascinating characters in the constantly changing picturesque locales. Several British character players contribute standout portrayals, particularly Leo McKern, as a gruff Dutch barge captain; Hugh Griffith, as a scheming renegade addicted to swatting bats with a tennis racket; Harry Andrews, os a colorful Arab gun-runner, and Donald Pleasence, os a mild-mannered British inspector. Boyd gives his customarily rugged and convincing portrayal, and Miss Hart is tremendously sympathetic and appealing as the victim of Nazi concentration camp atrocities. Stephen Boyd, Dolores Hart, Hugh Griffith, Leo McKern, Donald Pleasence, Harry Andrews, Marius Goring. Ride the High Country F "S"! ©“‘"© MGM (216) 94 Minutes Rel. May '62 . Those two stalwarts of cowboy pictures, Randolph Scott ^Tex:^ and Joel McCrea, each of whom has starred in a score of westerns, are teamed for the first time in a strong outdoors drama, magnificently filmed in CinemaScope and Metrocolor. The two veterans appropriately play mature cowboys, the still-handsome, grey-haired McCrea being especially effective as a former gunfighter now transporting a gold shipment, and the leathery Scott putting a touch of humor in his portrayal of a pitchman and drifter who plans to double-cross his old pal and steal the gold. For the teenage fccnis, who know McCrea and Scott mainly from their westerns shown on TV, the Richard E. Lyons production devotes considerable footage to a youthful romance between two personable newcomers, Marietta Hartley, as a tomboyish form girl who attracts Ronald Starr, playing Scott's hot-tempered young sidekick. The strictly action fans may find that the girl's runaway adventures slow up the early scenes but they lead into the colorful scenes in a lawless mining town, where a drunken brawl and fisticuffs end up in a rousing gun-battle climax. Edgar Buchanan contributes a fine bit as a drunken frontier judge. Directed by Sam Peckinpah from a story by N. B. Stone jr. Randolph Scott, Joel McCrea, Mariette Hartley, Ronald Starr, Edgar Buchanan, R. G. Armstrong, James Drury. That Touch of Mink A Univ.-Int'l (6216) 99 Minutes Rel. July '62 The team of Stanley Shapiro, Martin Melcher and Delbert Mann which turned out "Lover Come Back" was responsible for this highly amusing story of a naive girl from Upper Sandusky, Ohio, and a wealthy, pursuing male with dishonorable intentions. It is in the vein of "Lover Come Back" and "Pillow Talk" and as funny, but somewhat more risque, which may mean that where voluntary classification is in vogue, this will get a "not for children" reminder. As a money-maker, it should be in the bag. While Cory Grant and Hcef Doris Day get the star billings. Gig Young and Audrey 'li ^ Meadows steal a large portion of the scenes. The episodes ~ 1 are loaded with so many laughs that the viewer is likely to ignore the somewhat contrived and illogical situations. The fast pace is on a par with the above-mentioned pictures, which means that exhibitors hove a hilarious program to offer. Poncrvision and excellent Eastman Color ore plus factors and some of the Bermuda backgrounds are exquisite. The screenplay by Shapiro and Note Monaster hardly has a serious moment in it and Delbert Mann's direction captures the spirit of the story. Robert Arthur was the executive producer, while Shapiro and Meldher ore listed as producers. Cary Grant, Doris Day, Gig Young, Audrey Meadows, Alan Hewitt, John Astin, John McKee, Jan Burrell. The Miracle Worker F Si United Artists ( ) 106 Minutes Rel. June '62 While this film cannot contend with the "blockbusters" for theatre audience attention, it has an intense, classic quality which will moke it endure as one of the finest works of art in the history of motion pictures. Performances are powerful, with Anne Bancroft donating an outstanding tender piece of work, rarely equalled by any other female star, and little Patty Duke turning in an absolutely flawless portrayal of Helen Keller as a child. Additional bouquets go to Victor Jory for a magnificently contained performance as Miss , Keller's father, and to Inga Swenson for her sensitive portrayal of the mother. Accolades also are due producer Fred Coe, of Plcryfilms Productions, director Arthur Penn and author William Gibson, with a special bow to Ernest Caporros for his highly dramatic and effective photography, and to George Jenkins, whose art direction has created mood and period without being intrusive with his sets. This is by no means an "art house" picture and undoubtedly will ploy to extensive and responsive audiences in all media. A delicate musical background composed by Laurence Rosenthal adds materially to the overall excellent production. Anne Bancroft, Patty Duke, Victor Jory, Inga Swenson, Andrew Prine, John Carradine. ATasteoi Honey A Continental 100 Minutes Rel. May '62 A vivid and compelling slice of life among the working folk in a British industrial town, this faithful picturization of Shelagh Delaney's London and Broadway stage success is powerful adult fore, in every way the equal of Continental's previous top British releases, "Room at the Top" and "Saturday Night and Sunday Morning." Although lacking in familiar names for the marquee, the fame of the play, which just completed a U.S. tour; the exploitation value of the picture's four British Academy Awards and the sensitive portrayal of newcomer Rita Tushingham, make it strong art house fare which will build on critical acclaim and favorable word-of-mouth. The theme of a neglectful, loose-living mother, a teenage pregnancy and sympathetic treatment of homosexuality necessitate on “adults only" classification. However, Tony Richardson, who produced and directed, as well as collaborated on the screenplay, has handled these situations with feeling and good taste and secured standout debut portrayals for 19-yeor-old Miss Tushingham, who impresses as the finest screen discovery since Audrey Hepburn; J from Murray Melvin, who is both poignant and amusing os \ the lonely homosexual, and Paul Danquah, as a Negro sea man. Dora Bryan, Robert Stephens, Rita Tushingham, Murray Melvin, Paul Danquah, David Bolivar, Moira Kaye. 13 West Street F “ Columbia (626) 80 Minutes Rel. May '62 Average programmers dealing with teenage gong violence, much in demand a few years back and, accordingly, ground out by a variety of filmmakers, may seem a bit passe in this period of public interest in musicals, comedies and outerspace lore. And this 80-minute contribution Ladd Enterprises Production isn't likely to create any new calls for the old-time product. The screenolay, by Bernard C. Schoenfeld and Robert Presnell jr., is okay, with enough suspense to please the more avid hangers-on to the lost-youth-turned-bad cult. But performances are static (with the exception of Rod Steiger, who does well by his cop role), action is limited, and climaxes are too often foreseeable. Neighborhood theatres, however, may make a go of it with the names of Alan Ladd and Steiger to attract adult patrons, plus newcomer Michael Callon, who established himself with the young set in "Gidget Goes Hawaiian." Further exploitation value may be derived from the popularity of Leigh Brackett's novel, "The Tiger Among Us," on which the film is based. Tech\ nical credits are fine, with a properly eerie musical score by ) George Duning that adds to the production. William Bloom produced and Philip Leacock directed. Alan Ladd, Rod Steiger, Michael Callan, Dolores Dorn, Kenneth MacKenna, Margaret Hayes, Stanley Adams. 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 suppiy 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. 2630 BOXOFFICE BookinGuide :: May 14, 1962