Boxoffice (Jan-Mar 1963)

Opinions on Current Productions Feature reviews Symbol O denotes color; (g) CinemoScope; ® VistoVision; 0 Techniromo; ^ Other onomorphie processes. For story synopsis on each picture, see reverse side. Follow the Boys MGM (320) 95 Minutes Rel. March '63 A light-hearted follow-up to MGM’s 1960 hit, “Where the Boys Are,” this Lawrence Bachman production is made-to-order for teenage patrons and the myi'iad record fans who make up the largest portion of today’s moviegoers. Connie Francis, the pert singing star, and Paula Prentiss, who were in the earlier film, plus Russ Tamblyn and Janis Paige, will attract the younger set while the French Riviera backgrounds filmed in Panavision and color will be a treat to more jaded eyes. Director Richard Thorpe keeps the completely inconsequential plot spinning merrily with intermptions for four songs, including “Tonight’s the Night” and the title tune, which Connie delivers in her popular style. Miss Paige is an expert with a WIT comedy line and Dany Robin proves to be a lovely French “dish.” Of the four “boys,” all serving in the U.S. 6th Fleet, Richard Long is outstanding as a roving-eyed naval lieutenant, Tamblyn is an engaging youngster in his sailor uniform and Ron Randell makes a fine impression as a more mature Commander, who contributes the film’s rare serious moments. The attractive young players, the lush backgroimds, the chic gowns for the women and the songs add up to pleasing, light entertainment. Connie Francis, Russ Tamblyn, Paula Prentiss, Ron Randell, Dany Robin, Richard Long, Janis Paige. Spencer's Mountain "S ,, Warner Bros. (265) 119 Minutes Rel. July ’63 Delmer Daves, whose films about adolescent romances and family entanglements, “A Summer Place” and “Parrish,” were boxoffice triumphs for Warner Bros., now turns to a wholesome and heart-warming tale of modern-day Americana for a picture of sm’e-fire family appeal. With Henry Fonda and Maureen O’Hara topping the cast to play the parents of nine youngsters, this should be another Daves’ hit. Daves, who produced and directed, based his screenplay on the novel by Earl Hamner jr. and made the film amidst the scenic wonders of the snow-capped Grand Tetons of Wyoming. In addition to Fonda, as the homesteading father, and Miss O’Hara, as his attractive, resourceful wife, the family portrait includes the veteran Donald Crisp, excellent as the pioneer grandfather, and James MacArthur, as a grandson with college ambitions who falls in love with a city-bred girl. Amusing incidents are supplied by Wally Cox, as a timid preacher, while Virginia Gregg adds some noble sentiments as the boy’s high school teacher. The breath-taking Technicolor-Panavision photography and the fine Max Steiner musical score are definite assets. Henry Fonda, Maureen O’Hara, James MacArthur Mimsey Farmer, Donald Crisp, Wally Cox, Whit Bissel. The Trial S? Astor Pictures 118 Minutes Rel. Orson Welles’ picturization of Franz Kafka’s bitter impressionistic novel will be acclaimed by the seriousminded devotees of the art houses for its striking sui’realistic settings (comparable to the silent days “Cabinet of Dr. Caligari”) , its insight into totalitarianism and its incisive portrayals by Anthony Perkins, Romy Schneider, Jeanne Moreau and Welles, himself. At the same time, average, entertainment-minded moviegoers attracted by the Perkins name, will find the film grim, confusing and repetitious in the manner of “Last Year at Marienbad” — ^ and similar off-beat fare. This is strictly adult and lacks ^ mass appeal. Welles, who adapted and directed, as well as playing the role of a bed-ridden defense attorney, excels in all these departments without ever making his film either credible or enlightening. The boyish-looking Perkins gives a remarkable performance as a guiltless accused man; Welles and Akim Tamiroff etch realistically frightening characters; Miss Schneider is delightful as a sexy nurse, and Miss Moreau and Elsa Martinelli are excellent in sluttish roles. Madeleine Robinson and numerous European players add telling bits to a nightmarish parable. Produced by Yves Laplanche. Anthony Perkins, Romy Schneider, Orson Welles, Elsa Martinelli, Akim Tamiroff, Jeanne Moreau. The Small Hours Si Norman C. Chaitin 95 Minutes Rel. The talent responsible for this hard-hitting, no-holdsbarred study of a big city advertising agency executive on the “prowl” for emotional “kicks” only to learn that his own fences have long needed mending, may not be known, or, for that matter, recognized by the mass market. Yet, to their everlasting credit, they have pulled forth a dramatic coup, the likes of which could bring credit to a much higher-budgeted attraction. Triple threat talented Norman C. Chaitin — he wrote, produced iz. and directed — is responsible for a thought-provoking ^ Pa study of contemporary culture, mores and manners, and, significantly, he accomplishes his basic objectives, the story, to be sure, not for the junior matinee trade nor for the more impressionable minds on the adult level. New York, everybody’s home town, as the oft-repeated expression goes, is the setting in which Michael Ryan, as the ad man, plays out his basically tragic story, climaxed by the disclosure that his wife, Marilyn 'Thorson, has been dallying for other male favors. The Sheldon Rocklin photographic effects, particularly in the open, on the streets, are memorable. It is worthy of art theatre bookings and selected scheduling in metropolitan centers. Michael Ryan, Lorraine Avins, Henry Madden, Bryce Holman, Marilyn Thorson, Tony Madden. It's Hot in Paradise Pacemaker 86 Minutes Rel. Very much in the mold and manner of sensationalized themes that have gone on to resoundingly profitable engagements, particularly in the larger, metropolitan centers, this Gaston Hakim production, teaming the personable talents of Alex D’Arcy, whose raw, sensual virility will appeal to the distaff side of the audience, and a newcomer, Barbara Valentine, as cuddlesome and fetching as any “fresh” face on the international screen scene. Together, they bring to this Gaston Hakim production an esprit de corps refreshing and commendable indeed to behold. The story idea — a marooned talent man and seven beauties — has been set forth with better dramatic flair and incisiveness, true, but the audiences for which this Pacemaker Pictures-states rights attraction is obviously geared probably won’t find much over which to volubly quibble. The more impressionable minds — and the junior set shouldn’t be urged to plunk down the coin of the realm for admittance! — are the viewers to which the basic story plays best. TTie discriminating and intelligentsia no doubt would find man-sized holes in the -plotting pattern. The seven gals’ presence should do ) much to generate the much needed word-of-mouth campaign, since the starring names are admittedly not of marquee strength. Alex D’Arcy, Barbara Valentine. The Festival Girls Olympic Int’l-SR 72 Minutes Rel. Feb. ’63 This United American Films effort, shot entirely in English, can best be characterized as a novelty spoof on the by now venerable institution of international film festivals replete with beauteous babes and handsome heroes, all caught up in an obviously frenzied race for fame and fortune. While the leading players — notably Alex D’Arcy as a con man bent on producing a heftyfigure grossing motion picture and Barbara Valentine, as a gal who’d like nothing better than to cavort with the international society set against the glamorous background of a festival — aren’t known to any great extent. Miss Valentine, in particular, should be a talent to be heard from time and again within the immediate future. Hers is a countenance not unlike the internationally acclaimed and applauded Brigitte Bardot, and since there is footage skilfully entwined with the dramatic narrative on her fetching form, it’s a foregone conclusion that the action crowd will have found yet another new face over Fexa which to enthuse. The advertising campaign would be — ^9 best toned down in the more conservative situations, and the “No Children Admitted” sign should be displayed. Alex D’Arcy, Barbara Valentine, Scilla Gabel, Helga Liotta, Helma Vandenberg, Regina Seiffert. The reviews on these pages may be filed for future reference in ony of the following woys: (1) in ony stondard three*ring loose-leaf binder; (2) individually, by company. In any stondard 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 obtoined from Associoted Publications, 825 Von Brunt Blvd., Konsas City 24, Mo., for SI. 00, postn/*« poid. 2710 BOXOFFICE BookinGuide :: March 4, 1963 2709