The Fugitive Kind (United Artists) (1960)

PUBLICITY MATERIAL A Clash Of Volcanoes (Feature) What happened when Marlon Brando and Anna Magnani, two of the most volatile temperaments in showbusiness, played opposite each other in scenes in Tennessee Williams’ “The Fugitive Kind,” the shattering new movie at the...... Theatre? It would make a colorful story to say that they exploded like rival volcanoes, but it wouldn’t be true. All of the sparks they struck were of the professional kind — they brought out the best in each other. For the rest, peace and light prevailed; and, in fact, these two quicksilver personalities crowded each other in handing out compliments in what must be rated the most unexpected mutual admiration society of the year. “The Fugitive Kind” is a tempestuous story of violence and romance in the South. Also heading the cast, in addition to Brando and Miss Magnani is Joanne Woodward. Also starring are Maureen Stapleton and Victor Jory with R. G. Armstrong and John Baragrey. A JurowShepherd-Pennebaker production, “The Fugitive Kind” was directed by Sidney Lumet and produced by Martin Jurow and Richard A. Shepherd. Misgivings of a mild sort ruled the pre-production atmosphere of “The Fugitive Kind” despite the fact that Brando, following Magnani’s Oscar-winning performance in “The Rose Tattoo,” had wired the actress as follows: “Your performance so magnificent it defies description”; and that Magnani, accepting the role opposite Brando in “The Fugitive Kind,” had written the producers, “Am _ happy to be permitted to work with this great artist.” What had been so delightful at long distance might turn into something else again when the two began to work together. Nothing of the kind. Their styles fit perfectly, they roused each other to new heights of intensity and enthusiasm, and they were full of praise for each other. Anna Magnani Wins New Film Honors Anna Magnani was notified by transatlantic telephone during location filming of Tennessee Williams’ “The Fugitive Kind” that, for the second year in a row, she had won the Golden David of Donatello Award, Italy’s equivalent of the American Academy Award, for her performance in “Hell in the City,” an Italian-made motion picture. Last year Miss Magnani won for her acting in “Wild is the Wind.” Her second Golden David Award marks the first time that any actress has been so honored by the Italian film industry. Miss Magnani also has won the American Oscar for her performance in “The Rose Tattoo.” Coincidentally, her current costar in “The Fugitive Kind” a United Artists release, is Marlon Brando who won the Golden David of Donatello Award with Miss Magnani in 1957 for his role in “Sayonara.” “The Fugitive Kind” opens.... at the Theatre. Three of a Kind Each of the three top stars of Tennessee Williams’ “The Fugitive Kind,” opening on ......... at the Theatre through United Artists release, is a recent Oscar winner. They are Marlon Brando (who has received an Academy Award nomination four times in addition to his Oscar for “On the Waterfront”) Joanne Woodward (“Three Faces of Eve”) and Anna Magnani (“The Rose Tattoo”). And co-star Maureen Stapleton won an Academy Award nomination last year in her movie debut in “Lonelyhearts.” An explosive story of violence and romance in the South, “The Fugitive Kind” was adapted by Tennessee Williams (twice a Pulitzer Prize-winner) from his own Broadway hit, “Orpheus Descend 7 39 e ing pace 18 Victor Jory Gets Around (Biographical Feature) Victor Jory was born in an Alaskan gold rush camp, became an actor in California, toured the United States and finds the meatiest motion picture role of his distineuished career as the brutal Mississippi store keeper in Tennessee Williams “The Fugitive Kind,” which was filmed in New York, starring Marlon Brando, Anna Magnani and Joanne Woodward and featuring Maureen Stapleton. It opens at’ the’ Ssineeen Theatre. If this makes Jory sound like a man who gets arounds, the facts more than support the impression. Born in Dawson City, Alaska on November 23, 1902, the actor’s mother, Joanna Jory, was one of the few newspaper women in the Alaskan territory, and his father, Edwin, was a rancher and horsetrader in the igloo country. Victor attended grammar schools in Vancouver, British Columbia, and Pasadena, California. While on a visit with friends at the Pasadena Playhouse in 1932, Jory was persuaded to play the lead in “Louder, Please,” the Norman Krasna comedy which brought him a screen contract at 20th CenturyFox. He has since appeared in over 100 films, more than 200 radio shows and a number of top TV live dramatic productions. From Troy To ‘“‘Tennessee’ (Biographical Feature ) Maureen Stapleton, who has earned a reputation as one of the foremost actresses on the American stage by virtue of her performances in such Tennessee Williams plays as “The Rose Tattoo,” “TwentySeven Wagons Full of Cotton” and “Orpheus Descending,” portrays a Williams character for the first time on the motion picture screen in the United Artists release of “The Fugitive Kind,” starring Marlon Brando, Anna Magnani and Joanne Woodward, opening ......... at theses Theatre. Oddly enough, this is a play she has appeared in before—on stage it was “Orpheus Descending” —although the role of Vee, wife of the brutal Mississippi Sheriff, is a new one for Maureen. In the Broadway production, she acted the role now performed by Miss Magnani. This is the second time her career has overlapped with Miss Magnani’s—she also originated the “Rose Tattoo” role that won Miss Magnani the motion picture Academy Award. But her assignment in the supporting role of Vee in “The Fugitive Kind,” which Sidney Lumet directed, was voluntary—Maureen sought the part, which is her second film appearance. Her first movie role in “Lonelyhearts” brought her an Oscar nomination for best supporting performance of 1958. Miss Stapleton is a native of Troy, New York. Still FK-75 Marlon Brando and Anna Mag Mat 1A nani in Tennessee Williams’ “The Fugitive Kind,” opening ON! . .%. ans at the Theatre. Stull FK-Art 14 Mat 3B Lightning strikes the screen in the exploding talents of Marlon Brando, Anna Magnani and Joanne Woodward, the principals in the screen production of Tennessee Williams’ “The Fugitive Kind” which opens .. at the oece ee eee osceeeveer nee Theatre. Sidney Lumet directed from a seript prepared by Williams in collaboration with Meade Roberts. Artist Morr Kusnet catches the mood of the drama in this drawing. Brando plays a wandering guitar-player whose strange appearance in a snakeskin jacket in a small Southern town stirs a caldron of romance and violence. Why New York? Director Of “Fugitive Kind" Compares N.Y.& L.A. By Sidney Lumet For the past few years I’ve directed various motion pictures, television and stage projects that have interested me and often sparked a satisfying degree of response from others. During that time I haven’t left New York City. My reasons for making New York a permanent base of operations are personal, in that | don’t persume to prescribe for anyone else, but these are the thoughts on which my decision has been based. First of all, I don’t know of any director who’s gotten better because he’s gone to Hollywood. I don’t want to seem belligerent, but my view of the record doesn’t reveal an instance where going West has resulted in either a director or writ: er doing better work. Fred Zinneman is one of the few directors steadily advancing today, and he hasn’t made a picture in Hollywood for years. Sometimes they improve by going to Hollywood—at least they seem better when they come back to New York, as in the cases of Ralph Bellamy or Bob Preston. My second reason for choosing New York is more subjective. After many years as an actor and director, the so-called romance of the business has gone. A gypsy existence of commuting, homes on both Coasts, living in one place for a while and then coming back East, isn’t for me. There’s hardly anything I can do in Hollywood that I can’t do in New York. And I prefer New York. Hollywood’s great attractions have been the technicians and shooting facilities. With care, men of comparable talents can be found in New York. As for facilities, a sound stage is a sound stage wherever it is. I concede that in California they’re larger and more elaborate, but the same results can be produced elsewhere. And the fabulous back-lots, which counted so heavily in the past, seem to me outmoded today by the sophisticated eye of the audience. You can’t shoot on studio streets and pretend any more. It has to be real. In the last couple of years, I’ve made four pictures in New York City. The first three — “Twelve Angry Men,” “Stage Struck” and “That Kind of Woman” — were ideally suited to such production. All three were stories set against the locale of Manhattan, and they gained, I believe, by being filmed on the spot. Most recently, however, I completed a film which can be cited as a control case. The Jurow-ShepherdPennebaker film for United Artists of Tennessee Williams’ “The Fugitive Kind’ is set in Mississippi; aside from location exteriors, it was shot on sound stages in the Bronx. Our lineup included Marlon Brando, Anna Magnani, Joanne Woodward, Maureen Stapleton, Victor Jory and Cameraman Boris Kaufman and his magnificent crew. The same talents might have been massed in Hollywood, but the point is that they weren’t. It happened instead in New York, and any adjustments that had to be made aren’t visible on the screen. What I suppose ’m saying, in essence, is that the ideal place for each man is where he feels he can do his best work. I don’t think that has to mean Hollywood. For me it’s New York. “The Fugitive Kind” opens..... at the Theatre. ee) 6 ee, ar aele — a ee ee eee ee et ee ee ee ee ee ee ee ee Marlon Brando And The Guitar It’s probably news to absolutely no one in the universe that Marlon Brando is a young man who’s very fond of music. Perhaps the most famous non-professional bongo beater, Brando also plays the piano passably well, and—fortunately for the producers of his latest film, Tennessee Williams’ “The Fugitive Kind” — he can make pleasing sounds come from a guitar, too. In the Jurow-Shepherd-Pennebaker production for United Artists of “The Fugitive Kind,” now at the heh o See kak Theatre, Brando is a wandering guitar player who leaves the Beat joints of New Orleans in search of a better way of life. His search leads him to Two Rivers, Mississippi and _ co-stars Anna Magnani and Joanne Woodward, fellow Oscar winners, incidentally, who both pitch offers, but of different kinds. Brando has known how to strum the guitar in a musical way for several years. He learned how in order to play such favorite American folk tunes as “Shenandoah” and “Streets of Laredo” for his own amusement. But in “The Fugitive Kind” he made the guitar seem much more than a musical instrument. In the words of the character he portrays, it is his “life’s companion.” He carries it slung over his shoulder, as if it were almost a part of him. Expressing nonchalance, he often would toss it lightly, catching the guitar by the slender end. Occasionally, he seemed about to wield it as a weapon. And then, in the next moment, it was just a sweet-sounding, serenading guitar again—as handled by a man who can even make a musical instrument act.