The Exhibitor (1966)

MOTION PICTURE EXHIBITOR 5465 November 2, 1966 REVIEWS The famous pink paper SAVEABLE SECTION in which Experienced Trade Analysts evaluate coming product Evyi.ih.td/>,?ve?r. second, week, as a separately bound and easily saveable section of MOTION PICTURE EXHIBITOR, this exclusive 29-year-old service is both numerically more complete and informatively more candid, than any similar analysis. Cumulatively numbered by film seasons (September to September). It is recommended that readers consecutively save ail REVIEWS section in a permanent file. The last Issue of each August will always contain a complete annual exhibit to close the season. Combined the every second week, yellow paper SERVISECTION indexes to the past 12 months' product, and the alternating every second week pink paper REVIEWS, represent a unique informative service to theatremen. . “ddress all Inquiries or suggestions about these two service features to the Editors of MOTION PICTURE EXHIBITOR, 317 N. Broad St., Philadelphia, Penna. 19107. SECTION TWO Vol. 76, No. 12 November 2, 1966 COLUMBIA The Professionals Columbia (Pana vision) (Technicolor) Melodrama 117M. Estimate: Good adventure entry. Cast: Burt Lancaster, Lee Marvin, Robert Ryan, Jack Palance, Claudia Cardinale, Ralph Bellamy, Woody Strode, Joe De Santis, Rafael Bertrand, Jorge Martinez De Hoyos, Marie Gomez. Directed by Richard Brooks. Story: Wealthy American Ralph Bellamy hires four professionals, Burt Lancaster, Lee Marvin, Robert Ryan, and Woody Strode, to go to Mexico and get back his young wife, Claudia Cardinale, who was kidnapped by Jack Palance, bandit and revolutionary. They reach his camp deep in the mountains after eliminating some of his men and preparing for an escape, should they succeed in their mission. When they reach the camp, they use dynamite and surprise to get in and out with Cardinale. They learn that there was no kid¬ napping and that she ran away from Bellamy to be with childhood sweetheart Palance, whom she supports in the revolution. The ransom money would have helped finance that fight. Nevertheless, they take her back for the reward that was promised, and they continue to escape the pursuing Palance and his men. Needing more time, Lancaster is left behind to delay things, and he wounds Palance and eliminates the men around him. He rejoins the others as they are about to hand over Car¬ dinale. She pleads with them, and Bellamy adopts an arrogant attitude that this is none of their business. Marvin and Lancaster decide that it’s not worth the money, and they reunite Cardinale and the wounded Palance, allow¬ ing them to ride back into Mexico. X-Ray: Excitement and suspense are but¬ tressed by action in this entertaining entry that should hold the interest of most audiences on high. It’s smartly done, with four professionals facing over a hundred killers and gaining audience sympathy and support from the start. They hold same until the dramatic conclusion. The rugged tale is well suited to the rough terrain and bleak territory. The use of color is indeed an asset. Other plus factors are the fine performances and the noteworthy direc¬ tion and production values. Richard Brooks wrote the screenplay, based on a novel by Frank O’Rourke. Ad Lines: “Soldiers Of Fortune In A Search For And Rescue Of A Captured Wom¬ an”; “An Action Drama Of Brawling, Lusty Mexico.” CONTINENTAL Crazy Quilt Continental Drama 75M. Estimate: For the art spots. Cast: Tom Rosqui, Ina Mela, David Win¬ ter, S. Maloch Gospe, George W. Meyers, Harry Hunt, Calvin Kentfield, Robert Mar¬ quis, Pavel Wald, Jerry Mander. Produced and directed by John Korty; narrated by Bur¬ gess Meredith. Story: Tom Rosqui is a plodder, who al¬ lows one day to follow another with little emotion or concern. He works at being a ter¬ mite exterminator. He meets Ina Mela, who likes life, is cheerful about most things, and takes more than a passing fancy in Rosqui. Eventually, they get married. Rosqui becomes less gloomy, but not much. She waits for him to declare his love, which he doesn’t. She be¬ comes pregnant but loses the baby, blames him, and leaves for romantic adventures with others, notably an actor, a fisherman, a psy¬ chiatrist, an Italian voice teacher, etc. She finally comes home, which doesn’t move Ros¬ qui much either way. He drinks more and works less, surrendering to bed and bottle. This passes, and he goes into construction. He builds a house for them, but it bums. He tries again, making a fortress of concrete and steel, but he can’t keep up the payments and sells it. When Mela starts her extra curricular activi¬ ties again, he puts his foot down, and they start a family. They have a daughter, who grows well until a long-hair on a motorcycle arrives to take her away, leaving them alone once again to grow old and uncaring. X-Ray: Perhaps film maker John Korty is endeavoring to show the futility of battling the ordained boredom of everyday existence for some. The lacklustre story is certainly ofbbeat, although some viewers may find a grain of truth or self-recognition here and there. For those who like their films different, this should hold interest generally, and the acting, direc¬ tion, and production are certainly different enough to back up the unorthodox story. It’s best suited for the arty and scholastic set. There is a combination of narration and dia¬ logue. Korty, who also wrote the screenplay, based his work on “The Illusionless Man and the Visionary Maid” by Allen Wheelis. Ad Lines: “A Flim-Flam Fable On Film”; “Catch A Termite Exterminator And Put Him In Your Pocket For A Different Thrill.” DO SAVE . . . pink REVIEWS They provide a permanent evaluation of all features as caught by our skilled reviewers. Pages are cumulatively numbered. The Shameless Old Lady D^A Continental (French-made) (English titles) Estimate: Fine import, Cast: Sylvie, Malka Ribovska, Victor Lanoux, Etienne Bierry, Francois Maistre, Pascale de Boysson, Lena Delanne, Jeanne Hardeyn, Jean-Louis Lamande, Robert Bousquet. Ex¬ ecutive producer is Claude Ned jar; directed by Rene Allio. Story: Sylvie is 70 years old when her hus¬ band dies and she is left alone. Her five chil¬ dren have all married and moved away, and when they gather for the funeral, they are undecided what to do about her. She decides to live alone if they will send her a small allow¬ ance. Soon afterwards, she becomes curious about the cinema, the modern shops, and some of the people around her, whom she never noticed before. She becomes friendly with semi-prostitute Malka Ribovska and persuades her to move in with her. They go shopping together, to the cinema, to the races, etc. Sylvie sells her surplus belongings and even buys a car, which Ribovska drives for her after being taught by Sylvie’s grandson, Victor Lanoux, who has become a lover of Ribovska. After 18 months of learning to live, Sylvie dies peacefully after all her money is spent. Lanoux and Ribovska are left with photo souvenirs, which show an old woman learning to live. X-Ray: Elderly actress Sylvie is delightful as a surviving widow who has always been restricted by family, finances, and tradition from really living in the world around her. She gets the chance to partake and participate in the time that’s left her after her husband’s death. Her children are puzzled and con¬ cerned, but she is as if reborn, and viewer sympathy goes out to her. Sylvie is just fine in the title role, and the others provide able sup¬ port. Direction and production are noteworthy as well. The entry is a charming, entertaining, and fulfilling one, and it should make it big in the art spots. The perceptive screenplay is by Rene Allio, based on a novel by Bertolt Brecht. Ad Lines: “Live It Up With ‘The Shame¬ less Old Lady’ ”; “She Just Wanted Some Fun Before Her Time Came . . . And She Didn’t Care Who Knew It.” EMBASSY A Pistol For Ringo Western 97M. (613) Embassy (Technicolor) (Techniscope) (Filmed abroad) (Dubbed in English)