Independent Exhibitors Film Bulletin (1962)

"That Touch of Mink" Su4Ue44 TZatiHf O O © Grant and Day give lightweight farce powerful marquee value. Strong grosser for metropolitan market. Handsome production. The commercial ingredients are here — especially in the marquee value of Cary Grant and Doris Day — for another Universal fun hit, but farce is no "Lover Come Back" or "Pillow Talk" in terms of original, clever, amusing comedy. Nevertheless, loaded with slapstick and suggestive dialogue and situations, running the range from exciting Manhattan to romantic Bermuda, and decked out in beautiful clothes and lavish sets, "That Touch of Mink" leaves little question as to its boxoffice potential in metropolitan areas. With two of filmland's most popular personalities in the leads, audiences will be enticed to come in, and once in, they will get generous servings of racy complications and risque innuendoes, if not much real wit. Delbert Mann has directed all of this nonsense with more of an eye for pace than deft comic touch. Grant and Miss Day give their familiar, slick performances. He is all suaveness and charm as the successful and handsome bachelor intent on maintaining his free-lance romantic status. His high point comes when he races out of New York's Athletic Club wrapped only in a towel to "rescue" Miss Day from a lecherous unemployment office suitor. She amusingly retains her small town "good girl" composure even after she's been presented with one of the most expensive minks in captivity. She comes off well in her big scene when, after finally deciding to give in to Grant in Bermuda, she drinks herself into silliness while trying to build up courage. First-rate support is supplied by Gig Young, Grant's psychoanalyst-bound financial advisor; Audrey Meadows, Miss Day's Automat-worker roommate; and John Astin, the "creepiest" of unemployment office clerks. The Stanley Shapiro (he co-produced with Martin Melcher)-Nate Monaster screenplay finds Miss Day and Grant starting out their relationship on a platonic basis. She nervously agrees to go to Bermuda with him, but she breaks out in a nervous rash their first night there, and Grant reconciles himself by sleeping in the next room. They return to New York the following day. Miss Day, irked with herself because of the unsophisticated panic that brought on her ailment, flies back to Bermuda, phones Grant and begs him to join her. Grant arrives to find her roaring drunk and the trip number two ends in failure. Back in New York, Young, suspecting that Grant really loves Miss Day, suggests Miss Day go to a motel with Astin. Young will then tell Grant, Grant will give chase, and all will end well. After a number of slapstick hurdles are overcome, Grant "rescues" Miss Day and proposes marriage. Back in Bermuda for their bridal night, Grant suffers an attack of nerves, and this time he breaks out in spots. But we know all soon will be right. Universal-International. 99 minutes. Cary Grant, Doris Day, Gig Young. Produced by Stanley Shapiro and Martin Melcher. Directed by Delbert Mann. "Bon Voyage" SW*€44 'Ratu? O O O Disney turns out another lively, hectic family comedy that will delight all ages. Technicolor. Big grosser. Bravo, Walt Disney, you've done it again. A sparkling, hilarious, thoroughly enjoyable live-action comedy about the misadventures of an average American family finally taking that long planned for holiday in France. One of the best family attractions to come along in some time, this Buena Vista release will roll up big grosses in all Disney-prone situations. It boasts a bright and talented cast consisting of Fred MacMurray, Jane Wyman, Michael Callan, Deborah ("Gidget Goes Hawaiian") Walley, Tommy Kirk and little Kevin Corcoran; handsome Technicolor wrapping utilizing the locales of the luxury line i SS United States, the boulevards of Paris, and the sun drenched beaches of the French Riviera (William Snyder' I shots of Paris are enough to make us all run to the near travel agency); and a series of harmless complications wi which each and every member of the audience will find sym pathy. Director James Neilson plays it strictly for laughs froir the opening champagne farewell party aboard ship, througr the various shipboard activities (romantic and athletic) at sea a frantic cab ride down the Champs Elysees, a trip through the sewers of Paris, to the climactic Bastille Day celebratior in the streets along the Riviera. Although some of the 1 30-i minutes running time could be eliminated without hurting thj story, "Bon Voyage" still emerges one gay and lively cinematic lark. MacMurray is at his professional best as "dead old Dad,,: guiding his family on their first European jaunt, while Miss Wyman lends vivaciousness and charm as his shopping-spree happy wife. Miss Walley is appropriately love-smitten as theit daughter, and Callan is good as the playboy architect she falls in love with. Kirk plays to the hilt the teen-age son who sows his wild oats in Paris complete with beret and mustache, and Corcoran is the typical always-in-hot-water youngster who manages to lose MacMurray in the Parisian sewers. Bill Walsh's screenplay, based on the book by Marrijane and Joseph Hayes, finds MacMurray growing more and more disturbed over the romance between Walley and Callan, especially since the latter isn't at all interested in marriage. On the Riviera MacMurray and Miss Walley help Callan see the error of his wastrel ways, and in the luxurious casino MacMurray flattens gigolo Ivan Desny when he makes a play for Miss Wyman. As they head back for Terre Haute the family find themselves a little wiser in all ways. Buena Vista. A Walt Disney Production. 130 minutes. Fred MacMurray, Jane Wyman, Michael Callan, Deborah Walley, Tommy Kirk, Kevin Corcoran. Directed by James Neilson. bamar Mild action entry, with Geo. Montgomery, for duals. George Montgomery touches all bases as producer, director, star and co-author of this Warner Bros, release. Set in the Philippines of 1870, mounted in Technicolor and dealing with a jungle trek to freedom to escape Spanish oppression, "Samar" is a fairly exciting adventure that will serve as a dualler in the action market. The location lensing adds the appropriate flavor, and an impressive array of danger-filled handicaps pop up during the 89-minutes running time — head-hunters, typhoons, fever and an epic climb up the 1000-foot cliffs of Samar's mountains. Montgomery portrays a soldier of fortunedoctor assigned to Samar's penal colony for Philippine political prisoners. Gilbert Roland is the kindly island head who decides to lead his people on the perilous journey to the legendary lost city of Sierra de Oro. Ziva Rodaan displays her sexy all as the illegitimate daughter of a Spanish official now turned prostitute, and Joan O'Brien is Roland's wife. Nico Minardos is the tyrannical Spanish captain who comes to Samar to check rumors of insurrection there. The plot finds Minardos planning to take over the island from Roland. The latter decides now is the time to escape to freedom, forces Montgomery and Miss O'Brien to join the exodus, then captures Minardos and his men and takes them along, too. During the trip a romance springs up between Montgomery and Miss Rodaan, headhunters wipe out some of the group, Minardos is killed during a fight with the savages, and Montgomery is forced to amputate Roland's arm after the latter is wounded by a poison dart. Sierra de Oro is finally reached. Warner Bros. 89 minutes. George Montgomery, Gilbert Roland, Ziva Rodaan, Joan O'Brien Produced and directed by Montgomery. Page 12 Film BULLETIN May 14, 1962