The Exhibitor (1965)

PRODUCT PREVIEW • from Norman Mailer’s controversial best-selling novel; “The Name of the Game,” from jean Kerr’s Broadway comedy, “Poor Richard”; “Camelot,” from the great Broad¬ way musical hit by Alan Jay Lerner and Frederick Loewe; “Planet of the Apes,” from Pierre Boulle’s science-fiction novel; “Hotel,” from the Arthur Hailey best-seller, “Jackson Hole,” Delmer Daves’ production of a panoramic Western adventure drama; “Speak Not Evil, from Edwin Lanham’s recent novel, and “Where’s the Action?,” from an outstand¬ ing first novel of contemporary youth by Douglas Reeves. Paramount ■ PARAMOUNT PICTURES IS ENTERING 1966 with all of its releases for the year either completed or in ad¬ vanced stages of production, according to George Weltner, president. Describing this as “an achievement unique in the history of the company and perhaps in the entire industry,” Welt¬ ner said that this gives “both the company and its ex¬ hibitor customers a distinct advantage in long-range mar¬ keting and merchandising of each attraction.” Weltner also reported that Paramount is well advanced into planning and pre-production work for the 1967 and 1968 schedules. The company will release 24 new pictures in 1966, Weltner revealed. In addi¬ tion, there will be a special presenta¬ tion of Cecil B. DeMille’s “The Ten Commandments,” one of the indus¬ try’s all-time greatest grossers, and a selected number of re-releases, con¬ tinuing a program that has been highly successful for the company. The 24 films for 1966, listed in the order of their release, are: “The Slender Thread,” produced by Ste¬ phen Alexander, directed by Sydney Pollack and starring Sidney Poitier and Anne Bancroft; “Kid Rodelo,” produced by Ellis Sard, directed by Richard Carlson and starring Janet Leigh, Don Murray and Broderick Crawford; “Apache Uprising,” in Techniscope and Technicolor, produced by A. C. Lyles, directed by R. G. Springsteen and starring Rory Calhoun and Co~ rinne Calvet; “The Spy Who Came In From The Cold,” a Salem Film produced and directed by Martin Ritt, starring Richard Burton, Claire Bloom and Oskar Werner; “Ju¬ dith,” in Panavision and Technicolor, produced by Kurt Unger, directed by Daniel Mann and starring Sophia Loren, Peter Finch and Jack Hawkins; “Oh Dad, Poor Dad, Mamma’s Hung You in the Closet and I’m Feelin’ So Sad,” in T echnicolor, a Ray Stark-Richard-Quine produc¬ tion, produced by Ray Stark and directed by Richard Quine for Seven Arts and starring Rosalind Russell, Robert Mot se, Barbara Harris, Hugh Griffith and Jonathan Winters. Also, “Promise Her Anything,” in Technicolor, a Seven Arts production produced by Stanley Rubin, directed by Arthur Hiller and starring Warren Beatty, Leslie Caron and Bob Cummings; “Johnny Reno,” in Techniscope and Technicolor, produced by A. C. Lyles, directed by R. G. Springsteen and starring Dana Andrews and Jane Russell; “The Naked Prey,” in Technicolor, starring Cornel Wilde, who also produced; “Alfie,” in Techniscope and Techni¬ color, produced and directed by Lewis Gilbert, star¬ ring Michael Caine and Shelly Winters; “The Last of the Secret Agents?”, in Technicolor, produced and directed by Norma Abbott, starring Marty Allen and Steve Rossi; “The Psychopath,” in Technicolor, produced by Max Rosenberg and Milton Subotsky, directed by Freddie Francis; “Para¬ dise, Hawaiian Style,” in Panavision and Technicolor, pro¬ duced by Hal Wallis, directed by Michael Moore and star¬ ring Elvis Presley. Also, Joseph E. Levine’s “Nevada Smith,” in Techni¬ color, a Solar production produced and directed by Henry Hathaway, starring Steve McQueen; “Is Paris Burning?”, Transcontinental-Marianne production produced by Paul Graetz and directed by Rene Clement, with an all-star cast; “Assault On A Queen,” in Technicolor, Seven Arts-Sinatra Enterprises production produced by William Goetz and directed by Jack Donohue, starring Frank Sinatra, Virna Lisi and Tony Franciosa; “This Property Is Condemned,” in Technicolor, produced by Ray Stark for Seven Arts, directed by Sydney Pollack and starring Natalie Wood and Robert Redford; “Seconds,” produced by Edward Lewis, directed by John Frankenheimer and starring Rock Hud¬ son; “Funeral in Berlin,” in Technicolor, produced by Harry Saltzman, starring Michael Caine; “The Idol,” pro¬ duced by Leonard Lightstone for Joseph E. Levine, direct¬ ed by Daniel Petrie and starring Jennifer Jones; “Eldorado,” in Technicolor, produced and directed by Howard Hawks, starring John Wayne and Robert Mitchum; “The Swinger,” in Technicolor, produced and directed by George Sidney, starring Ann-Margret; “You Just Kill Me!”, in Technicolor, produced and directed by Ken Hughes for Seven Arts, starring Tony Curtis, Rosanna Schiaffino and Nancy Kwan. Paramount’s re-releases for 1966 will include George Stevens’ “Shane,” classic western in Technicolor ranking as one of the company’s highest-grossing attractions, and a Jerry Lewis package, “Visit to a Small Planet” and “The Bell Boy.” Universal | Universal will put nine features, all in Technicolor, into production before the end of the year, it was discolosed by Edward Muhl, vice-president in charge of production. Added to the 12 pictures already started and completed so far this year (all in Technicolor) this will give the com¬ pany a total of 21 features put before the cameras during 1965, two more than were started during 1964. An important aspect of this year’s schedule is that it marks the first time in Universal’s history that its entire year’s product has been filmed in color. Pictures scheduled to start before the end of the year include Alfred Hitchcock’s “Torn Curtain,” starring Paul Newman and Julie Andrews; “Cocatlan,” starring Marlon Brando with Sidney J. Furie directing for producer Alan Miller; “Out of Sight,” to be produced by Bart Patton and directed by Lenny Weinrib; “Beau Geste,” classic story of the French Foreign Legion to be produced by Walter Seltzer; “The Pad (And How To Use It),” Ross Hunter production based on Peter Shaffer’s London and Broadway (< Continued on Page 56) 54 MOTION PICTURE EXHIBITOR December 29, 1965