The Exhibitor (1966)

5464 MOTION PICTURE EXHIBITOR October 19, 1966 ALPHABETICAL GUIDE TO 38 FEATURE REVIEWS This index covers features reviewed thus far during the 1966-67 season in addition to features of the 1965-66 season, reviewed after the issue of Aug. 31, 1966. — Ed. A ALVAREZ KELLY— 1 16m.— Col . ANY WEDNESDAY— 109m.— WB . APPALOOSA, THE— 98m.— U . B BIBLE, THE— 174m. — Fox . BOLSHOI BALLET '67— 75m.— Para . D DEAD HEAT ON A MERRY-GO-ROUND— 104m. — Col . E EL GRECO— 95m.— 20th-Fox . F FOLLOW ME BOYS — 134m.— BV . FORTUNE COOKIE, THE— 125m. — UA . FRANKENSTEIN CONQUERS THE WORLD— 98m.— AIP . FUNNY THINC HAPPENED ON THE WAY TO THE FORUM, A— 99m.— UA . G GEORGY GIRL— 100m.— Col . H HAWAII— 189m.— U A . 5457 5464 5455 5458 5458 5461 5455 5461 5463 5453 5458 5462 5459 HOTEL PARADISO— 96m.— MGM . 5454 I I DEAL IN DANCER— 85m.— Fox . 5463 J JACK FROST— 79m.— Emb . 5462 K KALEIDOSCOPE— 103m.— WB . 5456 KNOCKOUT #2— 50m.— Misc . 5460 L LET'S KILL UNCLE— 92m.— U . 5459 LIQUIDATOR, THE— 103m.— MGM . 5454 M MARINE BATTLEGROUND— 88m.— For . 5460 MISTER BUDDWINC— 99m.— MGM . 5454 N NAVY VS THE NIGHT MONSTERS, THE— 87m.— Misc . 5456 NOT WITH MY WIFE, YOU DON'T!— 118m.—' WB . 5459 0 OH, THOSE MOST SECRET AGENTS— 96 m.— A A 5461 ONE SPY TOO MANY— 102m.— MGM . 5462 OSS 117— MISSION FOR A KILLER— 84m.— Emb. 5453 R RETURN OF THE SEVEN— 95m.— UA . 5463 RINGS AROUND THE WORLD— 98m.— Col. ... 5453 ROMEO AND JULIET— 1 26m.— Emb . 5457 s SECONDS— 106m.— Para . 5455 SPINOUT— 95m.— MGM . 5462 T TARZAN AND THE VALLEY OF GOLD— 100m.— AIP . 5453 10.30 P.M. SUMMER — 85m.— For . 5464 TEXAS ACROSS THE RIVER— 1 01 m.—U . 5455 THAT TENNESSEE BEAT— 84m.— Fox . 5463 w WHAT'S UP, TIGER LILY?— 80m.— AIP . 5457 WOMEN OF THE PREHISTORIC PLANET— 87m. — Misc . 5460 Return Of The Seven ( Continued from page 5463) ness as part of the program. The screenplay is by Larry Cohen. Ad Lines: “Seven Guns Blaze In The In¬ terests Of Justice”; “Seven Against An Army Of Outlaws.” WARNERS Any Wednesday (655) Comedy 109M. Warners (Technicolor) Estimate: Cute comedy. Cast: Jane Fonda, Jason Robaxds, Dean Jones, Rosemary Murphy, Ann Prentiss, Jack Fletcher. Produced by Julius J. Epstein; di¬ rected by Robert Ellis Miller. Story : Six days out of every week, million¬ aire industrialist Jason Robards is a faithful husband, but each Wednesday, when he is sup¬ posedly off on business trips, he is spending the day with Jane Fonda in her apartment. His company has taken the apartment as an execu¬ tive suite that he can charge off on his expense account. The rest of the time, he’s at home with wife Rosemary Murphy. Through an error by a new secretary, out-of-towner Dean Jones, whose firm is being taken over by one of Robard’s companies, is sent to stay in the “executive suite” when he can’t find a hotel room. He hopes to persuade Robards not to sell off his firm. Jones thinks Fonda is a party girl who goes with the suite. The new girl also sends Murphy to the address on the chance she might see Robards there, and Murphy thinks Fonda is Jones’ wife, even though she wonders why Fonda’s voice sounds familiar. Robards does put in an appearance, and Murphy insists that the four of them have dinner together. Later that evening, Murphy figures out who Fonda really is, and Robards moves in with Fonda prior to a divorce. Murphy shows Fonda the huge house in which she’ll be expected to live and photos of their two children, who are away at college. Until now, Fonda thought they were infants. Fonda invites Murphy to use the executive suite when she’s in town, and Murphy decides to take a bath. She is surprised by Robards, who gets romantic feelings about her once again. Fonda surprises them making love, and she explodes. Jones, in love with Fonda, arrives at the right moment, and she agrees to marry him. Robards tries for a recon¬ ciliation with Murphy, who is willing to let him call — any Wednesday. X-Ray: This comedy about the midadven¬ tures of a wealthy married Romeo was quite a hit on stage, and the filmed result emerges as a funny entry that should please most viewers looking for something light in the way of en¬ tertainment. While it is a bit on the talky side, it’s amusing, colorful, and aided by expert act¬ ing, smart direction, and efficient production. Adults will best appreciate some of the extra¬ marital situations. The use of color dresses the release nicely. Julius J. Epstein wrote the screenplay, based on the play by Muriel Resnik. Ad Lines: “Wednesday Was Their FUN Day;” “Wednesday Was The Wildest Day of The Week — Until His Wife Found Out.” FOREIGN 10:30 P.M. Summer D^.A 85M. Lopert (Technicolor) (Filmed abroad) Estimate: Arty offering for specialty spots. Cast: Melina Mercouri, Romy Schneider, Peter Finch, Julian Mateos, Isabel Maria Perez, Beatriz Savon. Produced by Jules Dassin and Anatole Litvak; directed by Jules Dassin. Story: As a violent summer storm closes in on a Spanish village, Julian Mateos strides through the streets with a gun in hand until he comes to his home. He surprises his young wife and a lover and kills them both. The rain hits as he takes refuge from alerted police. Meanwhile, a car loaded with foreign travelers arrives, containing Peter Finch, an English¬ man; his Greek wife, Melina Mercouri; their child, Isabel Maria Perez; and their beautiful young friend and companion, Romy Schneider, who has eyes for Finch. The hotel can not provide them with rooms but manages food and lodgings in a corridor where other stranded tourists are also to be found. Mercouri has turned to drink, presumably out of boredom, while Finch is torn between his love for her and his attraction to Schneider. Mercouri seems aware of their situation and gets an erotic feeling out of the tense atmosphere. Mercouri steals away to drink by herself, and she spots Finch and Schneider in an embrace on a balcony. She also sees Mateos hiding on a nearby rooftop. She takes her car to where he is hiding and conceals him, taking him away to the deserted countryside. She leaves him in hiding, promising to return the next day. She informs the others, and they accompany her to the fugitive, only to find that he has shot himself. They continue on their journey to¬ wards Madrid, and Mercouri gives the pair another chance to make love while she indulges in drink. Later, she admits to Finch that she no longer loves him, and then they go to a flamenco cafe. Afterwards, they play hide and seek in the deserted wee hours of the morning, with Mercouri hiding so well that the others cannot find her. X-Ray: The eternal triangle with emotional variations is surrounded by moodiness, alcohol, and depressing atmosphere. Whatever story values the import has will appeal to the dedi¬ cated patrons of the art spots. Presumably, they will be attracted by the cast headed by Melina Mercouri, a vibrant personality assigned the role of an alcoholic with other problems as well, and the off-beat qualities of the story. Some will prove indifferent to the slowness of the proceedings and the story that seems to go nowhere, burdened with complications. The cast follows through on its assignments in suit¬ able fashion, and the direction and production are adequate. The screenplay is by Jules Dassin and Marguerite Duras, based on the novel by Duras. Ad Lines: “Tourists Trapped In The Tur¬ moil And Tenseness Of A Spanish Village”; “An Off-Beat Drama About Three People In¬ volved In Romantic Turmoil.”