The Exhibitor (1966)

5438 MOTION PICTURE EXHIBITOR August 31, 1966 Maxwell Reed, a cousin of the dead woman, who was disfigured by the blaze and left a token amount in her will, has been living in the house as a caretaker. Hyer had been carry¬ ing on an affair with him until Gabor’s death, and she believed that Ameche would inherit all the money so she married him. Attorney Wendell Corey reveals that the will leaves all the money to Gordon on her 25th birthday or to Ameche if she should die or be declared insane. Pressed for funds by Hyer’s extrava¬ gant spending, Ameche is forced to auction off the furnishings on the estate, with Gordon’s permission. The house preys on the youngster’s mind as do some of Hyer’s actions. Hyer even submits to Reed’s attentions again if he will help her get her hands on the estate. Even¬ tually, she kills Reed when he wants to inter¬ est the police in reopening the case. The girl and Hyer struggle, and a candle sets fire to the bedroom, destroying an unconscious Hyer as it did Gabor three years earlier. The scene unsettles the minds of Ameche and Gordon, and hand-in-hand, they wander away with Gordon happy now at being the only woman in Ameche’s life. X-Ray: There are a number of suspenseful and exciting moments to be found in this drama that also treats on greed and avarice. It contains enough in the way of exploitable situations, “names” in the cast, etc., to create audience curiosity. A strong campaign could stimulate this into slightly better returns than usual. The cast performs in adequate fashion, and direction and production are capable. The screenplay by Robert Sherman is aided by the use of color. It should do okay as part of the show. Ad Lines: “A Thrill-Packed Murder Mys¬ tery”; “A Fortune Awaited The Survivor Of A Mystery-Laden Estate.” The Secret Of Magic Island Novelty 65M. Embassy (501) (Eastman Color) (French-made) (Reissue) Estimate: Cute bit of fluff strictly for the kiddies. Credits: Directed by Jean Tourane; screen¬ play by Louise de Vilmorin; music by Richard Cornu; narration by Philip Tonken. For complete review, please refer to page 5278, issue of April 28, 1965. MGM Butterfield 8 MGM (Metrocolor) (CinemaScope) (Reissue) Drama 100M. Estimate: Absorbing drama for adults. Cast: Elizabeth Taylor, Laurence Harvey, Eddie Fisher, Dina Merrill, Betty Field, Mil¬ dred Dunnock, Jeffrey Lynn, Kay Medford, Susan Oliver. Produced by Pandro S. Berman; directed by Daniel Mann. For complete review, please refer to page 4761, issue of Oct. 26, 1960. DO SAVE . . . pink REVrEWS They provide a permanent evaluation of all features as caught by our skilled reviewers. Pages are cumulatively numbered. Cat On A Hot Tin Roof MGM (Metrocolor) (Reissue) Estimate: Well-made filmization of play. Cast: Elizabeth Taylor, Paul Newman, Burl Ives, Jack Carson, Judith Anderson, Madeleine Sherwood, Larry Gates, Vaughn Taylor. Directed by Richard Brooks; produced by Laurence Weingarten. For complete review, please refer to page 4502, issue of Aug. 20, 1958. Musical 116M. MGM (CinemaScope) (MetroColor) (Reissue) Estimate: Delightful entertainment. Cast: Leslie Caron, Maurice Chevalier, Louis Jourdan, Hermione Gingold, Eva Gabor, Jacques Bergerac, Isabel Jeans, John Abbott. Directed by Vincente Minnelli; produced by Arthur Freed. For complete review, please refer to page 4470, issue of May 28, 1958. PARAMOUNT housewife terribly hurt by her one transgres¬ sion is a portrayal of rare depth and feeling. The film has created a certain amount of con¬ troversy because of the explicit treatment of an abortion sequence, but like the rest of the picture it is handled with superb taste. The Code Authority was well justified in making an “exception” to grant “Alfie” a seal, and the Catholic Office for Motion Pictures has re¬ sponded to the film’s undeniable quality by voting an A-4 classification. The film com¬ bines hilarity with deeply touching moments as Alfie cuts a swathe through the ladies in his life, uneasily realising finally that a man can’t shirk the responsibility for his deeds. Caine suggests the emptiness of his character and the simultaneous knowledge of what he is and what he will become. There is bitterness too at the way in which people treat each other in a rather unfeeling world. Here is a film to be relished on many levels. While mak¬ ing a valid social comment in an often ribald manner, it remains always first and foremost sparkling screen entertainment. All who had a hand in the production are to be com¬ mended, and audiences from those seeking pure entertainment to those who demand a great deal more should be well pleased. “Alfie” is a winner. Ad Lines : “Meet Alfie . . . He’s One In A Million”; “Alfie Chased The ‘Birds’ . . . And The ‘Birds’ Chased Alfie . . . What A Way To Live.” Alflo Comedy Drama Mme 114M. Paramount (Technicolor) (Techniscope) (Made in England) Estimate: High-rating comedy drama should delight adult audiences. Cast: Michael Caine, Shelley Winters, Millicent Martin, Julia Foster, Jane Asher, Shirley Anne Field, Vivien Merchant, Eleanor Bron, Denholm Elliott, Alfie Bass, Graham Stark, Murray Melvin, Sydney Tafler. Pro¬ duced and directed by Lewis Gilbert. Screen¬ play by Bill Naughton, based on his play. Story: Michael Caine (Alfie) has a way with the women. He loves them and leaves them when they get too demanding or he feels too deeply involved. He’s dapper and hand¬ some and has a bit of trouble holding a job, but as long as the “birds” keep falling for him, things can’t be too bad. One of his conquests, Julia Foster, realizes how shallow he is and marries another admirer, providing a full time father for Caine’s son. Although Caine really loved the youngster, he recovers quickly and continues on his rather callous way. Some slight spots on his lung send Caine to the hos¬ pital, and even there his success with the “birds” continues. In the next bed is Alfie Bass, always worried about wife Vivien Mer¬ chant and his kids. Caine can’t understand such behavior. Cured, Caine launches a casual affair with Merchant, who becomes pregnant. An abortion is necessary, and the sordid affair truly affects Caine. He rebounds, however, into the arms of wealthy tramp Shelley Win¬ ters, and all is as it was. Caine goes from casual affair to casual affair, but down deep, he realizes the emptiness of his life. X-Ray: This extremely well-made, beauti¬ fully acted comedy-drama is adult entertain¬ ment at its best. Michael Caine in the title role is magnificent, and his asides to the audi¬ ence are hilarious, biting, and touching. The technique is a novel one and always handled well. Caine receives excellent support from the remainder of the cast, with a particular nod to Vivien Merchant, whose frightened Western 85M. Paramount (Technicolor) (Techniscope) Estimate: Okay action entry for program. Cast: Howard Keel, Jane Russell, Brian Donlevy, Wendell Corey, Terry Moore, John Smith, John Agar, Gene Evans, Richard Arlen, Ben Cooper, Tracy Olsen, DeForest Kelley, Anne Seymour, Robert Lowery, Wil¬ lard Parker, Jeff Richards, Reg Parton, Fuzzy Knight. Produced by A. C. Lyles; directed by R. G. Springsteen. Story : When sheriff Richard Arlen is killed while trying to keep the peace in a saloon owned by John Smith, Mayor Robert Lowery is subjected to all kinds of pressure to get gunfighter Howard Keel released from prison so he can clean-up the town. Lowery resists the suggestions until his daughter, Tracy Ol¬ sen, is attacked by a drunken cowboy and then he agrees to ask for Keel. Jane Russell, former fiancee of Keel’s and now married to town preacher Wendell Corey, wants to leave be¬ fore he arrives since no one informed Keel of her marriage, but Corey refuses to run. A couple of vicious cowboys, Reg Parton and Willard Parker wait in ambush to gun him down for having killed their brother. Keel expects the reception, turns the tables on them and sends them from town stripped naked. He loses some of the zeal for the job when he learns Russell is married and is undecided whether to clean up the town or take it over himself. He fires habitual drunk Gene Evans, the deputy, but then gives him another chance, which later results in Evans saving his life when Parton, Willard and others trap him. Russell learns that Keel was studying to be a minister while he was in jail, but he decides to give this up. He sends for old prison pal, Brian Donlevy to come and help him take over the town. Despite warnings to Smith to clean up, the latter ignores the Keel edicts and Smith is about to be closed down. He unites Keel’s enemies into a considerable force and they march on the town. Keel refuses to run and expects to be shot defending the town. Don¬ levy leaves, refusing to get involved. At show