The Brass Bottle (Universal Pictures) (1964)

"The Brass Bottle,“ Color Comedy, Top Entertainment, Rollicking And Hilarious Fun (Review) With a puff of blue smoke, a genuine Arabian Nights genie materializes from the just opened brass vessel, and with it start a series of hilarious incidents that make Universal’s “The Brass Bottle’ one of the funniest comedies of the year. Starring Tony Randall, Burl Ives and Barbara Eden, the color movie opened at the.............. Theatre yesterday. Ives as the genie who is released from captivity by Randall, a young architect in love with Miss Eden, insists on showing his gratitude. And, when a contemporary of Solomon operates in the Modern Civilization, many humorous situations evolve. Typical are: the sudden change of his garret apartment into a sultan’s palace complete with dancing girls when Tony invites his fiancee and her family to dinner; a camel caravan that arrives at Tony’s home in a residential area, replete with Arab attendants, carrying chests filled with uncut jewels, gold bullion, and American currency; a finished housing development that arises out of vacant land overnight. These and many more shenanigans, treated to wring out every laugh, make for rollicking entertainment. Randall, under the _ careful direction of Harry Keller, underplays the role of the perplexed benefactor, which, because of contrast, makes it outstanding. Burl Ives, with his 300-pounds of avoirdupois, and a goatee, fits the role perfectly of a genie in a period when dieting—and razors -—were unheard-of. Miss Eden is very convincing as the fiancee who finds the goings-on difficult to understand. Her parents, portrayed by Edward Andrews and Ann Doran, add to the enjoyment by playing their roles straight. As another jinn, conjured up by Ives, Kamala Devi offers to become a member of Randall’s harem, and the contrast in periods from a feminine viewpoint, adds additional comecy touches. LuLu Porter, in her first motion picture role as a belly dancer, does her characterization so well that a bright future is assured for this young beauty. Since completing her role, she has gained international fame as the American representative of a singing competition in Poland, winning the ‘people’s. choice” award for her contribution. A very inventive screenplay which obviously was fun to write, has been created by Oscar Brodney, based on a novel by F. Anstey. It is imaginatively directed by Harry Keller. The color photography by Clifford Stine, and special photography effects by Roswell Hoffman, do much to enhance the enjoyment. Not only do the special effects heighten the entertainment, but they are accomplished with so much realism, at times they leave you gasping in wonderment. And the man who put the whole production together with Playing a pair of genies who come to Modern Civilization from an eye to comedy and entertainment, and scored successfully in both areas—Robert Arthur—deserves a big commendation. Mary Pickford Find In “Brass Bottle” (Advance) Ann Doran, soon to be seen at 10 eV CVs pansies eehe eee eee Theatre, teamed with Tony Randall, Burl Ives and Barbara Eden in the Universal comedy in color, “The Brass Bottle,’ boasts a rare filmland distinction. She was discovered for pictures by none other than Mary Pickford, and is probably the only such discovery still active before the cameras. It all goes back to the year 1922 when Miss Doran was a toddler of kindergarten age. A film company was shooting an outdoor location next door to her home for the picture, “Robin Hood,” starring Douglas Fairbanks. Miss Pickford, then married to Fairbanks, was constantly on the set. Little Ann, saucer-eyed over the events transpiring before her, had a daily grandstand seat on a pile of lumber. Miss Pickford was worried that the child might fall or otherwise hurt herself and arranged to get the youngster a role in the film so that she would be under constant supervision. Her part was that of a page to the King. In “The Brass Bottle,’ which is the hilarious story of a genie of the Arabian Night period who is released from his confinement in today’s civilization, 3,000 years later, Miss Doran plays’ the mother of Miss Eden. Balladeer Burl Ives Would Sing For Eats (Advance) If actor-balladeer Burl Ives seems to pour out his heart into every tune he sings, it is not without reason. Burl, now co-starring with Tony Randell and Barbara Eden in “The Brass Bottle,’ Universal’s rollicking comedy in color COMMING she ge ee eee to the FSS ae ne ae ae Theatre, says in his early days he often used to sing for his supper. As a footloose troubadour he frequently would seek out restaurants where he could trade a couple of songs for a hamburger and a Slice of pie. “T knew I had to belt the song solidly,’ he elaborates, “because otherwise the fellow might back out on his deal.” } Solomon’s times, and the Arabian Nights, are Kamala Devi and Burl Ives who team up in the Universal picture, ‘““The Brass Bottle.” It is an hilarious comedy which also stars Tony Randall and Bar bara Eden. Copyright 1963 — Universal Pictures Co., Inc. (Still No. 1930-33 AD) THE BRA A composite photo is used to illustrate Universal’s hilarious romantic comedy in color, “The Brass Bottle.” The genie, Burl Ives, is visible only to Tony Randall, and not to his fiancee, Barbara Eden, while the specialty dancing girl in the rear, LuLu Porter, is real enough for everybody. (Still No. 1930-31 AD) Actor Should Be Equipped To Handle Any Type Role Says ‘Brass Bottle” Star (Advance) Imagine—if you can—an actor who’s somewhat miffed at being called “the finest new comedian the movies have found in a couple of decades.” The man with the ruffled sensitivities is Tony Randall. The rhetorical accolade, which would have inflated the ordinary ego, was pinned upon him by one of the nations’ top _ picture magazines. Almost anyone else would have turned cartwheels at Hollywood and Vine. Not Tony, now adding to his mumming laurels with a starring role in league with Burl Ives and Barbara Eden in the hilarious comedy, “The Brass Bottle,” a Universal picture IN-COlor WhHiGh’ COMES <6 222 a. sence Plain-spoken Tony has deeply ingrained feelings about the acting business. In his view an actor is an actor—with no dividing lines as to the type of material he is equipped to handle. “Any actor, skilled in his profession,’ he stoutly contends, “should be able to do comedy parts as well as any other kind of role that comes along.”’ Few actors have put in more spade work than Tony in absorbing what he considers the basics of his craft. He was a speech and drama major at Northwestern University. He studied at Neighborhood Playhouse under the tutelage of Sanford Meisner. He enrolled with Martha Graham to perfect what he describes as “movement.” He worked with Henry Jacobi to develop his voice into the flexible instrument he desired. Later he brilliantly demonstrated how thoroughly he had prepared himself when he went before the Broadway footlights with Katherine Cornell in “The Barretts of Wimpole Street,” followed by another performance with Miss Cornell in “Anthony and Cleopatra,” and “Caesar and Cleopatra” with Lili Palmer and Sir Cedric Hardwicke. Tony makes it plain he has no aversion of any kind to comedy roles. One of his big Broadway hits, prior to his arrival in filmland, was Edward Chodorov’s laugh success, ‘Oh, Men!, Oh, Women!” In pictures, he scored triumphs in such _ sophisticated comedies as “Pillow Talk’ and “Tover Come Back.” Further proof that he is catholic in his approach to his work is his current assignment in “The Brass Bottle,” which neatly combines comedy with fantasy and adds a generous measure of whimsy. “The big drawback about being labeled a comedian,” elaborates Tony, “is that after a time producers begin to think about you solely in that category. This naturally has a limiting effect on a career when you’re interested in the broad panorama of drama.” Tony is not unappreciative of the motives underlying the “finest comedian” laurel bestowed upon him; he only hopes it doesn’t keep him from getting a chance at all the other things he likes to do. Page 2 » BOTT aS Tony Randall is the young architect who, as the owner of ‘The Brass Bottle,” opens it to release both Burl Ives, an Arabian Night genie, and the fun in the Universal picture in color. (Still No. 1930-1 AD) Universal Presents TONY RANDALL BURL IVES BARBARA EDEN in “THE BRASS BOTTLE” in EASTMAN COLOR Co-starring EDWARD ANDREWS KAMALA DEVI with ANN DORAN RICHARD ERDMAN LULU PORTER Screenplay by OSCAR BRODNEY Directed by HARRY KELLER Produced by ROBERT ARTHUR A Universal-Searus, Inc., Production A UNIVERSAL PICTURE the cast Harold Ventimore TONY RANDALL Fakrash-el-Aamash..._.BURL IVES Sylvia Kenton... BARBARA EDEN Anthony Kenton EDWARD ANDREWS Martha Kenton......_... ANN DORAN V6zrd #3 2 se KAMALA DEVI Featured Specialty Dancer LULU PORTER William Beevor...... PHILIP OBER Sam Wackerbath. PARLEY BAER Seymour Jenks RICHARD ERDMAN Hazel Jenks... KATHIE BROWNE the story (Not for Publication) Harold Ventimore (TONY RANDALL), architect, buys at an auction an old brass bottle intended as a gift for his future father-inlaw, Anthony Kenton (EDWARD ANDREWS), a professor of Egyptology. Kenton and his wife, Martha (ANN DORAN), frown on Harold as a suitable catch for their daughter, Sylvia (BARBARA EDEN). Harold’s boss, William Beevor (PHILIP OBER), leads him to believe that the bottle is not an authentic relic but a cheap reproduction. Harold breaks open the bottle’s seal. In a spiral of hissing smoke emerges Fakrash-el-Aamash (BURL IVES), a genie. Fakrash tells unbelieving Harold that he awaits his command. Suspecting trickery, Harold summons police. When they arrive Fakrash disappears through a wall. Next day, Sam Wackerbath (PARLEY BAER), construction tycoon, hires Harold to put up his multi-million-dollar Wackerbath City Housing development. Later, Fakrash takes credit for the coup. Harold’s skepticism about the genie’s authenticity begins to fade. Meanwhile, Harold has invited his fiancee and her parents to dinner at his home. Fakrash takes over. The jinn turns the abode into a sultan’s palace. The Kentons, in the dark about Fakrash, suspect Harold of a practical joke. From out of nowhere traipses an Oriental belly dancer (LULU PORTER). The professor is outraged. Even Sylvia is dismayed. The Kentons depart in considerable huff. Harold attempts to explain to the professor about the genie, but Kenton is an unbeliever. Once the Kentons exit, the jinn materializes. Harold charges him with having alienated Sylvia. Hoping to atone for events, Fakrash “summons” Tezra (KAMALA DEVI), a voluptuous beauty out of the distant past, and makes a gift of her to the architect. When Harold tells Tezra of his love for Sylvia, she offers to grace his harem. Fakrash instructs Sylvia to go. But her power as Princess of the Blue Jinn is a match for his own. She stays and he departs. Since Tezra is clad in transparent Arabian garments Harold, unable to get rid of her, buys her a complete modern wardrobe. Who should arrive, just as Tezra is trying on some of the more intimate items, than Sylvia, accompanied by a psychiatrist. Harold lamely tries to explain matters, but is met with a withering glance. Fakrash reappears. By now Tezra is willing to leave. Fakrash piles incident upon incidents. Among other things, he turns Kenton into a mule and back to normal at Harold’s insistence; he creates a real estate development for Harold overnight, selling the homes at such a smal! price that riots ensue and a combined city, county, state and federal investigation erupts; and when a panel of psychiatrists examine him and doubt his story, Fakrash reduces them to Lilliputian size. Harold pleads with Fakrash to undo all he has done since being released from the bottle. The genie agrees. Harold is now back where he was before acquiring the brass bottle. Who should walk into his office, to hire him for a job, but Wackerbath. Wackerbath introduces Harold to his new partner and the latter’s wife — Fakrash and Tezra. Harold shows not the slightest sign of recognition but suddenly all looks bright for his business future and marriage to Sylvia. the staff Director of Photography, Clifford Stine, A.S.C.; Art Directors, Alexander Golitzen and Henry Bumstead; Set Decorations, Oliver Emert; Sound, Waldon O. Watson and Frank H. Wilkinson; Unit Production Manager, Norman Deming; Special Photographic Effects, Roswell Hoffman; Film Editor, Ted J. Kent; Make-Up, Bud Westmore; Hair Stylist, Larry Germain; Costume Designer, Rosemary Odell; Choreography, Hal Belfer; Assistant Director, Joseph Kenny; Music, Bernard Green; Music Supervision by Joseph Gershenson; Screenplay based on the novel by F. Anstey.