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Frank Sinatra (left) and Maurice Chevalier get "Can-Can” off to a sparkling start with their rendition of Cole Porter’s "Montmart* ” Later, together, they sing the exceedingly popular "I Love Paris”, and "Live And There can be no doubt how Shirley Mac- Laine feels about her lawyer and lover, Sin- atra. She vainly tries to induce him to marry her, so, in an effort to make him jealous, she announces her engagement to Louis Jourdan. Shirley taunts Sinatra who accepts the gesture in a spirit of fun, while Chevalier ap- plauds. To get revenge on Sinatra she makes him temporary owner of her cafe, dances the can-can, and then has the place raided! Flanked by Shirley MacLaine (left) and Miss Prowse (right), Sinatra is undecided whether to respond to a toast. He sings six songs in this elaborate musical, including two with Miss MacLaine. He solos "It’s All Right With Me” and the smart "C’Est Magnifique!”. 44 SHIRLEY MACLAINE (left) AND NEWCOMER JULIET PROWSE (right) LEAD SPECTACULAR "CAN C P WHY "CAN CAN" EXHALTS TH : HOW COLE PORTER'S STAGE HIT HAS GAINED ENTERTAIN*! For this company “Can Can” represents an investment approximating $6,000,000. To insure the creation of “the greatest motion picture musical”, producer Jack Cummings spent months in negotiations to obtain the serv- ices of outstanding creative and histrionic talent. Based on the play by Abe Burrows and the music of Cole Porter, Cummings considered himself “lucky” to obtain, first, the services of Dorothy Kingsley and Charles Lederer to write the screen play; second, Walter Lang to direct it; third, choreographer Hermes Pan, cinematog- rapher William H. Daniels and, more important than all, as box office insurance, co-stars Frank Sinatra, Shirley MacLaine, Maurice Chevalier and Louis Jourdan. To further do justice to the Cole Porter-Abe Burrows’ stage success’ conversion to Todd-AO screen presentation, Cummings signed music spe- cialist Saul Chaplin as associate producer. Chaplin, on his own, wrote many popular songs, including “Bei Mir Bist Du Schoen” and “The Anni- versary Song”, won Academy Awards for collaborating in the scoring of “An American In Paris” and “Seven Brides For Seven Brothers”. Dorothy Kingsley adapted such successful vehicles as “Seven Brides For Seven Brothers”, “Kiss Me, Kate”, “Pal Joey” and others. Her col- laborator, Charles Lederer, an outst~..di acquired an imposing list of credits, too. Choreographer Hermes Pan created 1 capacity on “An Evening With Fred ta TV “spectacular”. He won also an A 3e “Damsel In Distress”. Other motion *,«ct came with “Kiss Me, Kate”, “Pal Joey”, The costumes worn by the players ii from hundreds of patrons at the pi< r< of Irene Sharaff, tops in her field, oi ta clothes for such stage successes as Roc^re Drum Song”, Leonard Bernstein’s “Cam Miss Sharaff’s outstanding achieveme by the costumes of the Can Can dar rs to make them as spectacular as pos£ le on the question of whether the Can C«A i reasoned that the Can Can as presented dance was standardized, might have be 1890’s, but is pretty tame in the eyes f