In Love and War (20th Century Fox) (1958)

Robert Wagner, Jeffrey Hunter and Bradford Dillman portray three combat Marines in Jerry Wald’s “In Love and War,” a Twentieth Century-Fox production now at the ............. Theatre. Dana Wynter, Hope Lange, Sheree North and France Nuyen are costarred in the Philip Dunne directed screen story, taken from Anton Myrer’s best-seller, “The Big War.” Mat 2C Nothing Usual About ‘Love, War’ Philip Dunne, who has some of the top motion pictures of recent times to his credit, expected a certain number of the usual problems to crop up during his filming of Jerry Wald’s production, “In Love and War,” for Twentieth Century-Fox, currently at the APP OR PaPana sere Se ear Theatre. However, the famed director wasn’t quite prepared for the special kind of problems that grew out of the complex story of three combat Marines and their struggles with themselves and with their sweethearts and wives at home. For instance, in one action scene where Jeffrey Hunter, playing a professional Marine, leads a squad of extras against a Japanese tank, the script called for the tank to get Hunter just before he knocks it out. Later, he learned that most of the extras were former combat soldiers and had simply been carried away, bagging the tank first. The resulting delay cost him two filming days. In another scene for the CinemaScope, De Luxe Color film, Dunne was faced with a different sort of problem. After much preparation, he was ready to shoot a love scene between Robert Wagner and Sheree North inside a telephone booth. Too late, he realized that the horizontal proportions of the CinemaScope cameras were far too broad for the vertical proportions of the booth. Only the expert know-how of ace cameraman Leo Tover saved the day, and also added to the proven uses of the CinemaScope technique. Accustomed to star problems, Dunne was amazed to find that he had little or no trouble with any of his large star cast—Wagner, Dana Wynter, Hunter, Hope Lange, Bradford Dillman, Miss North and France Nuyen. In fact, the only personnel problem he had came from the race against time with Miss Lange‘s expected baby, resulting in shooting the end of the picture before the beginning. Originally, Wald’s “In Love and War” was to have cost just under a million and a half dollars, but studio production chief, Buddy Adler, was so impressed by the Edward Anhalt film treatment of the Anton Myrer best-seller, “The Big War,” that he raised the budget to $2,500,000. Filmed in the breathtaking California Monterey Penninsula area, at Stanford University and in San Francisco, the picture introduces comedian Mort Sahl, a nightclub sensation, in his first film role. Departing from al! established film techniques, Wald and Dunne allowed the fast-talking Sahl to extemporize his lines before the cameras, perhaps for the first time in the history of motion pictures. Using the same formula which has brought him such hits as “Peyton Place,” Wald cast established stars in different roles throughout the film, and then sprinkled exciting young personalities into the cast list. “In Love and War” is a young picture, in that all of the seven stars fall into the early twenties age bracket. “In this way,” said Producer Wald of his formula, “we give young people a greater chance for identification with their stars.” This scene from Jerry Wald’s production for Twentieth CenturyFox of “In Love and War,” resembles in feeling the famous Joe Rosenthal photograph of the Marines raising the U. S. flag on Mt. Suribachi during World War II. The still, also taken by the Pulitzer Prize photographer, shows stars Robert Wagner, Jeffrey Hunter and Bradford Dillman as combat Marines in the Philip Dunne directed CinemaScope, De Luxe Color production. Mat 2B ‘Happy Talk’ Is | Sahl-Spokesman ‘In Love and War’ France Nuyen, the beautiful Eurasian girl who has been captivating audiences in the film version of “South Pacific,” even though she speaks only six words in the whole picture, finally gets a chance to prove that she can talk, and act. Starred in Jerry Wald’s produccion of “In Love and War,” ‘'wentieth Century-Fox CinemaScope, De Luxe Color film openBI Ses. eae ks ee atthe easier Theatre, France plays the role of a French-Hawaiian nurse who falls in love with Bradford Viuman, playing a combat Marine trom an aristocratic family. Robert Wagner, Dana Wynter. Jeffrey Hunter, Hope Lange and Sheree North are also starred in the Philip Dunne directed film. France got her first break while working as a part-time model and salesgirl in New York City, where she had come with her mother from France. She was convinced that an interview with Joshua Logan for the “South Pacific” role had been a failure when she got a call from former cover girl, Candy Jones, now an agent, to tell her that she’d won the part. She was so. excited she knocked over a tray ot baked goods in the elite bakery where she worked. The role gave France a chance to work with established veterans like Ray Walston and Juanita Hall, an _ experience which has helped her tind her own place in acting. In “In Love and War,” she plays a lonely girl who falls in tove too quickly with Dillman, and is one of four women whose love story is told in the picturization of the best-selling Anton Myrer novel, “The Big War.” History Repeats A symbolic plaque appears in the background scenes of Jerry Wald’s “In Love and War,” Twentieth Century-Fox CinemaScope, De Luxe Color film at the ae Theatre. Shown behind stars Bradford Dillman and France Nuyen as they stand against the Court of Honor wall at Stanford University, the plaque is not quite legible on the screen, but it commemorates the photographic experiments done on the site in 1878 and 1879 when it was the Palo Alto Farm of Leland Stanford. At that early date, 24 cameras equipped with electric shutters photographed the movements of cows and farm animals to prove conclusively that motion picture filming was a possibility. This research led to modern filming techniques. Others appearing in the film, which tells of servicemen and their girls under the tensions of combat and love during the second World War, are stars Robert Wagner, Dana Wynter, Jeffrey Hunter, Hope Lange, and Sheree North. World's Meanest Man Propman Don _ Greenwood, working on Jerry Wald’s production of “In Love and War,” a Twentieth Century Fox CinemaScope, De Luxe Color productien Opening S23. scx. at the Secor eta ois Theatre, can easily qualify for the title of “the meanest man in the world.” In a sequence where 22-month old Michael Kearns is supposed to play the son of Jeffrey Hunter and Hope Lange, he continually ran away from the set back to his real father, a Carmel architect, who remained on the side lines. Finally, with everyone’s nerves at the breaking point, Greenwood thought up the idea of nailing the child’s favorite teddy bear to the floor. Michael then remained on the set tugging at the mysteriously anchored toy while Hunter and Miss Lange went through their scene. The film also stars Robert Wagner, Dana Wynter, Bradford Dillman, Sheree North and France Nuyen. of the ‘Beatniks’ Mort Sahl, playing a key role in Jerry Wald’s production of “In Love and War,” a Twentieth Century Fox CinemaScope, De Luxe Color release opening..... at the Theatre, is a humorist with a message. A product of and spokesman for “the beat generation,” he continually turns the tables on the “beatniks” by burning with hope. Sahl became an entertainer, after failing as a writer, at business administration and at a military career, because he felt he had something to say. Apparently Producer Wald agrees with him, for in “In Love and War” he was allowed to extemporize his dialogue, the first time an actor had been allowed to do this in a Wald production. “T asked Jerry to just turn the cameras on me and let me play the role on my own,” he said. “Then, later on, we went over the footage and selected the best.” Mort plays a Marine in the romantic action drama which stars Robert Wagner, Dana Wynter, Jeffrey Hunter, Hope Lange, Bradford Dillman, Sheree North and France Nuyen and which was directed by crack film-maker Philip Dunne. A sensation on the West Coast, Mort has recently achieved national fame for his spontaneous and incisive humor. No one is safe from his satire— presidents, world leaders, the atomic bomb or the current comic book eraze. He never uses a script, but just rambles on in his individualistic style and fascinates audiences in supper clubs and night spots across the nation. The Wald production is his first film acting job, but Mort looks forward to other assignments. He would like to play character roles of a serious kind. “I can’t expect to be a leading man,” said the _plastic-faced actor-comedian, “it would be unrealistic of me to try with a face like mine.” Mort currently squires actress Phyllis Kirk around Hollywood. Of this, he says: “We have a good relationship. Phyllis and I scrutinize every problem to death.” Hope No TV he On the surface, Hope Lange is often classed as one of the “TV babies” of modern motion pictures. That is, a performer whose major experience and big break came via TV. But, although she was noticed by Buddy Adler during a TV production of “Snap Finger Creek” in which she appeared with Jo Van Fleet, Hope is no “TV baby.” She comes from an old theatre family, and both her mother and father were well known along Broadway. Following her phenominal success in Wald’s “Peyton Place,” Hope was immediately signed for “The Young Lions,” opposite Montgomery Clift, and then Wald grabbed her for “In Love and War.” Married to Don Murray, Hope met her husband while they were both playing in the Broadway production, “The Hot Corner.” In this current film, Hope plays Jeffrey Hunter’s wife in the tale of combat Marines and the women they leave behind. Robert Wagner, Dana Wynter, Bradford Dillman, Sheree North and France Nuyen are also starred in the film directed by Philip Dunne. A CinemaScope, De Luxe Color production, “In Love and War” is the current attraction at. thezae snus? Theatre. Pulitzer Photographer Joe Rosenthal, who won the Pulitzer Prize for his photograph of the Marines raising the flag on Mt. Suribachi during the Second World War, made all of the special still pictures on the set of Jerry Wald’s “In Love and War.” The film, which stars Robert Wagner, Dana Wynter, Jeffrey Hunter, Hope Lange, Bradford Dillman, Sheree North and France Nuyen, is set during the Pacific war and shows its effects on three Marines and the women they leave behind. Set Your Sights On A Triple Firing Range With These FREE Spots As American as the Marines’ Hymn, as stirring as a Sousa March, as tender as a love ballad, whichever way you want to interest the public in your coming attraction, “In Love and War,” Twentieth Century-Fox has prepared THE radio spot that will help you sell the listening public in your community to the fact that here is that one unusual war story of the Marines in action, in love. Three exciting, different approaches have captured the red-blooded power of this coming attraction and they are yours FREE for the asking. Read the descriptions of each of these radio spots below and decide now how to divide the best listening hours to impress the most listeners at each play-off. Use No. 3 when housewives are most apt to be listening; use No. 1 for family listening times and No. 2 to catch the head of the household as he drives to and from his place of business. Or, alternate them at important time breaks. Get together now with your local radio contact to plan your campaign maneuvers. Each is planned for 60-seconds of rapid-fire coverage; all are on one record. #1 Straight Prestige Backed by the stirring music of the Marines’ Hymn, this 60-second spot highlights the active participation of the Marine Corps in the making of the film, the exciting battle scenes and the overall dramatic action qualities of “In Love and War.” Used in conjunction with the youth-sell angle of your campaign, this spot will assure you maximum attention in this area. #2 Flashback Two ex-Marines remember back to their wartime days and recall a few exciting flashes from the soundtrack ef “In Love and War” in this unusual 60-second radio spot which is a sure attention-getter. Play this one in the evenings when the parents are listening to the radio and during rush hours when their car radios are on. No former Marine will want to miss “In Love and War” after hearing this flashback radio spot. #3 ‘Love And War’ This 60-second radio spot also uses direct soundtrack material but in a provocative man-woman approach which is an all-around seller. This spot first brings the voice of a woman to the radios of your audience, followed by an intimate line from the soundtrack of “In voice of a woman fo the radios of your audience, followed by a tense battle action line. This spot is sure to provide that extra kicker that every campaign needs to get it over the box-office top. plus. 4 Extra 20-, 30-Second Radio Spots Four additional spots—two 20’s and two 30’s—are also being offered FREE. These spots are perfect for smaller budget campaigns, or for areas where radio is a smaller part of your overall promotion effort. Taken from the same material offered on the longer spots described above, these film plugs are ideal for station breaks and hour or half-hour changes. Scatte: them through your local radio-playing schedule to do the most good for your playdate. They come on the same platter as the 60-second spots. In U.S.A.: WHEN ORDERIn Canada: Order from: ING YOU MUST Order from: Radio-TV Dept. SPECIFY: Twentieth : 1) Free spot anTwentieth nouncement Century-Fox Century-Fox record. Publicity Dept. 444-W hs 2) For radio. 10 Bond S . 56th Street 3) Oyen lve 110 Bon t. Naya NY. and War” Toronto, Canada host bets Are you stressing the strong selling points? Don’t overlook the box-office power of CinemaScope and De Luxe Color when they are used in Twentieth Century-Fox productions. These technical assets, the broad screen with the clear images and the vivid, true-to-life colors, are the very things which draw scores of people out of their homes and into your theatre. Don’t underestimate the power of their sell. Give CinemaScope and De Luxe Color the play they merit along with the other selling points of your attraction in every exploitation medium. Page Five