The Exhibitor (1959)

October 21, 1959 MOTION PICTURE EXHIBITOR 4645 REVIEWS The famous pink paper SA VEABLE SECTION in which Experienced Trade Analysts evaluate coming product Published every second week, as a separately bound and easily saveable section of MOTION PICTURE EXHIBITOR, this exclusive 24 year old service is both numerically more complete, and informatively more candid, than any similar trade analysis. Cumulatively numbered by film seasons (September to September), it is recommended that readers consecutively save all REVIEWS sections in a permanent file. The last issue of each August will always contain a complete annual Index to close the season. Combined, the every second week yellow paper SERVISECTION indexes to the past 12 months' product, and the alternating every second week pink paper REVIEWS, represent a unique informative service to theatremen. Please address all inquiries or suggestions about these two service features to the Editors of MOTION PICTURE EXHIBITOR, 246-48 N. Clarion St., Philadelphia 7, Penna. “nJTs OCTOBER 21, 1959 AMERICAN-INT. Sign Of The Gladiator Drama 85m. American-Int. (Colorscope) (Italian-made) (Dubbed in English) Estimate: Spectacle can be exploited to better returns. Cast: Anita Ekberg, George Marshal, Lorella De Luca, Jacques Sernas, Gino Cervi, Folco Lulli, Chelo Alonso, Alberto Farnese, Mimmo Palamara, Alfredo Varelli, Sergio Sauro, Paul Muller. A Glomer Film Produc¬ tion; directed by Guido Brignone. Story: Queen of Syria Anita Ekberg breaks the Alliance issued her Kingdom by the Roman Empire. Emperor Gino Cervi sends Roman Consul George Marshal to sub¬ due the rebellious Syrians. Hoping to win the Queen’s confidence and bring about her downfall, Marshal allows himself to be taken prisoner. He antagonizes Ekberg and she sentences him to work as a slave. A Roman Centurion, Jacques Sernas, and guard Mim¬ mo Palamara help Marshal escape, and he renews his plan to win Ekberg’s confidence, offering his services to lead her army against the Romans. Despite the warning of prime minister Folco Lulli, Ekberg accepts Mar¬ shal’s offer and appoints him a General. She also falls in love with him. Lulli conspires to put himself on the throne. Both he and Mar¬ shal present Ekberg with plans for defeating the Roman Legions, and she delegates full authority to Marshal. On the eve of battle, Marshal deserts. Lulli, taking advantage of Ekberg being at the front, takes over the capital city. Ekberg’s sister-in-law, Lorella De Luca, is accused of sacrilege for having let the holy fire burn out and for having collaborated with the Romans. Her sacrifice to appease the Gods is ordered. A troop of Roman soldiers led by Sernas retakes the city and rescues De Luca. Lulli is killed in the battle. Learning Marshal has betrayed her, Ekberg leads her army against the Ro¬ mans, suffers defeat, and is taken to Rome to stand trial. Actually in love with her, Mar¬ shal pleads for her freedom which is granted, Cervi places De Luca on the Syrian throne. X-Ray: This entry offers exhibitors a chance to exploit the spectacle, the large number of participants, the action, the color, etc. An extensive ad campaign will help in anticipated area saturation bookings. Tech¬ nically, the film is adequate in interest and is aided by some large-scale battle scenes. Performances, direction, and production are average, while the color is fair. The screen¬ play is by Francesco Thellung, F. DeFeo, Serge Leone and Giuseppe Mangione. Tip On Bidding: Higher program rates due to exploitation value. Ad Lines: “A Feast Of Entertainment — Pagan In Its Pleasures; Primitive In Its Ap¬ petites; Powerful In Its Dramatic Impact!”; “The Creative Talents Of Three Continents Brought Together To Produce This Spectac¬ ular Masterpiece Of Screen Entertainment.” COLUMBIA Battle Of The Coral Sea Melodrama 80m Columbia Estimate: Okay Naval war entry. Cast: Cliff Robertson, Gia Scala, Teru Shimanda, Patricia Cutts, Gene Blakely, Rian Garrick, L. Q. Jones, Robin Hughes, Gordon Jones, Tom Laughlin, Eiji Yamashiro, James Goto, K. L. Smith, Carlyle Mitchell, Larry Thor, Patrick Westwood. Produced by Charles H. Schneer; directed by Paul Wendkos. A Momingside Production. Story: U. S. sub commander Cliff Robert¬ son, while on a mission trying to photograph the Japanese fleet, is captured, loses his sub¬ marine, and is taken to a small Japanese island prison for questioning. The island’s owner, Gia Scala, is acting as interpreter for the Japanese. In time, with Scala’s help, Robertson leads a successful escape try. His information about the Japanese fleet leads to U.S. victory in the battle of the Coral Sea. X-Ray: Produced in cooperation with the Department of Defense and the U.S. Navy, this war meller is much better as far as the Naval material goes, and the adroitly pieced in sea battle footage, which comes at the end, than it is while bogged down on the island with its melodramatic prison camp and escape sequences. Outstanding in the cast is Teru Shimada as a Japanese Commander in charge of the prison camp. It is about time Gia Scala gets a better role. This is from a story by Stephen Kandel with screenplay by Daniel Ullman and Kan¬ del. Overall production is satisfactory. Tip On Bidding: Program rates. Ad Lines: “The Most Amazing Saga Of The Most Decisive Battle In Naval History!” “Fantastic Saga Of The Battle-Scarred ‘Dragonfish’.” The Last Angry Man Drama 100m. Columbia Estimate: High rating drama. Cast: Paul Muni, David Wayne, Betsy Pal¬ mer, Luther Adler, Joby Baker, Joanna Moore, Nancy Pollock, Billy Dee Williams, Claudia McNeil, Robert Simon, Dan Tobin, Godfrey Cambridge, David Winters, Helen Chapman. Produced by Fred Kohlmar; di¬ rected by Daniel Mann. Story: Paul Muni is a doctor still living and practicing after 45 years in a shabby Brooklyn home, his patients slum people. His compassionate treatment of a badly beat¬ en girl left on his doorstep hits the news¬ paper and comes to the attention of David Wayne, TV executive, who with his wife, Betsy Palmer, is living beyond his means. It gives him an idea for a new TV show, “Amer¬ icans, U.S.A.” which is okayed. It is his in¬ tention to have Muni the subject of the first production. Muni is uninterested, but Wayne finally persuades him to do the show. Muni needs money to treat Negro juvenile delin¬ quent Billy Dee Williams, suffering from a brain tumor. Muni is so busy, however, that he refuses to plan for the show, although Wayne continues with preparations. A short time before air time, Muni is advised by police that Williams has escaped from the hospital, has been involved in an accident with a stolen car, and is in the prison hospital with a broken leg. Muni insists on going to the boy’s aid, and Wayne goes with him in the hope that he can still bring Muni back in time for the show. Muni has a fatal heart attack and the broadcast is forgotten. As Wayne leaves Muni’s house, he knows that just knowing Muni has enriched his life and given him a new sense of values. X-Ray: This entry is a very fine drama about a down-to-earth man who also hap¬ pens to be a doctor. It’s moving, absorbing, interesting, and entertaining, and it’s made all the more believeable by the fine cast headed by that very capable actor, Paul Muni, in the title role. All types of grown¬ up audiences will get a warm feeling from the heart-warming and touching situations and story. The film is one that any theatre should be happy to show, not only because of the potential gross once the word gets around but also because of the subject mat¬ ter, which is indeed in the better category. The screenplay is by Gerald Green based on his novel. Tips On Bidding: Higher rates. Ad Lines: “A Wonderful Experience In Entertainment”; “An Unusual Film About An Unusual Man.” MGM Drama 100m. MGM (English-made) Estimate: Exciting courtroom drama packs dramatic wallop. Cast: Olivia de Havilland, Dirk Bogarde, Paul Massie, Robert Morley, Wilfrid HydeWhite. Produced by Anatole de Grunwald; directed by Anthony Asquith. Story: Canadian Airlines officer Paul Mas¬ sie spots a TV show in England featuring a tour of the estate of Dirk Bogarde and wife Olivia de Havilland. Massie and Bogarde had been prisoners together during the war along with another Englishman, also Bogarde, who envied his high-born double. They had es¬ caped together, but Massie had been sep¬ arated from the others. Bogarde’s hesitancy in answering some of the TV announcer’s questions leads Massie to the belief that the real master of the estate had been killed, and the double has taken over his life and his wife. He confronts Bogarde with his accusa¬ tion and discovers that he is missing a finger. The envious prisoner was missing the same finger, and this makes Massie certain a fraud has been perpetrated. He gives the details to a scandal magazine, and de Havilland convinces Bogarde he should sue for libel to protect their name and their son. The trial goes