Independent Exhibitors Film Bulletin (1958)

House Dn Haunted Hill" StuUM 'RdUU^ O O O Introduces "Emergo" gimmick, which should attract the thrill fans in droves. Film itself is good enough chiller, starring Vincent Price. A new screen device, Emergo, is introduced in this Allied Artists ghost-thriller, which was produced by William Castle and Robb White. At an appropriate point in the story, an illuminated skeleton emerges from behind the screen, is drawn by wire over the heads of the audience, and returns. As one previewing exhibitor was heard to remark, "It's a gimmick but it should pull them in." Emergo appears to be a one-shot gimmick, but with the right exploitation, it could turn this 75minute better than run-of-the-mill William Castle-Robb White production into a real money earner. Film opens effectively on a blank screen to the accompaniment of a blood-curdling series of screams before the Robb White script, directed by Castle, sets the scene in eccentric millionaire Vincent Price's mausoleum, perched atop a haunted hill. The suave host explains that he has invited a handful of diverse types — test pilot, woman columnist, office clerk, etc. — each to earn ten thousand dollars by spending, or rather lasting out the night, in his ghost-ridden domicile. E^■erytime things border on settling ino a humdrum, a head, hand, or holler intrudes until it all reaches a climax with the dangling skeleton via Emergo and a twist in the plot in which Price emerges triumphant over a faithless wife, Carol Ohmart. It seems that she had been plotting against him with one of the guests. Eerie theme music by Richard Kayne and Richard Loring gives this pitch to the thrill market an extra touch of flavor. Allied Artists. 75 minutes. Vincent Price. A William Castle-Robb White Production. Produced and directed by William Castle. "SaniB Came Running" ^U40t€44 ^aU^ O O O Top-drawer performances by Sinatra, Dean Martin, Shirley MacLaine lift slow-moving version of publicized best-seller. Frank Sinatra, Dean Martin, and Shirley MacLaine pro^ide a po\%erful marquee punch, as well as three spirited performances, to this Sol C. Siegel CinemaScope-Metrocolor production. However, "Some Came Running " is burdened with a slowmoving script by John Patrick and Arthur Sheekman, and Vincente Minnelli's snail-paced direction does little to make the M-G-M release the kind of entertainment the general public desires. While openings figure to be strong on the name values and the novel's fame, word-of-mouth in most cases will not be favorable. Based on the much-ballyhooed James Jones novel, nevertheless does capture the violent, animal-like restlessness of the hero, Dave Hirsh, played by Frank Sinatra, and the suffocating stuffiness of small town life. As a hard-drinking, skirtchasing, adventurer and recently discharged GI, who at some time between benders and brothels, has written two artistically successful novels, Sinatra gives a performance that soars and plunges with the spirits of his character. One would ne\ er guess that at the bottom of his well-traveled duffle bag lies his beloved Viking editions of Faulkner, Hemingway and Fitzgerald. As a drawlin', bourbon toten' gambler who admires Sinatra's talent for both writing and card playing. Dean Martin lends a restrained and sympathetic interpretation to the role of Bama Dillert. But top acting honors must go to Shirley MacLaine as the hip-swinging, good-hearted floozie, Ginny Moorhead, who is blindly in love with Sinatra but can't begin to understand him. In a supporting role, Martha Hyer brings to life the cardboard character of Gwen French, the prim, creative writing instructor Sinatra loves. Only Arthur Kennedy seems uncomfortable as Sinatra's older brother — a smug, comfortably settled merchant. It's not long before Sinatra, back in Parkman, Illinois, because it's the first place he ran away from, is disgracing his brother's carefully built name by getting mixed up in drunken brawls. To Kennedy's chagrin, Sinatra decides to remain in Parkman after falling in love with schoolmarm Hyer, who finds herself on the receiving end of Sinatra's advances everytime she tries to encourage him with his writing. At her every rebuff, Sinatra returns to the bottle, gambling, and the always willing Miss MacLaine. After Miss Hyer's final rejection, Sinatra impulsively marries the ebullient but ignorant Miss MacLaine. A few moments later, the deliriously happy bride is shot down by a jealous former boyfriend, after an exciting chase against a lush-colored carnival background in which Martin tries to head off the avenging ex-lover. Metro-Goldwyn-Mayer. 127 minutes. Frank Sinatra, Dean Martin Shirley MacLaine. Produced by Sol C. Siegel. Directed by Vincente Minnelll. "Tunka" ^cucHe44 IR^iUKf O O © Typical Disney boy-animal yarn. Well-produced in color. Will prove successful holiday attraction in mass market. Walt Disney's Buena Vista release, "Tonka," is a carefully made, artfully produced film, ideal for Disney's juvenile admirers, not bad for the parents. Quite simply, it is the story of a horse — the only member of Custer's U.S. 7th Cavalry, man or beast, to survive the battle of Little Big Horn. Thanks to a skilled directorial job by Lewis R. Foster, impressive scenes of horses and Indian life are blended into the story line without retarding the development of the plot. The screenplay by Mr. Foster and Lillie Hayward makes a point of explaining, through dialogue, Indian customs and standards while its presentation of the Indian as both good and bad, greedy and generous — just like the white man — is most refreshing. Equally refreshing is the portrayal of General Custer as a foolish, head-strong man who walked into Little Big Horn without orders and against the advice of his scouts. Tonka's story begins when the wild stallion is captured and lo\ingly trained by a young Sioux brave, Sal Mineo. Tribal privilege of rank forces Mineo to surrender the horse to an older cousin. But when the cousin mistreats the stallion, Mineo sets his beloved "Tonka" (meaning Great One) free. Next, Tonka becomes the property of an intelligent Army officer, Philip Carey, who appreciates a horse with lots of "heart". On a scouting mission, Mineo sneaks into Carey's fort and enjoys a brief reunion with his horse before being captured by the officer. Both find that they are united in their mutual admiration for the stallion and Carey saves Mineo from torture b)' General Custer who is persuaded to give the boy his freedom. Custer's Last Stand soon follows and of the U.S. forces, only Tonka is left alive. Carey is killed and Mineo, fighting on the Indian side, is wounded. Final scene shows Tonka being decorated and retired by the Army for bravery, never to be ridden again, except by his exercise boy, Mineo, who appears with wide grin in over-sized LI.S. private's uniform. The scenic Oregon background for Loyal Griggs' Technicolor riding and battle sequences give the picture an extra measure of appeal. Buena Vista I Walt Disneyl. 97 minutes. Sal Mineo. Produced by James Pratt. Directed by Lewis R. Foster. Page 22 Film BULLETIN December 22, l?58