The Exhibitor (1963)

May 29, 1963 MOTION PICTURE EXHIBITOR 5049 REVIEWS The famous pink paper SAVE ABLE 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 26 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 section in a permanent file. The last issue of each August will always contain a complete annual exhibit 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, 317 N. Broad St., Philadelphia 7, Penna. MAY 29, 1963 BUENA VISTA Savage Sam Buena Vista (Technicolor) Melodrama 104m. Estimate: Exciting Disney meller. Cast: Tommy Kirk, Kevin Corcoran, Brian Keith, Jeff York, Marta Kristen, Dean Fred¬ ericks, Rudolfo Acosta, Pat Hogan, Rafael Campos, Royal Dano, Brad Weston, Slim Pickens, Dewey Martin. Directed by Norman Tokar; co-produced by Bill Anderson; a Walt Disney presentation. Story: A party of 16 Apaches led by Co¬ manche Dean Fredericks carries off 16 year old Tommy Kirk, his little brother Kevin Corcoran, and visitor Marta Kristen in the Texas hill country in 1870. They give the youngsters a hard time with Kristen probably destined to become a squaw of one of them. A small contingent of U. S. Cavalry happens by, and thinking they are just fleeing with some stolen horses, pursue for a while, kill¬ ing several. During the battle, Kirk is left behind. He is found by Savage Sam, a dog belonging to Corcoran, who trails the Indians hoping to free his master. They are found in turn by the boys’ uncle, Brian Keith, and a small band of neighbors who are also seeking the Indians. The dog leads them forward on the trail though wounded until they come on the Indians, defeat them in battle, and rescue the children. X-Ray: There is plenty of action, suspense, and even comedy to be found in this fastmoving melodrama that should appeal to kids of all ages, be they six or 60 or in-between. The acting is good, and direction and produc¬ tion are fine, with color adding much to the overall presentation. The entry should do fine as a family presentation and as part of the show. The screenplay, a trifle on the long side, is by Fred Gipson and William Tunberg, based on the book by Gipson. Tips On Bidding: Higher program rates. Ad Lines: “One Of Walt Disney’s Best Action-Packed Films For The Family”; “A Thrilling Adventure And Action Presenta¬ tion.” Yellowstone Cubs Buena Vista (Technicolor) Documentary 47m. Estimate: Entertaining Disney featurette. Credits: Field producer is Charles L. Draper; production co-ordinator is Robert F. Metzler; photographers are Charles L. Draper and William Bacon III; narrated by Rex Al¬ len; written by Ralph Wright; narration writ¬ ten by Jack Speirs; co-producer is Winston Hibler; a Walt Disney presentation. Story: Amidst the setting of colorful Yellowstone National Park in Wyoming, an elderly she-bear has two cubs, who are full of energy, and she shows them how to work the tourists for handouts. While the mother is being fed, the cubs climb into a trailer food locker and are accidentally locked in. As the driver seeks a suitable camping spot, they eat their way through the food and then break out. The mother trails them and makes a shambles of the trailer looking for them. The rangers are forced to paint her with the brand of an outlaw, which means one more viola¬ tion and she will be killed. They also banish her to the high country, unaware that she has a couple of cubs. She backtracks to find her offspring, who have a ball among Yellow¬ stone’s natural geysers, and the supplies of the tourists. Tiring of this, they wander into the huge kitchen of the Old Faithful Inn, where they find a mountain of goodies and almost wreck the place in their eating spree. Mama trails them and arrives. The manager spots her markings and summons the rangers, who are about to shoot her when the cubs appear. They understand the reason for her actions and remove the outlaw brand, permitting the family to roam once again among the visitors. X-Ray: Here is a cute comedy of errors and a look-see at human and animal nature that should hold interest of most audiences, although a reduction in the running time might have tightened the proceedings a bit to its benefit. The use of color is an asset, and it should do okay in the supporting slot of the program. Ad Lines: “A Fun-Filled Adventure In Yellowstone National Park”; “Another Enter¬ tainment Treat Of Animals And Humans In The Incomparable Walt Disney Manner.” MGM In The Cool Of The Day Dro^a 1 89m. MGM (Panavision) (Color) (Filmed abroad) Estimate: Fairly interesting romance. Cast: Jane Fonda, Peter Finch, Angela Lansbury, Arthur Hill, Constance Cummings, Nigel Davenport, Alexander Knox, George Coulouris. Produced by John Houseman; di¬ rected by Robert Stevens. Story: Peter Finch, one of the top execu¬ tives in the book publishing firm controlled by Arthur Hill, is stationed in London where he lives with his wife, Angela Lansbury, who never lets him forget the facial scars she suf¬ fered in an automobile accident while he was driving. The accident also took the life of their young son. She seems to forget that she actually precipitated the accident. He has borne the burden well over the years. When he flies to New York for meetings, he meets Hill’s young wife, Jane Fonda, who has been plagued since childhood by a frail constitu¬ tion, and since marriage by the over-pro¬ tective love of Hill. Hill’s confinement and attention finally force her to leave him and live by herself for a while. She informs Finch that one of her burning desires is to visit Greece, where he spent some time. Other¬ wise, Finch tries to bring the pair together again. He returns to London where he hears from Fonda now and again. One of the letters contains the news that she and Hill are com¬ ing for a visit, and they would like Finch and Lansbury to join them in a trip to Greece. Lansbury surprisingly agrees. Hill is detained by business, and the three of them go on to Greece. Lansbury feels that she is an out¬ sider as the others are drawn more and more towards each other, and she finally leaves Finch to go elsewhere with an Englishman she met at one of the hotels. In revenge, she writes an accusing letter to Hill. Fonda catches cold which develops into fatal pneu¬ monia, and no one is happy at the story’s conclusion. X-Ray: The film’s tales of mixed-up ro¬ mance and illicit love are bolstered by some very fine photography, detailing the scenic and historic wonders of Greece. The love and other dramatic aspects of the yam may find some special reaction among femme viewers, and it could do average in either the art spots or in the regulation theatres. The cast is ef¬ ficient, and the direction and production values are good. The screenplay is by Meade Roberts, based on the novel by Susan Ertz. Tips On Bidding: Program rates. Ad Lines: “An Unusual Romance Against The Backdrop Of Colorful Greece”; “Their Love Story Is One That Will Long Be Re¬ membered.” PARAMOUNT Come Blow Your Horn Comedy 112m. Paramount (Panavision) (Technicolor) Estimate: Very funny comedy should roll to top returns. Cast: Frank Sinatra, Lee J. Cobb, Molly Picon, Barbara Rush, Jill St. John, Tony Bill, Dan Blocker, Phyllis McGuire, Herbie Fay, Romo Vincent, Charlotte Fletcher, Greta Randall. Executive producer, Howard W. Koch; produced by Norman Lear and Bud Yorkin; directed by Yorkin; screenplay by Lear. Story: Lee J. Cobb, old-country mannered Jewish manufacturer of artificial fruit, rules both his family and his business with an iron hand. His two sons, Frank Sinatra and Tony Bill, also work in the business. Cobb con¬ siders Sinatra a bum. He is 30-plus and not married. Cobb’s wife, Molly Picon, patiently puts up with his booming rage. Sinatra is quite a playboy, living in a plush Manhattan apartment, romancing sexy but vacant-minded neighbor, Jill St. John, and generally ignor¬ ing his work. Bill decides to break out of the Cobb home and Join Sinatra. Now Cobb has two “bums” on his hands. Sintara is also in¬ volved with nice girl Barbara Rush, who hopes he will give up the playboy role and settle down. Relations with Cobb are strained even further when Sinatra loses a big ac¬ count. Bill begins to really live it up, turn¬ ing into quite a Bohemian. Sinatra sees him