The Exhibitor (1966)

5394 MOTION PICTURE EXHIBITOR April 27, 1966 turns to his home town after 11 years getting a stake. A buffalo hunter, he has saved $17,000 and wants to return to the wife he left because he didn't consider himself good enough for her. He is attacked by cattle rustlers, robbed, and branded. He painfully makes his way to town and is rejected by his wife, Hays, who thought he was dead and plans to marry banker Michael Rennie. Connors seeks out the men who robbed and branded him. He forces one to commit suicide, kills another, and gets his money back from Rennie, who is sorry to have participated in the gory affair. Connors rides off alone, and Hays leaves later to find him. No one ever saw them again, but the towns¬ folk are sure they got together. X-Ray: This is a good bit more than an average western. The flashback technique is well handled, characterizations are sharp and interesting, and action sequences are justified dramatically and explosive in their impact. Production and direction are first rate, and performers include established stars and prom¬ ising newcomers alike. Connors is outstanding in the lead role, and he receives fine support. Hays is an attractive new personality as well. Something should be said about the perform¬ ance of television comedy star Bill Bixby, who is chilling in a difficult role. His character is psychologically warped, and Bixby gives him real life in a compelling portrayal. It is this sort of extra, plus other surprises and a plot which seems dramatically valid a £ well as fastmoving, that lifts this feature out of the ordi¬ nary classification. It is a real candidate for “sleeper” honors and deserves the best efforts of all theatremen. Ad Lines: “Ride Beyond Vengeance . . . For Death Waits At The End Of The Trail”; “For Years They Would Talk In Whispers About The Night Of The Tiger.” A Study In Terror MeloD94m Columbia (Eastman Color) (English-made) Estimate: Sherlock Holmes vs. Jack The Ripper is fine for mystery fans. Cast: John Neville, Donald Houston, John Fraser, Anthony Quayle, Robert Morley, Bar¬ bara Windsor, Adrienne Corri, Frank Finlay, Judi Dench, Cecil Parker, Georgia Brown, Barry Jones. Executive producer, Herman Cohen; produced by Henry E. Lester; directed by James Hill. Story: In the 1880’s, the Whitechapel sec¬ tion of London is terrorized by the activities of a killer of prostitutes who has been dubbed Jack The Ripper by the press. John Neville (Sherlock Holmes) becomes interested in the case when a box of surgical instruments is for¬ warded to him with a scalpel missing, which proves to be the weapon used on a number of the murder victims. With the aid of Donald Houston (Doctor Watson), Neville uncovers a link with a family of the nobility headed by Duke Barry Jones, who has disowned his older son for marrying out of his class and to a pros¬ titute as well. His younger son, Lord John Fraser, confirms that the surgical instruments belonged to his brother when he was studying medicine. There are other areas in the district that come under suspicion, such as a hospital refuge and food kitchen for the poor overseen by Anthony Quayle, who is financially aided by Fraser. There is a blackmailer friend of Fraser’s brother’s wife, who is blackmailing Fraser; there is his brother’s wife, Adrienne Corri, whose face has been disfigured by acid; and finally there is Fraser’s brother, a simple¬ ton since his mind snapped, who has been helping Quayle. Neville takes the brother home to Jones, who agrees to care for him, after which he sets a trap which is sprung to reveal Fraser as the killer trying to finally eliminate Corri. Flames take both victim and murderer, and Neville is content to let his identity re¬ main a secret to spare Jones further hurt. X-Ray: Audiences accustomed to seeing Basil Rathbone as Sherlock Holmes will be a bit taken aback by the appearance of John Neville in the familiar role amid the now historic surroundings, but after a bit, he seems to fit in neatly. Acceptance will generally be forthcoming. As for the story, it has suspense, murder, and bits of action as well as intrigue, and interest is well maintained throughout. Over the years, it has been proven that a large percentage of the moviegoing audience are suckers for mysteries involving Sherlock Holmes, as well as other detectives. There is no reason to believe that the situation has changed any. Therefore, it’s a simple deduc¬ tion that reaction and response should be favor¬ able. The acting, direction, and production are capable, and the use of color is an added asset. Ad Lines: “The Latest Sherlock Holmes Thriller”; “Murder Will Out As Sherlock Holmes Takes On A New Case.” MGM The Glass Bottom Boat MGM (Panavision) (Metrocolor) Estimate: Entertaining comedy romance. Cast: Doris Day, Rod Taylor, Arthur God¬ frey, John McGiver, Paul Lynde, Edward An¬ drews, Eric Fleming, Dom De Luise, Dick Martin, Elisabeth Fraser, George Tobias, Alice Pearce, Ellen Corby, Dee J. Thompson. Di¬ rected by Frank Tashlin; produced by Martin Melcher and Everett Freeman. Story: On weekends, Doris Day, a young widow, helps out her father, Arthur Godfrey, who operates a glass bottom sightseeing boat. During the week, she starts working for a space laboratory headed by engineering genius Rod Taylor, whom she doesn’t know but with whom she had a run-in in the bay. Taylor is delighted to find that she works for him, having been impressed with their initial meet¬ ing, and he decides to pay attention to her. He has her transferred to his office and sug¬ gests that she stick close to him, making notes for a biography before he may take off on the exploration of space. There are spies who would like to get the plans for a new invention worked out by Taylor, and Day comes under suspicion by some of her actions, which are completely innocent to the knowing. She acci¬ dentally learns that she is being investigated and becomes angry, deciding to give the in¬ vestigators something to be concerned about even if it is only make-believe. Eventually, the real spies are uncovered, and Taylor and Day are reunited. X-Ray: A theatre audience seemed to have fun with this romantic comedy, attractively decorated with gadgetry, rocketry, and espio¬ nage, as well as misunderstandings, slapstick lampoonery, etc. It’s dressed in color, which helps, and it moves at a pace that holds inter¬ est fairly well. Add to this the “names” of Day, Taylor, and Arthur Godfrey; the comic talents of John McGiver, Paul Lynde, Edward Andrews, Dom De Luise, and Dick Martin, and you’ve got a cute comedy that could draw audiences seeking something light and laughprovoking. Performances, direction, and pro¬ duction are capable. The original screenplay is by Everett Freeman. Ad Line: “The Laugh Fest Of The Year”; " “A Comedy Delight Guaranteed To Chase | Everyone’s Blues Away.” The Secret Seven Melodrama 94M. (Italian-made) (Techniscope) (Eastman Color) Estimate : Plenty of action for the program. Cast: Tony Russel, Helga Line, Massimo Serato, Gerard Tichy, Renato Baldini, Livio Lorenzon, Barta Barry, Joseph Marco, Kriss Huerta, Gianni Solaro, Francesco Sormano, Emma Baron, Pedro Mari, Tomas Blanco, Renato Montalbano. Directed by Alberto De Martino; a Film Columbus-Roma Atenea Films-Madrid Production. Story: In the Fourth Century B.C., Sparta invades the Middle Eastern village of Tur where Massimo Serato is captured. His brother, Tony Russel, goes to his rescue. With the help of five galley slaves whom he has freed, they ■ save Serato, and all return to the village to find it destroyed and their mother slaughtered. They take an oath to avenge her death. Russel now poses as an architect and gains access to tyrant Gerard Tichy’s palace. He encounters Helga Line, with whom he had once been romantically attached and who is now the mistress of Tichy. She still loves Russel and does not give him away. “The Secret Seven” lead attacks against Tichy’s mercenaries and capture his treasure. Tichy finds out who Rus¬ sel is and warns them that if they do not sur¬ render, he will put Line to death. Russel and Serato round up a herd of wild horses. They cause a stampede which routs the mercenaries. The tyrant is killed, and Russel and Line are reunited. X-Ray: This Italian-made meller is actionpacked from start to finish and resembles a European western more than anything else. There are no names to help it over here, but the production, direction, color photography, etc., are satisfactory. The film should have little trouble in satisfying as part of the program. It is mostly exteriors and holds the interest well, although at times “The Secret Seven” seem hopelessly outnumbered and their survival is a bit miraculous. Ad. Lines: “The Secret Seven First Against Spartan Tyranny”; “A Fight For Freedom In The Fourth Century B.C.” PARAMOUNT All The Way (The Joker Is Wild) Drama 126M. Paramount (Reissue) (Vistavision) Estimate: Joe E. Lewis biography is enter¬ taining. Cast: Frank Sinatra, Mitzi Gaynor, Jeanne Crain, Eddie Albert, Beverly Garland, Jackie Coogan, Barry Kelley, Ted de Corsia, Leonard Graves, Valerie Allen, Hank Henry. Produced by Samuel J. Briskin, directed by Charles , Vidor. For complete review please refer to page _ 4382, Oct. 2, 1957. j Come Blow Your Horn 115M. Paramount (Reissue) (Panavision) (Technicolor) Estimate: Very funny comedy should roll to top returns. Cast: Frank Sinatra, Lee J. Cobb, Molly