Independent Exhibitors Film Bulletin (1963)

The Birds" GutiHCM, I^CltU? O O O Pius Heavy clever pre-sellinq campaign assures this Hitchcock chiller big grosses in all markets. In Technicolor. Alfred Hitchcock's superbly-publicized and eagerly-awaited "The Birds" is here. Based on a short story by Daphne du Maurier and strikingly photographed in Technicolor against the picturesque backgrounds of Bodega Bay (on the northern coast of California), it possesses all of the famous Hitchcock ingredients — suspense, chills, shock, and humor. In essence, "The Birds" tells the frightening tale of a bird war against people. No explanation is given for this onslaught, nor does the basic plot always convince the viewer; it's simply an entertaining, seat-gripping journey into fear. One of the best presold films of recent times, want-to-see is already running at a high pitch, and the popularity of suspense-master Hitchcock, coupled with Universal's outstanding promotion campaign, will definitely lift grosses into the top money category. The cast boasts no strong marquee names, but it is composed of competent and colorful players. Rod Taylor stars as a ladies manattorney whose easy-going life becomes a nightmare with the arrival of the birds. Jessica Tandy portrays Taylor's extremely possessive mother; fast-rising Suzanne Pleshette is a school teacher with whom he was in love; and 12-year-old Veronica Cartwright appears as his little sister. Hitchcock also introduces former model 'Tippi' Hedren, who has much to learn about acting, but is beautiful to look at meanwhile. But the real stars of the film are the birds and the special effects personnel. Between chief bird trainer Ray Berwick and special effects expert Larry Hampton, sheer horror and fright are created before the viewer's eyes; and to a point where audiences will gasp out loud. Here are terrifying scenes in which gulls swoop down, strike people and fly away, ravens chase a group of screaming school children down the street, over 1000 finches fly down a chimney, through a fireplace, and into a living room to "attack," an attic full of crows and gulls fly sortie after sortie against the helpless Miss Hedren. Special mention also for the electronic bird sounds of Remi Gassman and Oskar Sala — they will continue ringing in audience's ears for days to come. In typical Hitchcockian fashion, the Evan Hunter screenplay begins on a light comedy level with rich, spoiled playgirl Miss Hedren meeting Taylor in a San Francisco pet shop. She follows him to his weekend home at Bodega Bay on the pretext that she is bringing a pair of lovebirds for Miss Cartwright, whom she has never met. This light-hearted pace suddenly gives way to the horror of the first bird hostilities and the final terror of the full scale bird war. Granted, the writing could have been more imaginative, but the average spectator will be too overwhelmed by the bird "bit" to dissect the plot's weaknesses. After Miss Hedren rents a room from Miss Pleshette, she is attacked by a seagull. Next day, at Miss Cartwright's birthday party, hundreds of screaming gulls attack the playing children. That night, finches swoop down Taylor's chimney and attack all present. The local sheriff's deputy takes the incident lightly. Next morning, Miss Tandy, visiting a farmer neighbor, finds him dead — obviously pecked to death by birds. Now the birds attack the entire town. A man in a car rams into a gas pump and a stream of gasoline catches fire. The firefighters are hampered by swooping birds. Miss Hedren, trapped inside a phone booth, is finally rescued by Taylor. After Miss Pleshette is killed saving Miss Cartwright from the birds, Taylor boards up the windows of his house. The birds, however, break through and almost peck Miss Hedren to death. Taylor, deciding they must flee to San Francisco, cautiously leads all of them into a car, then heads slowly down the road. The fadeout sees the now deserted house covered by thousands of birds. "Dime With a Halo" Rating is for lower dual-bill bookings. Lightweight sentimental yarn about five youngsters winning a big racetrack pool. "Dime With a Halo" is an amusing little yarn about five street urchins in Tijuana, Mexico, who take a dime from the church collection box to help buy a ticket on the big pool at the Caliente horse track, win a fortune, then, because of their age, discover they cannot cash the ticket. There are enough heart-warming ingredients in this M-G-M release to make the film an acceptable second-feature for general market consumption, especially with the family trade. The five youngsters are primarily responsible for most of the mirth. Rafael Lopez, the 16 year-old leader, scene-stealing Maneul Padilla, seven-year-old and only three-and-a-half feet tall, Tony Maxwell, 10 (soon to be seen in "The Birds"), Larry Domasin, age seven, and Roger Mobley, 13, an orphaned American. The adult cast is headed by sultry Barbara Luna, Mobley's sister who, to keep her brother from being sent to a home, moves to Tijuana and becomes an entertainer in a small night club, and Paul Langton, an American race-track addict who becomes friendly with the boys and buys their pool ticket for them. Boris Sagal has directed with a light and generally interest-holding hand. The script of producers Laslo Vadnay and Hans Wilhelm finds Langton failing to show up for his regular Sunday session at the track. The boy's attempts to cash the ticket involves them with a member of the American Embassy, a crooked race-track cashier and other Tijuana low lifes. Miss Luna even makes a play for Lopez (who's infatuated with her) in hopes of getting the ticket. Langton finally shows up, but suffers a heart attack several feet from the cashier's window. The ticket blows away, Miss Luna and Mobley decide to return to California, and the four ragamuffins return to their street hustling activities. M-G-M. 94 minutes. Barbara Luna, Roger Mobley, Rafael Lopez. Produced by Laslo Vadnay and Hans Wilhelm. Directed by Boris Sagal. "A Face in the Rain" %>U4Ute44 &<zU*t$ O Plus Routine war spy meller for lower-shot bookings. This low-budget Embassy release filmed in Italy, is a run-ofthe-mill World War II spy-in-hiding-drama. It will fill the lower-half slot in action and ballyhoo houses. Rory Calhoun stars (he's also executive co-producer) as an American spy working with the Italian underground who's forced to hide out in the home of attractive Marina Berti. Miss Berti portrays the wife of a language professor (now a Gestapo prisoner) who doesn't want to risk the lives of her family for Calhoun. Niall McGinnis is a (good) high ranking German officer with whom Miss Berti has fallen in love and little Massimo Giuliana is her son who looks upon Calhoun as a hero. The black-andwhite Pisa background add atmosphere and director Irving Kershner squeezes a fair amount of suspense out of Hugo Butler and Jean Rouvernol's basically soap opera-type screenplay. McGinnis sets up headquarters in Miss Berti's apartment while Calhoun finds shelter in the attic. Escape from the building soon proves impossible. After failing to capture Calhoun and exposed as Miss Berti's lover, McGinnis is relieved of authority. Miss Berti, unable to betray Calhoun, gets him safely to the underground, then finds herself being pursued through the streets. She sees McGinnis and rushes to him for protection. McGinnis, to redeem himself, kills her. After the war, Calhoun, unaware of Miss Berti's fate, returns to Italy to try and find her. Universal. 120 minutes. Rod Taylor, Jessica Tandy Suzanne Pleshette, 'Tippi' Embassy 90 minutes. Rory Calhoun, Marina Berti. Produced by John Calley. Di Hedren. Produced and Directed by Alfred Hitchcock. rected by Irving Kershner. | More REVIEWS on Page 1 8 | Page 16 Film BULLETIN April I, 1943