We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
August 17, 1966
ALPHABETICAL GUIDE
( Continued from page 5436)
Spy Who Came In From The Cold, The — 112m.
— -Para . 5354
Spy With My Face, The — 88m. — MCM . 5377
Stagecoach — 114m. — Fox . 5406
Stop The World— I Want To Get Off —
98m. — WB . 5391
Study In Terror, A — 94m. — klol . 5394
Sucker, The — 101m. — For . 5421
Swedish Wedding Night — 96m. — For . 5355
Sweet Light In A Dark Room — 93m. — For . 5421
T
Taffy And The Jungle Hunter — 87m. — AA ....5333
Take It All — 99m. — For . 5421
Ten Commandments, The — 219m.— Para. — Re. . .5382
Ten Little Indians — 92m. — For . 5366
Terror In The City — 90m. — AA . 5393
10th Victim, The— 92m.— Emb . 5357
That Darn Cat — 116m. — BV . 5325
That Man In Istanbul — 117m. — <Dol . 5362
MOTION PICTURE EXHIBITOR
This Property Is Condemned — 110m. — Para . 5414
Time Lost And Time Remembered —
91m. — Continental . 5433
Thousand Clowns, A — 118m. — UA . 5351
Three On A Couch — 109m.— Col . 5409
Thunderball— 131m.— UA . 5359
Tiko And The Shark — 100m. — MGM . 5390
Time of Indifference— 84m. — Cont . 5335
Tomb Of Torture — 88m. — For . 5421
Torn Curtain — 128m. — U . 5426
To Trap A Spy— 92m. — MGM . 5377
Tramplers, The — 105m. — Emb . 5419
Treasure of Silver Lake — 82m.— Col . 5321
Trouble With Angels, The — 112m. — -Col . 5385
u
Ugly Dachshund, The— 93m.— BV . 5362
Underworld Informers — 1 05m. — Cont . 5335
Up To His Ears — 109m. — For . 5423
V
Village of The Giants — 80m. — Emb . 5335
Violent And The Damned, The — 62m. — For . 5328
Visit To A Small Planet — 85m. — Re. — Par . 5399
Viva Maria— 114m.— U A . 5358
5435
W
Walk, Don't Run — 117m. — Col . 5417
Walk In The Shadow — 93m. — Cont . 5373
War Lord, The— 123m.— U . 5331
Weekend At Dunkirk — 101m. — Fox . 5406
Weird, Wicked World — 82m. — For . 5387
When The Boys Meet The Girls — 110m. — MGM 5351 What Did You Do In The War,
Daddy?— 1 16m.— UA . 5419
Where The Spies Are — 110m. — MGM . 5351
Who Killed Teddy Bear? — 90m. — Misc . 5338
Who's Afraid Of Virginia Woolf? — 129m. — WB 5420
WIA (Wounded In Action) — 87m. — For . 5387
Wild Angels, The— 90m.— AIP . 5417
Wild On The Beach — 77m. — Fox . 5323
Wild, Wild Winter — 80m. — U . 5364
Willy McBean and His Magic Machine —
94m. — Misc . 5324
Winter A-Go-Go— 88m.— Col . 5342
Wrong Box, The — 105m. — Col . 5429
Y
Year Of The Horse, The — 58m. — Misc . 5387
You Must Be Joking — 100m. — Col . 5342
Young World, A — 83m. — For. . . 5415
The Pad
( Continued, from page 5434)
give him lessons in seduction, cook the dinner, and gracefully exit after things are progressing well for Bedford. Sommars arrives, and Bed¬ ford regales her with his knowledge of classical music. Farentino realizes she has absolutely no interest in the subject and enters to try to save the day. He immediately captivates Sommars with a flood of meaningless small talk, and Bedford is out in the cold. He drinks too much and orders Farentino out. This disturbs Som¬ mars, but she begins to feel sorry for Bedford and encourages his advances. The encounter is a fiasco with the inexperienced Bedford far too demonstrative. An outraged Sommars slaps him, then realizes how immature and vulnerable he really is. Bedford, destroyed, makes up a story about a steady girl friend, gives Farentino’s phone number to Sommars, and sends her away. He seems doomed to a life of loneliness.
X-Ray: Producer Ross Hunter, associated with lush romantic dramas featuring estab¬ lished stars, takes on a far different chore here. This comedy-drama, well-laced with pathos, is played entirely by new personalities who perform with talent and vigor under skilled direction. Hunter hasn’t stinted in the production end, despite the relatively seedy settings and absence of names. It is a highly polished production. The relatively simple, even flimsy story deals with loneliness, which many psychologists would agree is the most pressing problem of our age and our society. A young man with something fine to offer in a relationship is defeated by a world in which the trappings and appearances of life seem far more important than its heart and guts. Basic¬ ally a bitter tale, it is brightened by moments of comedy, from the subdued to the slapstick. Bedford is fine as the introverted youth who can’t cope with the meaningless banality that must surround today’s boy-girl relationships. Sommars also impresses as the gal who can’t resist swinger James Farentino’s line. Faren¬
tino, as a shallow, handsome ladies’ man, sug¬ gests a hidden depth that makes his character more interesting than it would have been otherwise. We feel he knows his shortcomings, feels for his friend, but can’t help “making the scene” with every girl he meets. The fourth prominently showcased newcomer is Edy Wil¬ liams, visually a knockout in the role of a sexpot. She’ll be heard from. The story is based on a one act play and perhaps is overblown a bit at feature film length. The shift in mood from carefree comedy to bitter, rather pathetic drama is sudden and may jar some viewers. The film does have something to say, however, and gets its point across well. Hunter is to be congratulated for entrusting the film to bright new faces, some of whom may well continue on to stardom. Exhibitors should back up his gamble. The public won’t be disappointed when it visits “The Pad.”
Ad Lines: “Four Young People In A World They Never Made . . . Winners And Losers In The Game Of Life”; “A Swinging Story Of ‘The Pad’ . . . Somewhere Between Tears And Laughter.”
FOREIGN
Mademoiselle
Lopert
(Foreign-made)
Drama
103M.
Estimate: Sex-motivated adult drama for the art spots.
Cast: Jeanne Moreau, Ettore Manni, Keith Skinner, Umberto Orsini, Jane Berretta, Mony Reh, George Douking, Rosine Luget, Gabriel Gobin, Pierre Collet, Jean Gras. Directed by Tony Richardson; produced by Oscar Lewenstein.
Story: A small French village is generally peaceful and placid, but once a year, migrant workers from Italy come to fell trees in a
nearby forest. One of these is Ettore Manni, a widower, who arrives with a young son, Keith Skinner, and a friend, Umberto Orsini. Manni since the death of his wife has drifted, and he exerts an animal magnetism over women. He hasn’t the will to resist their advances. The men are aroused against him, and he is suspect when a series of disasters, man-made, such as opened floodgates, mysterious fires, etc., occur shortly after his arrival. The real culprit takes a perverse physical pleasure in the havoc she is causing while pretending to assist. It is Jeanne Moreau, the local school teacher, who is sex-starved with a passionate urge for Manni. She is hostile towards Skinner, who has a boyish love for her. After some animals are poisoned, the men of the village decide to take the law into their own hands, and they go looking for Manni. Moreau finds him first, after which they spend a wild night in the rainswept fields and forest getting their fill of sex. The next morning, she returns to the village where the inhabitants are shocked by her appearance. She accusses Manni of violat¬ ing her. This is the last straw, and the men hunt him down and beat him to death. Moreau, now calm and satisfied, decides to go away, leaving the village quiet once again. Skinner and Orsini also prepare to depart.
X-Ray: Lust, passion, and a psychotic de¬ sire for sex are the prime movers here, and the result is an offbeat, oft-times fascinating entry that will best be appreciated by adults in the art houses. It will certainly create a kind of word of mouth that could stimulate the curiosity of appropriate audiences, and there are basic and down-to-earth situations to back-up the whispers and satisfy the curios¬ ity. Good performances, sensitive direction, and fine production buttress the story. The scenario is by Jean Genet. The entry would have been improved by a bit of shortening. The dialogue is in English except for a few scenes in which Italian is spoken, and then there are explanatory titles.
Ad Lines: “Women Couldn’t Resist The Stranger . . . Men Wanted Him Dead”; “She Wanted One Man ... In The Worst Way.”