Boxoffice (Jan-Mar 1962)

of Youth' Arthur L. Mayer to Lecture At Brandeis University BOSTON — Arthur L. Mayer, president of the Association of Importers and Distributors of Foreign Films, will give a series of ten weekly lectures at Brandeis University in Waltham as part of the University’s Adult Education Program, March 13 through May 15. Mayer’s ten weekly lectures will cover the rise of the motion picture from its invention as a seemingly inconsequential gadget to a mature art form and a major medium of entertainment, education and information. Each week he will devote a portion of the session to screenings of trend-setting films. These will include such classics as Sarah Bernhardt’s 1912 version of “Queen Elizabeth;” George Melies’ “A Trip to the Moon;” Edwin S. Porter’s “The Great Train Robbery;” D. W. Griffith’s “Lonely Villa,” “Crossroads of Life,” and “New York Hat;” Chaplin’s early short films; Eisenstein’s “Potemkin;” Lubitsch’s “Marriage Circle” and Flaherty’s “Moana.” Dore Schary, producer-author, and film historian Richard Griffith will be guest lecturers in the series. The lectures will be held on Tuesdays at 8 p.m. Standard Drive-In Tapes Cut Costs for Theatres KANSAS CITY — Automation, allowing production of standardized tape recordings for drive-ins in quantity, has cut the price of taped ads available from Mercury Advertising & Drive-In Theatre Recording Service here, according to company head Martin Stone. Price to theatre owners also has been cut, according to Stone, by favorable postal rates on packaged tapes, which are identified as educational material. Stone said formerly two-way postage might run as high as one dollar, where now tapes can be mailed for 18 cents. Mercury also provides special ad layouts, combination ad mats and sound track radio spots, shipping to all states and Canada. Mercury is located at 110 W. 18th St., here. Allied Artists to Release Two British-Made Films LOS ANGELES — Allied Artists announced that negotiations have been concluded with Anglo Amalgamated Films of London for the acquisition of U. S. rights to two features, “Payroll” and “The Frightened City,” both recently completed. “Payroll,” a suspense drama, stars Michael Craig, Francoise Prevost and William Lucas. “Frightened City,” an underworld yam, stars Herbert Lorn, John Gregson and Yvonne Romain. AA will release the films in late spring. To Shoot Final Episode for 'West' HOLLYWOOD — Early March has been scheduled as the starting date for filming on the fifth and final episode of MGMCinerama’s “How the West Was Won.” Debbie Reynolds and George Peppard head the cast of the final episode dealing with bringing of law and order to the Southwest. Bernard Smith is the producer. FEATURE REVIEW 'Sweet Bird Metro-Goldwyn-Mayer By FRANK LEYENDECKER ■pHE collaboration of writer-director Richard Brooks with playwright Tennessee Williams, whose combined efforts resulted in MGM’s smash hit of 1958, “Cat on a Hot Tin Roof,” has resulted in another cinematic triumph, searing, powerful and intensely dramatic and an unquestioned boxoffice blockbuster. The fact that the story deals with sex in its more-sordid aspects, as do most of Williams’ successful plays, enhances its audience appeal even if the film must be limited to adult moviegoers. Producer Pandro S. Berman, who worked with Brooks three times previously, starting with “Blackboard Jungle,” has given this the utmost in production values, including Cinemascope and Metrocolor, and insured its being acclaimed in the histrionic deoartment by casting the two original Broadway leads, Paul Newman and Geraldine Page, to recreate their scintillating portrayals, as well as Rip Torn and Madeleine Sherwood, to repeat their stage roles. Then, in a master casting stroke, he put Ed Begley in the role of the vicious, domineering political boss, a portrayal far more effective than that of the original stage actor. Both Miss Page, already nominated for the 1961 Academy Awards for her performance in another Williams picturization, “Summer and Smoke,” and Begley are certain to be nominated for next year’s Awards, while Newman also stands a good chance to be considered for the Oscar sweepstakes come spring of 1963. Brooks, who won an award for his “Elmer Gantry” screenplay last year, is another Oscar possibility— a strong list for critical accolades. Brooks’ brilliant screenplay for “Sweet Bird of Youth” has modified the shocking climax of Williams’ stage play to give a suggestion of a more-hopeful ending without destroying the force of the emotionally gripping story. It is a tale of two refugees "SWEET BIRD OF YOUTH" Metro-Goldwyn-Mayer In CinemaScope and Metrocolor Ratio: 2.55-1 Running time: 120 minutes CREDITS Produced' by Pandro S. Berman. Written for the screen and directed by Richard Brooks. Based on the play by Tennessee Williams as presented on the stage by Cheryl Crawford. Orchestra conducted by Robert Armbruster. Music supervisor, Harold Gelman. Director of photography, Milton Krasner, A.S.C. Art direction, George W. Davis and Urie McCleary. Set decoration, Henry Grace, Hugh Hunt. Color con sultant, Charles K. Hagedorn. Special visual effects, Lee LeBlanc. Film editor, Henry Berman. Costumes by Orry-Kelly. Makeup by William Tuttle. Photographic lenses by Panavision. A Roxbury Production. THE CAST Chance Wayne Paul Newman Alexandra Del Lago Geraldine Page Heavenly Finley Shirley Knight "Boss" Finley Ed Begley Thomas J. Finley jr Rip Torn Aunt Nonnie Mildred Dunnock Miss Lucy Madeleine Sherwood Dr. George Scudder Philip Abbott Scotty Corey Allen Bud Barry Cahill Dan Hatcher Dub Taylor Ben Jackson Barry Atwater and James Douglas, Charles Arnt, Dorothy Konrad, James Chandler, Mike Steen, Kelly Thordsen. Paul Newman and Geraldine Page in a scene from “Sweet Bird of Youth.” from Hollywood, one a has-been female star, the other a fame-seeking opportunistic bit player, during their fateful day in a boss-ridden southern town. The several flashbacks showing studio filming and the shrieking excitement of a Hollywood sneak preview add to the picture’s interest for movie-minded patrons, particularly the more-adult teenagers. Because of the several revealing bedroom sequences, which show the heroine drinking heavily and indulging in hashish smoking, the younger kids should be barred. Miss Page, whose flaming red wig and voluptuous appearance is in striking contrast to her mousey blonde spinster of “Summer and Smoke,” gives an intense portrayal of an emotionally unstable woman unable to cope with suspected failure, and Newman is equally fine as the handsome hanger-on who has been defeated both in love and fame. Also recreating their stage roles are Rip Torn, who plays the hate-consumed weakling son of the political boss in strong fashion and Madeleine Sherwood, remembered from “Cat on a Hot Tin Roof,” who is extremely effective in her role of Miss Lucy, the cheap little mistress of the boss. Outstanding among the players who were not in the stage cast is Begley, whose dynamic portrayal as the violent, domineering political boss of a small southern community will be long remembered by moviegoers. Excellent, too, is Mildred Dunnock, who makes the role of Aunt Nonnie far more important and sympathetic than did the actress on Broadway. These two performers are an instance of how top players can enhance the value of smaller roles in an important film. Shirley Knight, Academy Award nominee last year for her role in “The Dark at the Top of the Stairs,” is appropriately named “Heavenly,” the lovely southern belle whose father prevents her from marrying the hero, and Philip Abbott and Barry Atwater are excellent in lesser roles. The sets, the musical score and the camerawork are all first rate with special praise for the special visual effects by Lee LeBlanc — many of them projected on the side of the screen as memory flashbacks. Although 1962 is only two months old, MGM’s “Sweet Bird of Youth” is certain to be one of the ten best of the year — one with sure-fire boxoffice appeal. BOXOFFICE :: March 5, 1962 13