The Exhibitor (1966)

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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.”