The Exhibitor (1961)

4870 MOTION PICTURE EXHIBITOR September 27, 1961 little money and not much else until he comes up against the big-time. Then the stakes are greater and life becomes more involved. “The Hustler” is not a pleasant film, albeit it’s an interesting one and a sometimes absorbing one. It will probably command attention because of its difference as to characters and subject matter, and be¬ cause of the fine performances by the cast and by Paul Newman in particular in the title role. The direction is sensitive, yet hard and to the point, and the production values are good. How extensive an audience this will attract is at this writing an unknown quantity. It has much riding for it, but at file same time it also needs selling of sub¬ ject matter and of a sport that has been on the wane. Some of the circumstances re¬ garding language and situations necessitate designating the film as one suitable primari¬ ly for adults. Of course, a curiosity arous¬ ing campaign could make a big difference at the boxoffice. The screenplay is by Robert Rossen and Sidney Carroll, based on a novel by Walter Tevis. Tip On Bidding: Depends on individual situation. Ad Lines: “Once You Fall For The Line of ‘The Hustler’ You’re Hooked”; “An Un¬ usual Story About An Unusual Man”; “He Could Charm A Girl Or A Billiard Ball With Equal Ease.” Stopover Tokyo Melodrama 100m. 20th-Fox (CinemaScope; DeLuxe Color; Filmed in Japan) (Reissue) (107) Estimate: Fairly interesting meller. Cast: Robert Wagner, Joan Collins, Ed¬ mond O’Brien, Ken Scott, Reiko Oyama, Larry Keating, Sarah Selby, Solly Nakamura. Produced by Walter Reisch; directed by Richard L. Breen. For complete review please refer to page 4397, Oct. 30, 1957. UNITED ARTISTS The Explosive Generation Drama 89m. United Artists (Vega) Estimate: Better program entry with spe¬ cial appeal for teens and parents. Cast: William Shatner, Patty McCormack, Lee Kinsolving, Billy Gray, Steve Dunne, Arch Johnson, Virginia Field, Philip Terry, Hanna Landy, Edward Platt, Suzi Carnall, Jocelyn Brando. Produced by Stanley Col¬ bert; directed by Buzz Kulik. Story: When high school teacher William Shatner asks his class to list some of the problems they would like to discuss, topping them is the problem of sex faced by the teens and introduced by Patty McCormack, still reacting from an all-night party the night before with Lee Kinsolving, her steady boy friend; Billy Gray, at whose beach home it took place; and Suzi Carnall. Shatner tries to divert the discussion, but the students are insistent. He finally agrees, asking them to write their questions or experiences and not sign their names. After the weekend, a dis¬ cussion on the papers will take place. Mc¬ Cormack’s mother, Virginia Field, head of the Parent Teachers Association, is shocked when she hears of the session which is la¬ beled a “sex survey.” A group of the parents meet with principal Edward Platt and Shatner, and the latter apologizes but refuses to turn the papers over to the parents. Platt promises that they will be destroyed. When class convenes, the youngsters taunt the teacher to the point where he agrees that the discussion is on again, but Platt inter¬ venes and Shatner is suspended. Kinsolving organizes the youngsters, and they all agree not to attend classes until Shatner is rein¬ stated. Platt summons the police who break up the rally, after which the kids go to class but refuse to talk. Even a basketball game with a rival school fails to get them to break their silence. Platt discusses the problem with Kinsolving, who convinces him. Platt insists that before the subject can be dis¬ cussed in class, parent approval must be forthcoming. McCormack convinces her mother by admitting to being at an all night party and almost doing the wrong thing be¬ cause the subject never was brought out in the open. Fields is convinced that discussion might clear the air, and permission is forth¬ coming. When Shatner is ready to bid his class farewell, Kinsolving asks him to stay, admitting that they have all learned their lesson. When Platt appears with the papers, the discussion gets underway. X-Ray: Frank, interesting, and earthy is this tale of today’s youngsters — not the juve¬ nile delinquents but rather the healthy, welladjusted students who have a curiosity and a desire to satisfy it via basic, down-toearth discussion. The subject of sex and its ramifications is a touchy one, yet one that seemingly merits discussion. How the young¬ sters, school authorities, and parents are rec¬ onciled to talk about the situation makes for absorbing entertainment at times. The cast performs quite well, and direction and production are in the better category. There is a catchy tune heard quite often which could help in the selling. There should be some pretty good word of mouth on this prior to its openings and the exhibitor can help stimulate this for better returns. The screenplay is by Joseph Landon. It should make up well as part of the show, in some situations. Tip On Bidding: Higher program rates in some situations. Ad Lines: “Teens Talk About Sex In The Schoolroom”; “When * They Couldn’t Talk About Sex To Their Parents, They Turned To Their Teacher For Advice.” The Flight That Disappeared United Artists (Harvard) Drama 72m. Estimate: Lower half filler. Cast: Craig Hill, Paula Raymond, Dayton Lummis, Gregory Morton, John Bryant, Ad¬ dison Richards, Nancy Hale, Bernadette Haler, Harvey Stephens, Brad Trumbull. Produced by Robert E. Kent; directed by Reginald LeBorg. Story: Among a plane-load of passengers are Craig Hill, rocket expert; Dayton Lummis, nuclear scientist who has developed a super¬ bomb; and his assistant Paula Raymond. All goes normally until the pilot decides to try and climb above a storm. The plane refuses to respond to the controls and keeps climb¬ ing until a fantastic altitude is reached, at which point all become unconscious due to a lack of oxygen. Hill, Raymond and Lum¬ mis are the only ones that regain their senses when the plane comes to a halt in mid-air. A mysterious figure beckons them from the plane to a place where others await their arrival. They are told that they are being placed on trial for their efforts in the de¬ velopment of the super bomb which can destroy the human race. They are convicted but a higher force overturns the verdict ruling that their punishment will not avoid the destruction of mankind which must act to save itself. The plane resumes its trip and lands at Washington 24 hours late. The three are convinced that if they refuse to go through with the construction of the bomb, mankind stands a chance to survive a bit longer. Lummis destroys his notes. They de¬ cide to keep their experience to themselves. X-Ray: The motives behind this entpr may be noble, to preserve the world and its peoples, but its execution is just ordinary. The result is a fair entry for the lower half of the program. Lots of talk is used to get the plot across, while the acting, direction, and production are fair. The sequences show¬ ing the routine aboard the plane are quite good. The screenplay is by Ralph and Judith Hart, and Owen Harris. Ad Lines: “A Plane Ride That Will Never Be Forgotten”; “An Unusual Adventure In The Sky”; “Thrills From The Unknown.” West Side Story Musical Drama 7 155m. United Artists (Mirisch) (Panavision 70) (Technicolor) Estimate: Highly entertaining entry head¬ ed for top returns. Cast: Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno, George Chakiris, Tucker Smith, Gina Trikonis, Jose De Vega, Suzie Kaye, Simon Oakland, Bill Bramely, Ned Glass. Directed by Robert Wise and Jerome Robbins; a Robert Wise production. Story: On the West Side of New York City, the neighborhood boys are resentful of the invasion of the area by Puerto Ricans and are ready to do battle at the slightest provocation. One of these gangs, the Jets, is led by Russ Tablyn. The Puerto Ricans have also banded together for mutual pro¬ tection, led by George Chakiris. Police lieu¬ tenant Simon Oakland and officer Bill Bramely do the best they can to keep order. Tamblyn and Chakiris decide to have a final showdown, and Tamblyn decides to ask for¬ mer Jet Richard Beymer to help out. At a get-together at a community dance, Beymer meets Natalie Wood, recently arrived from Puerto Rico, and sister to Chakiris. They fall in love, and at her request he tries to stop the all-out fight. It gets out of hand, and Chakiris and Tamblyn are dead. One of the Puerto Rican sharks shoots Beymer in vengance, and Wood is left doubly deprived. X-Ray: The subject of juvenile delin¬ quents who would be more juvenile and more delinquent to make their mark in the world and grab a place in the sun or street has been set to music here in a Romeo and Juliet theme. The words are tough, the music is tuneful much of the time, and some of the dance routines and production num¬ bers are excellent. The cast runs great to type and performance; the direction is deft and expert; and the production values are of high quality. The use of color has been enhanced by mood-setting dissolves and other special effects to heighten the drama and romance. It’s a little difficult to give an edge to anyone in a fine cast like this, but if some special mention is indicated, then the performances of Richard Beymer and Rita Moreno get this viewer’s nod. Readers may recall the phenomenal success of the stage play, and there is every reason to be¬ lieve that the movie version could fare simi¬ larly. Incidentally, there are some breath¬ taking aerial views of New York City at the start of the film. The screenplay is by Ernest Lehman, based on the play by Arthur Laurents, who wrote the book, and Leonard Bernstein, composer. Tip On Bidding: Higher rates. Ad Lines: “The Fabulous Broadway Hit Now On The Giant Screen”; “Great Enter¬ tainment Is Everybody’s Verdict”; “Everybody Is Talking About Wonderful West Side Story.” UNIVERSAL The Lawless Breed Western 83m. Universal (Technicolor) (Reissue) (6108) Estimate: Better than average western. Cast: Rock Hudson, Julia Adams, Mary Castle, John Mclntire, Hugh O’Brian, Wil¬ liam Pullen, Glenn Strange, Lee Van Cleef, Michael Ansara, Dennis Weaver, Bobbie Hoy, Richard Garland, Race Gentry, Forrest Lewis, Bob Anderson, Stephen Chase. Pro¬ duced by William Alland; directed by Raoul Walsh. For complete review please refer to page 3432, December 17, 1952. The Midnight Story Melodrama 89m. Universal (CinemaScope; Technicolor) (Reissue; R5626)