The Exhibitor (1959)

was for Rod Steiger. Our current planning provides for big pictures, based on big properties and with star names; or more modestly budgeted pictures but with ideas that spell big boxoffice. In the latter classification are several productions either com¬ pleted or currently shooting. They include “The Purple Gang,” which, filmed in the tradition of “A1 Capone,” tells the story of the underworld syndicate which dominated Detroit in the roaring twenties. For top boxoffice chemistry, 1 think another of our currently filming productions, “Teacher vs. Sexpot,” has to stand high on the list of prize prospects. Albert Zugsmith has come up with the torrid combination of Mamie Van Doren, Tuesday Weld, and Mijanou Bardot for this hilarious comedy, and backed them up with such talents as Mickey Shaughnessy of "Don’t Go Near The Water" fame, Louis Nve of the Steve Allen Show, Marty Milner, Pamela Mason, and ace singer Conway Twitty. Another picture that in my estimation is a real showmanship attraction is “The Hypnotic Eye,” which comes equipped with our lastest “gimmick,” Hypno Magic. You may remember that our two previous “gimmick” shows, “House On Haunted Hill” and “Macabre,” were so profitable that they started new cycles. “The Hypnotic Eye” has had terrific reactions at sneak previews. Also to be classified as a sure-fire exploitation attraction is “I Passed For White.” I have seen the first rough cut of this film, based on a startling novel, and I can assure you that it is outstanding in every department— great performances, clever direction and excellent production values. The picture will fully back up the dynamic campaign planned for it. Now winding up production is “Bluebeard’s Ten Honevmoons,” starring George Sanders and Corinne Calvet, a real pulse-raising thriller with all the elements that make for big money. I will not go into detail about several very important pic¬ tures which are now on the planning boards, such as “The Big Bankroll,” based on the best-selling novel about Arnold Rothstein, one-time king of the nation’s gamblers and master¬ mind of the underworld; and “The George Raft Story,” which will be the frankest life story of a star ever filmed. Allied Artists is doing everything possible to answer the exhibitors demand for fresh young personalities. In “Pay Or Die” we have cast fascinating Zohra Lampert in the leading role opposite Ernest Borgnine. In “The Purple Gang” Robert Blake, a very promising newcomer, co-starred with Barry Sullivan, plays gangleader Honey boy Willard. “Teacher vs. Sexpot” marks the American debut of Mijanou Bardot, Bri¬ gitte’s sister, as well as spotlighting the highly publicized Tuesday Weld. In “I Passed For White” we have two new young people who are destined for stardom— Sonya Wilde and James Franciscus. Every theatre organization has urged that Hollywood develop new talents, it is now up to showmen everywhere to help us in selling these players to the public. Not Running Scared HARRY BRANDT, Brandt Theatres As the MOTION PICTURE EXHIBI¬ TOR forges ahead into its 42nd year, the outlook for motion picture production, dis¬ tribution and exhibition is very good. The worst is behind us. The most violent storms have been weathered and danger of drown¬ ing is long since past. Theatre renovation and refurbishing is at a new peak justified by the economic signs. Production and promotion of theatrical features for I960 already represent an outlay in excess of $499,000,000. This is an imposing figure. The industry is not running scared. The big pictures are producing bigger returns than ever. There is no dearth of money for production. ACE’s finan¬ cial offers to the film companies have been refused. The prob¬ lem is not money. It is one of ability to put together worth¬ while packages that promise a return. The exhibitor can do much to alleviate the product shortage by promoting new faces to the hilt. “Summer Place” is proof positive that virtual unknowns, soundly promoted and wisely cast, can produce important returns at the boxoffice. There are increasing signs that the industry is closing ranks and drawing closer together; liaison and coordinated effort are on the upgrade. Working together, we can only go for¬ ward. Not A One-Film Company JACK BYRNE, MGM vice-president and general sales manager Metro-Goldwyn-Mayer has never been more upbeat than it is now at the start of the new year. “Ben-Hur” is already established as an unparalleled success, launched on the road to the biggest grosses in motion picture history. But we are not a one-picture company. We are set to release a powerful line¬ up of big pictures which reflects the new vitality of the com¬ pany under the leadership of Joseph R. Vogel. While “Ben-Hur” was in production and in the months prior to its premiere, the studio, under the direction of Sol C. Siegel, was planning and turning out the films that will make box-office news for you in 1960. We are putting our full efforts behind this great product lineup. Our organization is geared to the full schedule with Robert Mochrie, former general sales manager for Samuel Goldwyn and a specialist in single picture selling, concentrating ex¬ clusively, with a separate staff, on “Ben-Hur.” This means that Burtus Bishop and my associates can con¬ centrate on these great new films. This is in keeping with the MGM tradition of over-all application for the overall produc¬ tive efforts of the company. Each of our films will be supported with dynamic promo¬ tion and advertising campaigns developed by Howard Strickling’s imaginative staff at the studio, at the home office, and in the field. At the studio, the productive talents of MGM are moving forward as they did in the early heydays before this new peak in our company’s history. I have seen many of these new productions and they are the proof that our upbeat thinking is backed by upbeat product. Films such as our holiday attraction, “Never So Few,” with the explosive combination of Frank Sinatra and Gina Lollobrigida, and “The Gazebo,” with Glenn Ford and Deb¬ bie Reynolds, are examples of the marquee power that we have assembled. You can look forward to a film that I predict will become a screen masterpiece, “Home From the Hill,” starring Robert Mitchum and Eleanor Parker in their greatest performances, and a trio of young new faces that are certain for stardom— George Peppard, Luana Patten, and George Hamilton. This seething story of family emotions is one of the films that will make Leo the Lion roar in 1960. “Please Don’t Eat the Daisies,” starring David Niven, Doris Day, and Janis Paige is another entertainment treat for the whole family. Your box-office can get set for this appealing 40 MOTION PICTURE EXHIBITOR December 23, 1959