The Exhibitor (1964)

-«fllllltMlllliilllMIIIIIIMMINIl»llllllllltilllllllHIIIMIIIIIIIIIIinilllllllHIIMIIItMHIIItMIIIHMttllMIIIIIIIIHIIHIIIIIHIIHHIIIIIIIIIMI^ 'IIIMIIIIIMIIIIMIIItltlllMItlllMMMMIIIMItMIMIMIIIIIMIHIIIIIIHIIMIIItMIIIIIIIIIIIIIIMIIHIIIIIIIIIIIIIIIIIMIIHMIMIIMMHIIIIIMlIllllfe LONDON Observations By Jock MacGregor THE LATEST ATTACK ON FILM FESTIVALS COMES IN THE OPINION FORMING Sunday Times under a ‘‘Festivals in Jeopardy” headline. Deputy critic Derek Prouse, who has served on festival juries, alleges what has long been whispered behind the scenes — that in some pressures are used to influence, if not force, awards. These are reportedly boxoffice aids in some countries. The interCommunist bloc rivalry is described as “quite ludicrous.” Even within juries, the East European members have appealed for votes in order to avoid personal trouble if their country fails to win a prize. Prouse suggests some festival organizers accede to “clumsy blackmail,” as most are dependent on the town’s authorities for support. If an important country does not participate with a large delegation and top stars, the loss of international prestige and publicity and in¬ come to hoteliers, shopkeepers, etc, is important. The sooner the ever increasing number of festivals are seen in their true perspective, and it is recognized that for important producers the greatest value lies in those where it is possible to meet buyers from many markets without travelling hundreds of time-absorbing miles, the better. DISNEY'S TWO CYRILS, EDGAR AND JAMES, TOOK THE LEICESTER SQUARE Theatre for a black tie and mink promotional preview of “Mary Poppins,” and followed it with a champagne supper. The idea was to interest manufacturers in tieups, disc jockeys, and singers, to say nothing of the top film men before the Princess Margaret preme in aid of children's charities on Dec. 17. The spontaneous applause punctuating the screening must have delighted Card Walker and Ned Clarke, who had flown in for the occasion. I had been sold by the extract at the exhibitors’ summer convention, but feared I might have seen all the best bits. I had not! It is long since I was so completely enchanted by a movie. Thank you, Walt Disney. THE LORDS TAVERN WAS THE UNUSUAL VENUE FOR THE NAT COHENStuart Levy party to launch “Darling . . which Jo Janni is producing for Anglo Amalgamated. The reason — the unit was on location at this hallowed cricket ground. I gather, however, this bitter story of an amoral model who “takes a deep breath of the sweet smell of success — and omits to exhale” is hardly cricket, to borrow a cliche. With such a title, one might expect Tallulah Bankhead, whose every other exclamation it is, in the cast, but she is in another picture shooting around London, “Fanatic.” Appearing under John Schlesinger’s direction are Julie Christie, Dirk Bogarde, and Laurence Harvey. To meet them were many trade personalities. The talk turned to the fabulous success of “Goldfinger.” In its first week’s showcasing, it smashed records by margins which in many cases would represent highly satisfying weeks. Peter King revealed it had broken the Purley Astoria record by $5,177. Unimpressed, Granada’s Vic Chapman reported that it was tops at Kingston by $8,520. At the Hammersmith Odeon, it was up by $15,000. At the Leicester Square Odeon, it took $48,515, an increase of $7,837 on “Russia’s” first week. In future, it looks as if records will be known as Gold standards. THE WRITERS GUILD OF AMERICA COMMITTEE, HEADED BY JAMES R. WEBB, who scripted “How the West Was Won'’ and “Cheyenne Autumn,” have been conferring with their British counterparts on mutual problems. Most vital seems to be the difference paid to American and British writers on the same tv series. They are after royalties for the latter. The writers are unquestionably a militant body. Next month, an international guild is to be inauguarted in London. ... I have suggested that Tony Tenser and Michael Klinger of the Compton Group should be watched. Now they are doing the seemingly impossible. They are closing The Windmill, the immortal non-stop girlie show that “never closed or clothed” as the wits had it, and was the setting for Rita Hayworth's wartime musical, “Tonight and Every Night,” Val Guest’s “Murder at the Windmill,” and Frank Green’s pre-war “Revudeville” series. With cult of the Beatle cut and bald heads going to Soho’s countless basement stripperies, the going has been getting harder. After 33 years the 320 seater reverts to movies, but I suspect the spirit will linger on. Opening film on Nov. 2 will probably be “She Should Have Stayed in Bed.” Incidentally, leaving the group office above the Compton Club Theatre, I was for the first time ever asked by a tout to see a “really interesting picture.” He lost immediate interest when I asked if my press pass would admit! IT IS HARD REALLY TO OFFER CONGRATULATIONS TO GEOFFREY MARTIN on being appointed Rank’s overseas publicity chief. He did the job so well before he was seconded for special duties on the Bronston-Rank co-productions in Spain. Wel¬ come home. . . . Driving in town, my ears pricked when on the car radio, W. A. C. Hall, Capitol Cardiff, received a big plug for hoping that many attending that night’s Welsh opening of “Fall of the Roman Empire” would wear togas based on designs which he had copied in Bath’s museum. . . . J. A. Green, West End, Birmington, got an un¬ expected all national newspaper splash when he followed the UA pressbook suggestion of intimate teaser letters from Irma inviting recipients to meet her at the address of the theatre playing “Irma La Douce.” A man took him seriously, and reported to the police that a call girl was operating. . . . Had an au revoir dinner with Phil Gersdorf, American publicist who always keeps in touch, and his charming wife, Beulah. He has finished Those Magnificent Men and Their Flying Machines,” and gone to Paris to handle Charles Feldman’s comedy, “What’s New, Pussy Cat?” Clive Donner will direct for UA, with Peter O’Toole and three international beauties. . . . The French National Film Theatre is paying a unique tribute to Stanley Baker and Cy Enfield by running a season of films which they have made jointly or separately, commencing with “Zulu.” Bridgeport Vetoes Censors HARTFORD — Officials of Bridgeport, Connecticut’s third largest city, have re¬ portedly decided against formation of a board, committee, or group for purposes of censoring motion pictures. Press reports following a session of city, clergy, police and court spokesmen commented that the power of persuasion was urged in¬ stead of official functioning body. Circuit Court Prosecutor John P. Evans reportedly told the gathering that interested parties should try to persuade theatres not to run what many consider obscene films. Shupert Exits Fox-TV HOLLYWOOD — George Shupert, vice-pres¬ ident in charge of sales for 20th CenturyFox Television, has resigned, effective Oct. 26, it was announced by William Self, execu¬ tive vice-president. SAN FRANCISCO (Continued) starring De Sica, That spool of film captured Golden Gate awards for best picture, best director, best actor, best supporting actor, and best screenplay. Only reason it didn’t garner best actress and best supporting actress awards is because “Rovere” had no important distaff roles, and the Festival judges ruled that in all the other competing pictures, no femme was worthy of an award in those cate¬ gories. “Rovere” still is money-making art house product both here and overseas. Russia came romping through in 1960 with “Ballad of a Soldier,” a war piece which up until last spring was being exhibited around the country, this country, with hard tickets. “Ballad” in 1960 was Festival first for produc¬ tion and direction. Parenthetically, the fol¬ lowing year, Gregori Tchukhrai, who directed “Ballad,” was again honored with a Golden Gate award as best director for the Soviet “The Clear Sky.” This year, the USSR has two festival entries, neither of which are under Tchukhrai’s directional aegis. In 1961, Mexico’s “Animas Trujano,” starr¬ ing Japan’s Toshiro Mifumo, was the best picture according to the judges; in 1962, Bra¬ zil’s “Keeper of Promises” paid off; and last year, “How To Be Loved” from Poland picked up the loot. All three are grossing fairly well around the art houses. Apart from the USSR’s director Tchukhari, there has been only one other individual to earn the same award twice for the same job. He is Ignacio Lopez Tarso from Mexico, who in 1960 for his performance in “Macario” and again last year in “The Paper Man” was crowned best actor. However, there are Festi¬ val fans, such as this reporter, who will watch this year’s Italian entry with more than a passing glance. The entry is “The Naked Hours,” starring Keir Dullea and Rossana Podestra, and directed by the very capable Marco Vicario. Dullea is the young American who won, hands down, the best actor award at the 1962 Festival for his sympathetic portrayal of the mentally retarded juvenile in “David and Lisa,” and everybody in the industry knows how that low budget picture still is cleaning up. So Bud Levin will watch the Coronet curtain go up tonight, make sure the Governor is comfortable in his loge chair, swallow another ulcer pill, and then settle down for the show to start with Czechoslovakia’s “Lemonade Joe” so that he can start worry¬ ing about “where the Hell am I going to get pictures to book next year’s program?” 22 MOTION PICTURE EXHIBITOR October 14, 1964