Independent Exhibitors Film Bulletin (1960)

"CinderFella" Satined* Rati*? O O O Jerry Lewis in mildly amusing reconstructed version of fairy tale. Should appeal to kiddies at Xmas. Jerry Lewis seems to roll on and on as a boxoffice attraction, so we must assume this mildly amusing updating and resexing of the "Cinderella" fairy tale will get its share of the prime Xmas holiday business. The perennially popular comedian has once again diluted his slapstick technique with gobs of syrupy sentimentality that never quite comes off. The plus factors in this Paramount release a'-e some of Lewis' familiar clowning plus a handsome Technicolor production boasting luxurious sets and a classy climactic formal ball presided over by Count Basie and his jazz band. On the other hand, writer-director Frank Tashlin has belabored the retelling of the fairy tale classic with an overly talky script. The talented supporting cast — Ed Wynn as the fairy godfather, Judith Anderson as the wicked stepmo:her, and Anna Maria Alberghetti as the lovely princess — do the best they can with the material at hand. After Lewis' father dies, he becomes a servant to Miss Anderson and her spoiled sons, Henry Silva and Robert Hutton. He takes their abuse with a smile, while constantly dreaming that his father is trying to tell him where his rightful inheritance is hidden. Miss Anderson would also like to know, since her extravagance is reducing them to paupers. When Miss Alberghetti arrives in Amc ica, Miss Anderson sees a way out of their financial difficulties by arranging a marriage between the princess and Hutton. Lewis is kept a prisoner during Miss Alberghetti's visit, but on the night of the ball, Wynn appears and turns Lewis' bicycle into a sleek, chauffeur-driven car and sends him off dressed like a prince. Lewis and Miss Alberghetti fall in love and Lewis loses his shoe while hurrying home before the midnight curfew. The ending has Lewis discovering the fortune and turning it over to Miss Anderson, Miss Alberghetti arriving with the shoe and proposing marriage to Lewis. Paramount. 91 minutes. Jerry Lewis, Ed Wynn, Judith Anderson. Produced by Jerry Lewis. Directed by Frank Tashlin. "The Big Deal on Madonna Street" SutiKCM, RcXtiK? O O O Rating for art market. Highly amusing Italian spoof of perfect crime like "Rififi". From Italy comes a hilarious spoof on the "Rififi"-type gangster film. With Vittorio Gassman heading a convincing cast comprised of some of the most bungling burglars yet to reach the screen, this warm and imaginative satire being released by United Motion Pictures should score solidly with art house patrons. If and when a dubbed version is released (N.Y. showing is with sub-titles), it should find plenty of bookings in the general market. Under Mario Monicelli's free-flowing direction, the schemes and failures, laughs and blunders of the:e likeable incompetents unfold at a mirth-a-minute pace. Much of "Big Deal's" humor stems from sight gags and the physical make-up of the plotting desperados, and the end result is 91minutes of rollicking entertainment. The screenplay concentrates on an abortive attempt by Gassman and friends to rob the sife of a smalltime jeweler. The would-be-thieves are not really criminals at heart; in fact, they're pretty nice people, and therein lies the film's charm. The entire cast turn in moving performances: Gassman, a handsome ex-boxer who filches the idea for the robbery from Memmo Carotenuto, leader of the L;ang serving time in jail; Renato Salvatori, youthful orphan who falls in love with the beautiful but sheltered sister of Tiberio Murgia, the hot-blooded Sicilian member of the gang; Marcello Mastroianni, whose baby-sitting chores while his wife is in jail interfere with his criminal aspirations; Carlo Pisacane, the wizened old man who can't keep his hands off other people's food; and famed Italian comic Toto, as the expert safecracker j who teaches them the ropes and then conveniently disappears. Everything goes wrong the night the plan is finally put intoj operation. Gassman's love for a young servant complicates the I entry into the house, Salvatori backs out altogether, Mastro-I ianni appears with his arm in a sling, the burglars make so much noise they could wake up the dead, and after hours of | work, they drill their way into the wrong room. United Motion Picture Organization, Inc. 91 minutes. Vittorio Gassman, Marcello Mastroianni, Toto. Produced by Franco Cristaldi-Lux Films. Directed by Mario Monicelll. "The Facts of Life" Gutitete Rati*? OOO Hope and Lucy in fun-filled farce about extra-marital affair. Laughs for the whole family. Strong attraction everywhere. Norman Panama and Melvin Frank have fashioned one of the year's big laugh hits on a theme that is usually treated for sensationalism in films — marital infidelity. With Bob Hope and Lucille Ball portraying two married neighbors who fall in love with each other after fifteen years of mutual indifference, the gags and farce flow fast and furious. The smash marquee appeal of the two stars, coupled with a hard-hitting promotional campaign by United Artists, portends strong boxoffice in all situations. Because the gay and witty Panama-Frank screenplay never allows anything really serious to happen and with Hope and Miss Ball continually fouling up their furtive plans in their own inimitable way, there will be no cries of protest from the hinterlands, just laughs. Both Hope and Miss Ball are profes sional funsters and they add a light and sympathetic touch to the situations that aren't out-and-out comedy. Frank's direction, is polished and fast-paced, milking the most out of each com plication before moving on to the next. Pleasant support is supplied by Ruth Hussey, Hope's children-centered wife, and Don De Fore, Miss Ball's playboy husband. Hope and Miss Ball end up alone together on a Mexican vacation when last minute developments force their respective mates to remain in California. A tender but uneventful love affair springs up. Back in California they try to pick up their normal routines, but find they cannot stand being separated. A drive-in movie rendezvous and a somewhat tipsy after-country-club-dance journey to a motel results only in hilarious confusion. Finally, Hope persuades Miss Ball to go away to Monterey with him. She agrees leaving De Fore a note telling him she wants a divorce. A leaky cabin and endless quarrels put their relationship back in it! proper perspective. Miss Ball returns in time to save her mar riage with De Fore, and Hope and Miss Hussey re-unite. BULLETIN Reviews provide the pertinent details and opinions to aid exhibitors in judging values of the new films Film BULLETIN November 28, I960