Kitten With a Whip (Universal Pictures) (1964)

Choice to Play Alley Cat Is Ann-Margret s Own in Re-Tooling Public Image (Advance) Mindful that Hollywood itself is undergoing some profound changes, Ann-Margret is busily re-tooling her own image before the public. It is not just that she chances to play an alley-cat type in her new movie, Universal’s “Kitten with a Whip’; rather, that she deliberately chose to play it as a big step in a new direction. The tense, suspense melodrama Theatre. Ann-Margret made it to stardom in just four earlier films, hitting the heights as the singerdancer-ingenue of “Bye, Bye Birdie.’ But her great success in that role left her no place to go but elsewhere — to emotional drama, perhaps. This was accomplished with Ann-Margret’s completion of her role in ‘‘Kitten” as the girl Jody who all but tears to tatters a good man’s life, reputation and prospects. The sex kitten bares its nails and lashes out. She is a tigress on the loose as the escaped delinquent who thrusts herself, and then her lawless friends, into the ordinarily staid household of good citizen John Forsythe, and who almost wrecks him in the process. This is a tour-de-force any purposeful actress would enjoy, and Ann-Margret is no exception. She revels in it. “T am that girl, but for one thing,’ says Ann-Margret, “the security and love my parents have given me.” (Jody, the girl of the movie, has no loving parents—and this makes all the difference.) Gustav and Anna Olson brought only-child Ann-Margret to the United States when she was hardly more than an infant. They have watched her become now, at 28, one of the brightest young stars in Hollywood. (The Wall Street Journal for Tuesday, April 7, 1964, noted that Ann-Margret had now become “‘financible,”’ meaning that "KITTEN WITH A WHIP" (2.C) her name on a contract for a film is sufficient guarantee of its success to satisfy a lender, script unseen. ) George Sidney, who directed Ann-Margret in both “Bye, Bye Birdie” and “Viva Las Vegas’’ is quoted on the subject; “I’ve been in this business for 30 years, and have seen no one with her fire. When she goes, it’s electric.” After the sweetness and light of Ann-Margret’s four. earlier films, it is not unlikely that the parent Olsons view with qualms, albeit pride, their daughter’s new switch to badness. “When I did the picture,” says Ann-Margret, I stayed in my studio dressing room, rather than go home and risk losing the mood. And when I did go home, I would go right to my room to be alone, rather than talk with my family.” Aside from a complete preoccupation with her role while she was doing it, there is nothing “method” about Ann-Margret’s approach to acting. She follows the script, the director’s instructions, and an unerring instinct. In this case, a feline instinct. “It was a challenge to me. I had to work at it, very hard. I went into real seclusion. In all the time I was doing the picture, I only dated twice.” No dateable young lady of 23 could make a greater sacrifice than this for her art. And from her emphasis on it, it is evident that Ann-Margret does date frequently under ordinary circumstances — if there is such a thing in her actress life. John Forsythe returns home to discover that an escaped juvenile hall inmate, Ann-Margret, has broken into his home and is taking a bath in Universal’s suspenseful, stark melodrama, “Kitten With (Still No. 1937-20) a Whip.” Everything Happens To Forsythe In Film (Current) As a prosperous San Diego citizen whose home is invaded by three delinquents, John Forsythe, who co-stars with Ann-Margret in Universal’s “Kitten With a Whip,” suffers the roughest physical treatment of his entire film career. The tension-packed motion picture nowiis ab the 2: Theatre. James Ward and Peter Brown, as two bullies, batter their fists into his face, kick him unmercifully and slash at him with a telephone. Ann-Margret, as a juvenile hall runaway, digs her nails into his chest, rips his shirt, hurls the contents of a glass of whiskey into his face, trips him into a dangerous fall, nibbles at his ear, and scratches his face. pseudo-intellectual delinquent, a friend of Ann-Margret’s in holding John Forsythe captive in Universal’s stark melodrama, “Kitten With a Whip.” (Still No. 1937-96) Star Not A Cook Ann-Margret, star of Universal’s “Kitten With a Whip,” now at the Theatre, said that one of the reasons she was glad her folks got back from their trip to Sweden is that she was tired of eating cheese omelets every day. This the only dish she can make. Her mother is in complete charge of the kitchen. Actor Peter Brown Declines To Limit Himself To Acting (Current) “An actor works in a makebelieve world, but he should not live in one,” declares Peter Brown, handsome young thespian featured in Universal’s ‘‘Kitten With a Whip,” starring Ann-Margret and John Forsythe, now at the “Tl’m not kidding myself. This is a perishable business, and there is no financial security in last year’s laurels,” he continues. “It is foolish and, in the long run, ruinous, to limit yourself to the narrowing circle of acting.” Brown, of course, is well aware of the outside interests securing the future of the top names in the industry. He is concerned primarily with the multitude of actors with “dry spells’? between jobs, and facing an uncertain future. “Offhand I can see no reason why the average player should not take advantage of his ‘open time’ and develop a profitable interest in other areas which can be fruitful long after the acting career is ended,’ he maintains. “And the time to plan ahead should be as early as possible. Schools and the business world offer unlimited opportunities for diversification.”’ Brown practices what he preaches. Still climbing in popularity as an actor, he spends his leisure time studying the fields of direction and production, and, at the same time, is saving up to buy a ranch in Mexico. And not just another cattle ranch. He is shopping for a ranch to breed bulls for arenas where bullfighting is a legal sport. For years he has followed the exploits of the leading matadors and has since befriended most of the leading names in that profession. Brown hopes to spend a lot of his time in Mexico. He goes to night school at Beverly Hills High to learn Spanish. When he was a kid in high school, he flunked Spanish. But that was before he had a purpose. Miss Barry Willing To Divide Her Time Between Stage, Films (Current) “As long as they’ll have me, I want to divide my time between stage and films,” Patricia Barry declares. The versatile actress can be seen at the.-:......2-2.2..-. Theatre, in Universal’s “Kitten With a Whip,” starring Ann-Margret and John Forsythe. “T love an immediate audience reaction, and only a stage appearance delivers that stimulation right there and then,” Miss Barry explains. “And after being spoiled by different audiences each night during a brief tour, you’re ready to face the cameras again with renewed enthusiasm.” Miss Barry is a product of the theatre, going back to her co-ed days at Stephens College in Columbia, Missouri, where she studied drama under the famed Maude Adams. Patric, as_ she likes to be known, soon secured her initial job with a summer stock company in Petersborough, N.H., as leading ingenue. Coincidentally, her last stage appearance was opposite John Forsythe in the romantic comedy, “Kind Sir.” “What a joy it was to work with a pro like Mr. Forsythe,”’ she says. ‘“‘We toured the theatre circuit in New England, and never played to more responsive audiences.” All of her scenes in “Kitten With a Whip” are played with the same Mr. Forsythe. Page 4 Universal presents “KITTEN WITH A WHIP” starring ANN-MARGRET JOHN FORSYTHE PETER BROWN PATRICIA BARRY RICHARD ANDERSON with JAMES WARD Screenplay by DOUGLAS HEYES Based on the Book by Wade Miller Directed by DOUGLAS HEYES Produced by HARRY KELLER A Universal Picture Director of Photography, Joseph Diroc, A.S.C.: Art Directors, Alexander Golitzen and Malcolm Brown: Set Decorations, John McCarthy. John Austin, Oliver Emert; Sound, Waldon O. Watson, Frank H. Wilkinson: Film Editor, Russell F. Schoengarth; Costumes by Burton Miller; Make-Up, Bud Westmore; Hair Stylist, Larry Germain; Assistant Director, Terrence Nelson: Music Supervision by Joseph Gershenson. “KITTEN WITH A WHIP" (1-3 Patricia Barry who plays all her scenes opposite John Forsythe in Universal’s stark, suspenseful melodrama, “Kitten With a Whip,” had appeared opposite him in her last stage play. (Still No. 1937-92) ORITTEN WITH A WHIP” (1-6) James Ward is a muscular beachbum, one of the gang of delinquens who hold John Forsythe captive in Universal’s ‘‘Kitten With a Whip.” Ann-Margret costars in the stark melodrama. (Still No. 1937-98 ) Ann-Margret Clothes Total To Under $30 (Current) Costume designer Burton Miller, who for years has dressed many glamorous leading ladies appearing in television, was signed for his first feature film assignment on Universal’s “Kitten With a Whip,” and found it different than he expected. Miller’s total wardrobe for star Ann-Margret consists of a $9 coarse cotton nightdress worn by San Diego Juvenile Hall inmates, an $18.75 cotton dress, and a $1.95 bath towel. The suspense melodrama now AG age rh 6 0 2 Pease erie Mee ape eme Theatre. the cast VOdye ee ee ANN-MARGRET David..........-.---JOHN FORSYTHE ROMs ee PETER BROWN Vera aes PATRICIA BARRY Grant.......RICHARD ANDERSON Buches. See JAMES WARD Midge. 2 = DIANE SAYER WMaUiSs so Se oe ANN DORAN Varden............ PATRICK WHYTE the story (Not For Publication) Juvenile Hall runaway Jody Dvorak (ANN-MARGRBET) breaks into the San Diego home of prosperous, politically-ambitious David Stratton (JOHN FORSYTHE), who is out for the evening with friends. Grant Talmadge (RICHARD ANDERSON) and his wife, Vera (PATRICIA BARRY). David’s wife and vorng daughter are visiting in San Francisco. Upon his return, David js astonished to find Jody asleep in his daughter’s nursery bed. She resorts to lies, threats and deception to keep him from calling the police. Jody convinces David she will go to an aunt in Los Angeles if he will secure the necessary strext clothes. He drops her at the bus depot. At his club, watching TV news, he is shocked to learn Jody is a desperate felon who, in escaping from Juvenile Hall, set fire to the girls’ quarters and knifed the matron. David promises the Talmadges, grooming him for an important political position, to join them and a prominent newspaper publisher Philip Varden (PATRICK WHYTE) and his wife (ANN DORAN) for an evening of fun in nearby Tijuana. Home again, he is terrified to find Jody back, defiant and determined to remain. He dismissess the Talmadges on the honest excuse that his wife just phoned and will be coming home early in the morning. Threatening to blackmail him. Jody forces David to invite into his home three of her friends: Buck, a muscular beach-bum (JAMES WARD), Ron, a pseudointellectual delinquent (PETER BROWN), and Midge, their camp follower (DIANE SAYER). The foursome stage a wild drinking party. In an ensuing fight, an open razor wielded by Buck slices thru Ron’s sleeve and slashes it open across the bicep. Midge disappears in her car. Facing possible loss of the arm and unwilling to chance treatment by a local doctor, the gang forces David to drive them to Tijuana. As the car strikes a border fence, it drags to a halt, forcing Buck to get out. Jody pushes her foot on the accelerator, the auto mobile roars forward, leaving Buck. David and Jody drop Ron off at a doctor’s offce. Jody pressures her hostage into taking her to a nearby motel as a hideout from the two desperate companions, and manages to steal the keys from his car. He is forced to walk to town to secure a bottle of liquor, for the return of his car keys. Bottle in hand, he is confronted by the Talmadges and the Vardens. He fabricates a story of a car accident. And the bottle of liquor is for the mechanic, he explains. He invites them into a cafe, but makes a sudden exit when he spies Ron, livid with rage. David makes his way back to the motel where unpredicable, remorseful Jody returns the car keys willingly. Buck and Ron, in a stolen car, reappear before David can make his getaway. David is pounded into unconsciousness by Buck’s fists. Jody smashes the whiskey bottle on Buck’s head, and forces Ron to help her carry David into the car in a desperate race to a doctor. The two bullies, murder in their heart, give chase. The cars crash and burst into flames. In a San Diego hospital bed, David is assured that he will recover. He learns that the two boys died, as did Jody, but her deathbed statement did not implicate him with the law in any way. Best of all, David’s forgiving wife is waiting to see him.