The Exhibitor (1960)

Carreras Visits N.Y. For Columbia Talks LONDON Observations by Jock MacGregor FILM HISTORY has been made in London. Two features, one in color and running more than two hours, have been previewed within eight weeks of the start of shooting, and in neither case is there a suggestion of a rush job. Much overtime and week-end work was involved but this achievement proves that production could be considerably speeded up. Great economies could be effected, particularly in such matters as loan charges and insurance, which are not reflected on the screen, without loss of quality. Both films deal with the same subject — one which until only recently would not have been tackled by any pi-oducer, but has been handled in each case with the utmost delicacy. 20thFox previewed Gregory Ratoff’s “Oscar Wilde,” in which Robert Morley plays the title role. The critics were suitably impressed and most thought it would be hard to better it. Frankly, I suspect many approached the later screening of Warwick’s “The Trials of Oscar Wilde” with Peter Finch in the lead with certain misgivings and fears that it could be an anti-climax. How wrong we were! It is supreme on almost all counts. While preference for Morley or Finch is a personal matter — both give magnificent performances — Sir Ralph Richardson as the barrister in the former far outstrips James Mason in the same part in the latter. Indeed, it is only in this one part that there is so great a difference in a portrayal. Comparisons may be odious, but on this occasion they must be permitted. It has indeed been a stimulating experience seeing both pictures and comparing the handling and charac¬ terizations. They are outstanding achievements and will be talking points for long to come. From another angle, they may prove a pointer as to whether color really enhances a pic¬ ture’s potential and justifies the enormous print cost. HATS OFF to film star Kenneth More who has so completely justified his election to the Variety Club Crew. For the Festival Gardens fun fair annual opening, he signed more than 300 letters to muster a record turn up of stage, screen, television, and recording stars, and on the day stood outside the reception room for 51/2 hours welcoming and saying farewell to all who helped. His action gave an enormous fillip to the occasion. It was interesting to see how many artistes brought their home movie cameras to film each other. A personal memory of the day was the wonderful reception given to Anne Neagle, and to return home to find “Nell Gwyn” which she made in 1934 on TV. Not many screen actresses have re¬ mained so firmly at the top for more than a quarter of a century. On Sunday, the Variety Club golf team headed by Jimmy Carreras beat the Water Rats in the annual match, staged this year at Brighton, for the Billy Butlin challenge cup and cheque for $1,400. ONE OF THE PLEASANTEST and most successful premieres in a long while was that staged by MGM’s Ron Lee for Jules Buck’s “The Day They Robbed the Bank of Eng¬ land.” He secured wonderful support from the Scots Guards who are featured in the film. Not only did they provide the regimental band, pipers, soldiers in full dress uniform, and relics and treasures from the museum, but orderlys to serve drinks at an exceptionally dis¬ tinguished after the show party in the circle foyer. The Evening News produced a “cod” edition which proved a popular souvenir. An excellent press coverage resulted — something quite rare these days unless royalty attend. . . . Sophia Loren, one of my favorite con¬ tinental stars, swept into the London press reception to launch the filming of “The Mil¬ lionairess” for 20th Fox looking her most magnificent, and delightfully flayed a reporter who asked too personal questions by asking him equally pertinent ones. . . . Richard At¬ tenborough has inspired some valuable press and TV coverages on a provincial PA tour by challenging trades union critics of “The Angry Silence” to see it with him, producing equally good publicity results whether they accept or not. LONDON, ENGLAND— Following the Va¬ riety Clubs Convention, James Carreras will be arriving at the Hampshire House, New York, on June 5, for eight days, to discuss with Columbia execu¬ tives the current and future product which Hammer Films will de¬ liver to them. Before leaving London, he said, “We are setting up new records all the time. This year we are actual¬ ly doubling our output for Columbia by delivering no fewer than nine international pictures. Next year we shall deliver a further nine.” The quite extraordinary and cooperative relationship which exists between Hammer and Columbia he attributed largely to the great part played by Abe Schneider and Mike Frankovich who brought it about. “Don’t underestimate Hammer’s achieve¬ ments,” Carreras continued. “Nine pictures a year from an independent company like ours is a remarkable feat.” Of Hammer’s future, Carreras promised “highly exploitable off-beat stories and sub¬ jects with new and exciting entertainment gimmicks — that in a nutshell is our policy. We aim to please mass-audiences in America as elsewhere and to hell with the egg heads.” Already delivered are “Hell Is a City,” “Never Take Sweets from a Stranger,” and “The Two Faces of Doctor Jekyll” in ‘scope and color. Currently shooting are “The Full Treatment,” “The Terror of the Tongs,” and “Sword of Sherwood Forest.” Set for early production are “Visa to Canton,” “Mutiny Over India,” “The Inquisitor,” “See No Evil,” “The Brutal Land,” “The Man With Two Sha¬ dows,” “Blood River,” and “The Outsider.” In addition, Hammer is delivering one fea¬ ture annually to Universal International, and while in New York, Carreras will also confer with the U-I heads. Ready for release in June under this deal is “The Brides of Dracula,” while a new look version of “The Werewolf” is being prepared. Writers Reject New Pact HOLLYWOOD — Members of the Television Branch of Writers Guild of America, West, last week rejected the latest contract offer of theatrical and television producers. The strike which began Jan. 16 remains un¬ settled with some TV studios running short of scripts and switching to reruns to bridge the gap. Television writers have been de¬ manding a share of foreign sales in their new contract. The rejected offer was submitted jointly by the Association of Motion Picture Producers and the Alliance of Television Producers. It called for establishment of a study committee to set up a royalty system to give writers a percentage of world -wide gross receipts. Directors Okay Pact HOLLYWOOD — The Directors Guild of America membership last fortnight negotiated a contract with the Association of Motion Picture Producers and the Alliance of Tele¬ vision Film Producers at the first meeting held since the merger of the DGA with the Radio and Television Directors Guild in Jan¬ uary. Max A. Cohen, board chairman of Independent Theatre Owners Association, New York City, presented a plaque to Jack Hattem, ITOA board member, recently in the presence of Sol Strausberg, president, Interboro Circuit. Hattem was honored for his dedication to motion picture exhibition over the past four decades. In addition to owning independent theatres, Hattem is film buyer and booker for Inter¬ boro Circuit. Engel Raps Writers' Strike NEW YORK — Samuel Engel, producer of 20th Fox’s forthcoming release, “The Story of Ruth,” told the press that in his opinion the strike by the Writers Guild of America was “an unfortunate decision.” He also considered it “unethical, immoral and illegal.” He felt that the Guild could have negotiated fair and equitable terms without subjecting the in¬ dustry to an injurious strike. Said he, “This business of double payment irks me no end.” “When a contract is entered into, it should be adhered to. You can’t make salaries retro¬ active. It could lead to anarchy and chaos,” stated he. The former three time head of the Screen Producers Guild and a member of the Writers Guild as well opined that the injury caused by the strike left lots of scar tissue that cannot be erased. The longer the duration, the greater the injury. The outlook doesn’t look promising, and he doubted whether many of the jobs will be restored when it’s all over. He didn’t believe anyone would get anything. June I, I960 MOTION PICTURE EXHIBITOR 19