The Exhibitor (1966)

5492 MOTION PICTURE EXHIBITOR January 18, 1967 ALPHABETICAL GUIDE TO 100 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 AFTER THE FOX— 103m.— UA . 5479 AFRICA ADDIO— 120m. — For . 5486 ALL THE OTHER GIRLS DO— 90m.— For . 5470 ALVAREZ KELLY— 11 6m.— Col . 5457 ANY WEDNESDAY— 109m.— WB . 5464 APPALOOSA, THE— 98m.— U . 5455 AROUSED— S2m.— Misc . 5474 ARRIVEDERCI BABY— 105m.— Para . 5482 B BIBLE, THE— 174m.— Fox . 5458 BLOW-UP— 1 10m.— For . 5486 BOLSHOI BALLET '67— 75m.— Pern . 5458 BRIDES OF FU MANCHU, THE— 94m.— For. .. 5479 c CHAFED ELBOWS— 63m.— Misc . 5491 CHRISTMAS THAT ALMOST WASNT, THE— 95m.— For . 5467 COME SPY WITH ME— 85m.— 20th-Fox . 5490 COUNTERFEIT CONSTABLE, THE— 86m.— For. 5474 COVENANT WITH DEATH, A— 97m.— WB .. 5490 CRAZY QUILT— 75m.— Cont . 5465 CUL-DE-SAC— 104m.— For . 5470 D DEAD HEAT ON A MERRY-GO-ROUND— 104m.— Col . 5461 DEFECTOR, THE— 106m.— Misc . 5470 DEVIL'S OWN, THE— 90m.— 20th-Fox . 5482 DR. GOLDFOOT AND THE GIRL BOMBS— 85m.— AIP . 5473 DO YOU KEEP A LION AT HOME?— 81 m.— For. 5486 E EL GRECO— 95m.— 20th-Fox . 5455 ERIC SOYA'S '17'— 87m.— For . 5491 F FAHRENHEIT 451— 111m.— U . 5469 FISTFUL OF DOLLARS, A— 96m.— U A . . 5483 FOLLOW ME BOYS— 134m.— BV . 5461 FORTUNE COOKIE, THE— 125m.— UA . 5463 FRANKENSTEIN CONQUERS THE WORLD— 98m.— AIP . 5453 FUNERAL IN BERLIN— 102m.— Para . 5478 FUNNY THING HAPPENED ON THE WAY TO THE FORUM, A— 99m.— UA . 5458 G GALIA— 105m.— For . 5486 GAMBIT— 109m.— U . 5470 GAME IS OVER, THE— 96m.— For . 5491 GEORGY GIRL— 100m.— Col . 5462 GOAL!— 106m.— Col . 5481 GRAND PRIX— 175m.— MGM . 5482 H HALLUCINATION GENERATION— 85m.— AIP . 5477 HAWAII— 189m.— UA . 5459 HERO'S WIFE, THE— 91m.— For . 5467 HOTEL— 124m.— WB . 5491 HOTEL PARADISO— 96m.— MGM . 5454 I I DEAL IN DANGER— 85m.— Fox . 5463 IS PARIS BURNING?— 173m.— Para . 5469 J JACK FROST— 79m.— Emb . 5462 K KALEIDOSCOPE— 103m.— WB . 5456 KISS THE GIRLS AND MAKE THEM DIE 101 m.— Col . 5489 KNOCKOUT #2— 50m.— Misc. . 5460 L LET'S KILL UNCLE— 92m.— U . 5459 LIQUIDATOR, THE— 103m.— MGM . 5454 LOVES Of A BLONDE, THE— 88m.— For . 5467 LOVING COUPLES— 113m.— For . 5467 M MAN FOR ALL SEASONS, A— 120m.— Col . 5477 MARINE BATTLEGROUND— 88m.— For . 5460 MASCULINE FEMININE— 104m.— For . 5468 MISTER BUDDWING— 99m.— MGM . . 5454 MURDERER'S ROW— 108m.— Col . 5478 N NASHVILLE REBEL— 91 m.— AIP . 5473 NAVY VS THE NIGHT MONSTERS, THE— 87m. — Misc . 5456 NIGHT GAMES— 104m.— For . 5486 90 DECREES IN THE SHADE— 90m.— For . 5474 NOT WITH MY WIFE, YOU DON'T!— 118m.—' WB . 5459 o OH, THOSE MOST SECRET AGENTS— 96m.— AA 5461 ONE SPY TOO MANY— 102m.— 'MGM . 5462 OSS 1 17— MISSION FOR A KILLER— 84m.— Emb. 5453 P PENELOPE— 97m.— MGM . 5466 PISTOL FOR RINGO, A— 97m.— Emb . 5465 POPPY IS ALSO A FLOWER, THE— 100m. — Misc . 5466 PROFESSIONALS, THE— 1 17m.— Col . 5465 Q QUILLER MEMORANDUM, THE— 105m.— 20th-Fox . 5478 R RAGE— 103m.— Col . 5473 RED TOMAHAWK— 82m.— Para . 5489 RELUCTANT ASTRONAUT, THE— 1 02m.— U . . 5490 RETURN OF THE SEVEN— 95m.— UA . 5463 RINGS AROUND THE WORLD— 98m.— Col. ... 5453 ROMEO AND JULIET— 126m.— Emb . 5457 RUN FOR YOUR WIFE— 97m.— AA . 5477 s SAND PEBBLES, THE— 1 91 m.— 20th-Fox . 5482 SECONDS— 106m.— Para . 5455 SHADOW OF EVIL— 92m.— For . 5487 SHAMELESS OLD LADY, THE— 95m.— Cont. .. 5465 SHOOT LOUD, LOUDER ... I DON'T UNDERSTAND— 100m.— Emb . 5481 SPINOUT— 95m.— MGM . 5462 SPY WITH A COLD NOSE, THE— 93m.— Emb. . . 5481 SWINGER, THE— 81m— Para . 5466 T TARZAN AND THE VALLEY OF GOLD— 100m.— AIP . 5453 10.30 P.M. SUMMER — 85m.— For . 5464 TEXAS ACROSS THE RIVER— 101m.— U . 5455 THAT TENNESSEE BEAT— 84m.— Fox . 5463 TOBRUK— 110m.— U . 5483 TOKYO OLYMPIAD— 93m.— For . 5476 V VENETIAN AFFAIR, THE— 92m.— MGM . 5489 VERY HANDY MAN, A— 95m.— For . 5487 w WARNING SHOT— 1 00m.— Para . 5490 WAY— WAY OUT— 101m.— Fox . 5466 WHAT'S UP, TIGER LILY?— 80m.— AIP . 5457 WHERE THE BULLETS FLY— 88m.— Emb . 5474 WOMEN OF THE PREHISTORIC PLANET 87 m. — Misc . 5460 Vernon, Douglas Read. Produced and directed by Roger Vadim from the novel by Emile Zola, film adaptation by Vadim and Jean Cau. Story: Wealthy French industrialist Michel Piccoli fives in Paris with his young second wife, Jane Fonda, and his college-age son by his first marriage, Peter McEnery. Piccoli has little time for his family and has adopted a cynical attitude toward the extra-marital affairs with which a bored Fonda indulges herself. The situation changes as an affair develops between Fonda and McEnery. It ripens into real love, and Piccoli learns about it. He man¬ euvers the weak McEnery into accepting a marriage of convenience. Naive Fonda goes off to obtain a divorce, knowing it will leave her penniless but convinced McEnery will break with his father and join her. Learning of McEnery’s engagement, she dazedly returns to Paris. Amid the gaiety of McEnery’s engage¬ ment party, her mind snaps. X-Ray: This moody drama of obsessive love is physically as beautiful as anything could be on the screen, and no double-entendre con¬ cerning the frank love scenes is intended. Vadim handles his color cameras with rare artistry, and the result is a progression of one breathtakingly framed scene after another. Love scenes, while explicit, are handled with taste and imagination, with soft-hued montages and exotic settings used to full advantage. The unfortunate part is that all this artistry has been wasted on a property that is relatively banal and certainly distasteful. While it may be trying to say something meaningful about modem morality and the tragedy of a selfindulgent woman who gives her all for real love, it rarely succeeds in winning real audience involvement with the human beings involved. This perhaps is one reason why one becomes so aware of the technical mastery displayed. Performances are satisfactory, with Fonda seeming somewhat out of her element as the love-starved and tragic heroine. She does display her figure to advantage, aided im¬ measurably by Vadim’s unquestioned skill in directing such scenes. To sum up, the film is beautiful to look at and that could carry it a long way with art devotees who dote on the unusual. Those who see it should be well aware of what they are seeing so that moral recrimina¬ tions against the film seem to be redundant. It’s strictly adult fare, and not aimed at every adult either. The picture has been condemned by the Catholic Office for Motion Pictures. One can’t help wishing Vadim would turn his very real talent to a more meaningful project. Ad Lines: “A Celebration Of Sensual Love In The ‘Hip’ World Of Paris Today”; “It Was A Game Filled With Danger And Desire. . . . And The Stakes Were Too High.”