Boxoffice (Oct-Dec 1963)

Opinions on Current Productions Feature reviews Symbol © denotes color; © CinemaScope; ® VistaVision; ® Technirama; © other anamorphic processes. For story synopsis on each picture, see reverse side. Ratio: Mystery Comedy 1.85-1 © Universal ( ) 114 Minutes Rel. Jan. ’64 Universal has another sure-fire hit and winner of boxoffice honors such as were bestowed on “That Touch of Mink,” “Thrill of It All,” “Pillow Talk,” “Operation Petticoat” and others of the sophisticated type of comedy. “Charade” is a little different in that it integrates comedy with a deep, dark mystery and winds up with a wild chase through the Paris subway. Admittedly, there are some incongruities and illogical situations, but the chances are that the viewers will be having too good a time to notice them. Cary Grant is his usual suave self in a role that keeps the audience guessing as to whether he is a good guy or a bad guy. Audrey Hepburn, as a bewildered widow of a bumped-off man of mystery, is delightful and the rest of the cast has been well chosen. Filmed on location in Paris, there are some excellent background scenes, as well as some enchanting shots made in the French Alps. It was produced and directed by Stanley Donen who was responsible for a number of highly successful comedies, among them “Funny Face,” “Pajama Game,” and “Damn Yankees.” Based on a story by Peter Stone who also wrote the screenplay with Marc Behm, “Charade” is excellent entertainment. Cary Grant, Audrey Hepburn, Walter Matthau, James Coburn, George Kennedy, Ned Glass, Jacques Marin. Under the Yum Yum Tree 55 ®Comed© Columbia (Oil) 110 Minutes Rel. Nov. ’63 A gay and amusing light comedy in which pre-marital sex is discussed pro and con, yet the proceedings remain innocent, this Frederick Brisson-David Swift production is thoroughly entertaining fare for all ages. Jack Lemmon, strong marquee draw, plus Carol Lynley, Edie Adams and Imogene Coca, the latter two big stars of this new season’s TV programs, will insure strong grosses generally. Based on the Broadway stage hit by Lawrence Roman, the screenplay by Roman and Swift, who also directed, is as inconsequential as in the play but the laughs are frequent due to the lively portrayals by Lemmon, Miss Adams, Miss Coca and Paul Lynde. And, as the college girl who persuades her fellow-student, Dean Jones, to share an apartment in order to find out if they are psychologically suited for marriage, Miss Lynley has developed into a dazzling beauty with a fine comedy sense, while Jones is a likable romantic foil — a well-nigh perfect cast. Lemmon’s engaging style triumphs over his essentially annoying character, a predatory, prying landlord, who uses every subterfuge to ensnare his women. A pleasing title tune by Sammy Cahn and James Van Heusen is well sung by James Darren, still another selling point. Jack Lemmon, Carol Lynley, Dean Jones, Edie Adams, Paul Lynde, Imogene Coca, Robert Lansing. Cry of Battle Allied Artists (6307) 99 Minutes Rel. Sept. ’63 This is a skillfully handled story of the overnight transition of a sensitive, sheltered boy to manhood. The moving drama, produced by Joe Steinberg, is played against the brutal background of war. James MacArthur as the innocent boy is a convincing foil for Van Heflin, opportunist, murderer and rapist, who feels that war justifies and excuses his behavior. The boy’s education includes a forced sexual experience with a prostitute and later a tender love affair with a young Filipino girl, who attaches herself to the man who can feed her. Rita Moreno underplays this part beautifully, only hinting at her seething resentment and the tragedy of the situation faced by so many girls of her time. Since the startling opening scene of the story is in Manila, Dec. 8, 1941, and the courage of the Philippine people is inspiring and worthy of record, this could have been an excellent family picture as well as an educational must for history students. But the gore and, certainly, the shocking impact of the happy child, turned into screaming incoherence after an attack, limit it to adult viewers. Irving Lerner directed the powerful drama from Bernard Gordon’s screenplay, based on the novel “Fortress in the Rice.” Van Heflin, James MacArthur, Rita Moreno, Leopoldo Salcedo, Oscar Roncal, Vic Solyin, Liza Moreno. The Sword in the Stone Buena Vista (148) 75 Minutes Rel. Dec. ’63 in ‘ • S. Walt Disney has no peer in the field of animated fea aii | ' tures and his latest, based on the familiar King Arthur legend, is brimming with mirth, music and magic, as would any picture in which Merlin takes a leading part. In this superbly-animated film, Merlin, portrayed as an absent-minded old codger, is joined by an ugly old sorceress, the Mad Madam Mim, and the two fight a duel in which each changes into frightening animals — a hilarious climax which will delight old and young alike. As Disney’s first all-cartoon feature since “101 Dalmatians” early in 1961, this is, of course, ideal family fare, especially for the coming holiday season. Unlike the current “Sword of Lancelot” and the forthcoming “Camelot,” Arthur is shown as an engaging blond 12year-old, long before he becomes King of England. The story is based on the novel by T. H. White, first published in 1938. Of the six bright songs by Richard M. and Robert B. Sherman, “That’s What Makes the World Go Round,” shows hit possibilities. The voices employed include Sebastian Cabot, star of the TV series, “Checkmate,” and Rickie Sorenson, for the juvenile hero. Wolfgang Reitherman directed with Ken Anderson responsible for the art direction. As always, Technicolor adds the magic quality to another fine Disney animated feature. Johnny Cool 0r,ra United Artists (6319) 101 Minutes Rel. Oct. ’63 Henry Silva, a member of Frank Sinatra’s “rat pack,” who has been featured in “Sergeants 3” and “Oceans 11” with the star, makes a strong bid for stardom on his own with this rousing crime melodrama reminiscent of the gangster films which flourished in the 1930-40 period. Produced and directed by William Asher for Peter Lawford’s Chrislaw Productions, the cast includes two other pack members, Joey Bishop and Sammy Davis jr., both in vivid cameo roles, as well as the craggy faced Marc Lawrence, long familiar for Warner picture gangster parts. Heavily exploited for its cruelty and - killings, this should attract action devotees, although it’s too vicious and realistic for the kiddies. Another selling point is Elizabeth Montgomery, Robert’s daughter, who scores as the gangster’s wealthy girl friend. Mort Sahl of nightclub fame. Telly Savalas and oldtimers Robert Armstrong and Frank Albertson are other selling assets, but it is the evil-looking Silva who dominates the film as the ruthless killer who meets a violent end. The screenplay by Joseph Landon drags in too many characters (at least six are killed off by Silva) but Asher maintains interest to the startling fadeout. Except for a few humorous bits, this is grim fare. Henry Silva, Elizabeth Montgomery, Jim Backus, Marc Lawrence, Joey Bishop, Sammy Davis jr., Telly Savalas. Stark Fear Ellis Films 86 Minutes Ratio: 1.85-1 Rel. Psychological Drama A production threesome — consisting of writer Dwight V. Swain, director Ned Hockman and Joe E. Burke — can be credited here for an impressive study of contemporary psychological behavior, and while the more sensationalized selling, understandably, will lure the action-inclined crowds in the bigger cities, it can just as easily be sold as competently developed entertainment concerned with topical theme and resolvement. Moreover, it contains the considerable talents of Beverly Garland, a most capable actress who has been exposed extensively on the home tube (as witness CBS-TV’s top-rated “Perry Mason,” and prior to this, the “Medic” and “Decoy” series) . Skip Homeier, whose thespian beginnings go back to the memorable New York drama, “Tomorrow the World,” at the tender age of 13, deservedly, takes acting honors as a psychopath, honing the demanding role to razor sharp brilliance. Swain’s screenplay is not to be labeled conventional, nor is it to be characterized as something merely emulating the top-grossing theatrical .yWht films delving into the complexities of psychological abe, Ir normality. Lawrence V. Fisher was responsible for the accompanying score. Carl G. Stevenson served as the associate producer. Beverly Garland, Skip Homeier, Kenneth Tobey, Hannah Stone, George Clow, Paul Scovil. 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 Bivd., Kansas City 24, Mo., for $1.00, postage paid. 2770 BOXOFFICE BookinGuide :: Oct. 7, 1963 2769