Variety (March 1961)

wa -aide, Parrish (COLOR) Glossy. translation ‘to screen of Mildred Savage's tome about _ the contest for power in Con‘necticut’s: tobacco leaf indus‘ try.. Pictorially: pleasing but overlong, superficial and unex-. citing. Rising and appealing young players in. cast. will spur curidsity and. .should:.advance b.o. prospects into. passable sphere. Hollywood, March 14. Warner Bros. release’ of Delmer Daves” prvduction.. Stars-‘Troy Donahue. Chiu: dette. Colbert, Karl Malden, Dean Jagger, Connie Stevens, — Diane ‘McBain, Shar an Huguens.: Direeted. and «screenplay Daves: ‘eamera., (Technicolor), fame ’S:radling ““S#.: -editory, ‘Owen | Marks; art. duectar. Le K.. Kuter: music, Max. Stemer; sound, Stanley Jones; assistant directors,. Chuck . Hansen, Russell Liewellyn. Keee at the stun, March: i. "61. Runing-time, 140. MINS. : LE Pavrish MeLean ......:: Troy: ‘Don: shue_-Elten MeLean .....:.. ‘Claudette Colbert J Judd “Raike ....e... eee: . Karl Malden. “Sala Post’: .c.cccseee5e--Dean Jageer Luey ( vaeeeeeoeeces. Connie Stevens Alison Post | le ececvccaees, Diane, VeBain >Paiwe Ruike 20.0... 05: Shar on Hugueny Teete Howie occ. eees Dub Taylor F dane. Raike ....c..0.. “Hampton ‘Fancher Wiley: Raike .....c..5. David Knapo ~: ume Ra ke. ........ _ Saundra Edwaris ’ Buiveon ol: ones aoe) Sylvia Miles Royste ley reese cee wn Bibi Osterwold (AWWe DO oe wee “Madeleine Sherwood Tom W eldon re “Hayden Ror Me Delmer: Daves” “Parrish” is . a long, account of. man vs. monopoly Connectieut’s tobacco .same. -though,slickly pr oduced, charming. .. ty the eve in its pictorial apprecia tion’ of New Englavd's . scenic’ bs ‘auty” and carefully cast with. ie uxture of solid veteran trouper ‘and. a host of pretty, mostly bite. eved,.:colts. and fillies weaned ‘in Warner’ Bros. television-indoctrinated stable. the film, for all ‘of its . Jength, rarely ‘gets: beneath. the: ‘Skin of its characters: cand . eventuy. be*ins to -at under the bulk. ot ‘too ‘many climaxes followed by too many dramatic.-plateaus. One comes’ away from the 140-minuie experience With far keener prsjtht. into, the growing process of: the. tobacco plant. than‘ into the. peculiar breed of people who do the growing. in this. picture. “e “Parrish” does not ev en ‘remotely _ figure. to be. an ‘overpowering box‘office attraction, ‘but. has elements. _thatindicate a mild. success, “the. least of which is. its likely. “strong appeal to-vouinzer audiences, ° “who may be able to. identify to-some.. extent with the growing ‘pains’ of ‘fts.central: characters as they en~ evunter the “initial. responsibilities. -of cmatutity: Also. going . for. the. Warner: ‘Bros. release: is the “fact that there are a number: ‘of rising . “gouhg players in the cast, attrac tive’ performers who will arouse: . Nature -has 4 -certain -air of exnloi-! eur iosity among. filmgoer Ss. Based’ on “the: highly’ “Parrish” al. le novel by: Mildred . Savave,. Daves’ screenplay is something of a cross between. a--rich’ man’s “Tobacco Road” and a. poor man’s." A “Place in the Sun.” ‘essays the ‘t.tle role -of a ‘pour young man wh». emerges from ‘a ‘Juborer’s toil in the” Connecticut‘ vtobacco.. fields to) challenge = the. ‘dynasty of miehty land baron Karl Malden; -an ines saceivably rutiless and Breedy. ixcaon who would put. another man’s-litelonz lavor in his: ploe and stoke it in order to gain: control of the entire tobacco. Vallov. A numb. ¢. ‘oi -romanuc entanglpsments crop’ up to -comylicate ‘this basic” ‘conthet; “not the-leastof hich are: Donaliue’s ’ bat-of-an-. es elash Tove Affairs. with: Malden‘s daughter. ‘Sharon “Husueny:, @ch’rival’s + Doi JTageer’s “‘datsh. ter (Diane McRaine ‘and. a loose” field: girl. tCimaieStevens! ‘who . gives illegitinat» birth to the child Maiden’s. san “liampton Fan-. cher, Then: there is. the supreme -eouphictiion: oMslWer’s. marriaze «to Donahve’s wother(Claudette Culbert “At any: rate: Donahue. procveds. to walk-out on.an enviably. Saiaried’ position as. his: siepfather's ‘a¢quires: the: last. remainin2 strip. of land..in the valley inde- pendent of Malden's control: ‘and last-ditch at-. ‘svuttles :the latter's tentpt-to beat him dow n. Donahue . js ‘handsome ‘and . has ‘his moments, ‘but lacks the anima: tion and. projection that is required to bring the title character, -curi; “ously vacant and elusive as ‘ritten, nto clearer: focus. It is a: serious. ‘setback. tothe film, whieh revolves dependently around the personal-. ity of. its hero. The. picture’s three’ principal -veterans—Miss Colbert. ' :Malden’ and. Jagser—do well, ‘par ‘ticularly Malden: in spite of: the: exaggerated nature of his: :role.: Pretty Miss Stevens displays. a nice feel for intimate romantic -byplay.. The striki nav be atitia and elam Orous’ NM. 52. MeBain’ ds. effective as” _ Wednesday, March 22, 1961. “benefit . from the. soft, careful regard of his © artwork is 4 accurately and perceptively gear ed: -to the sucial status of fhe parties. ~ production of plodding . din. Al-* ‘not. ‘Troy: Donahue” ‘his | Tagges’s dpoited daughter.” | young: people who make: ‘vivid im | pressions. are Miss ‘Hugueny, Fan-} | cher andDavid. Knapp..Dub Taylor pitches. ‘in. with a nice’ character ‘performance, and the balance. of | support. is more than. adequate. ‘There is-a certain. class stereo-. type about. the characters—cold-: ‘ness and :decadence, among the rich,. lovableness and eamaraderie: among. the poor—thalt Daves has’ not mana ged to erase either as rather dated concept in’ these .so-{. "| cially-flattened times. Harry Strad ‘ling Sr.’s astute photography is extremely flattering to the players, particularly. the young. ladies who, enormously “in close-up “K. ‘Kutet's lens. Leo “Whose -habitats are.on display. Editor, Owen Marks ‘has: done’ a. respectable job of knitting this’ Jong | film. Max Steiner's. seore is. soft, | ‘romantic and melodic. ‘similar in theme” to that -of his score for Daves’ “A Summer Place.” Look In Any w indow “pasteles, unpleasant mellet | about ajunior-zrade. peeping Tom. Expioitable aspects: may ‘enfice ‘Some, but overall b.0..: . prospects are lean... ” Hollywood, March: i3.. *AThed Artists release of William AL: andLaurence, E. -Mascott production. Stars Paul Anka. Ruth Reman. Alex! Nicol, Gigi . Perrests * Jack Cassidy *) with Robert Sampson. Dan Gravarnr Directed . by Allend. Screenplay. Maseott: caniera. W. wWatlnee Kelles: editor. Harald “Gordon: -art director. Hilyard .. Brown, music.” Richard. Shar ess) sound, . Charles Schelling: assistant ||. directors _Charles W. Sohart. Reviewed at. the. sta* dio. Murch 1s, “ul: Bunning time, 87-MINS. Craiz Fowler Paul Anka: Jackie Vowler: is... '.. Ruth Roman Jas Fowler te ws Eiléen Lowell Bett, ‘Lowell . . Gigi Perreau “irale Mathews Carlo : aeeeees. George Dolenz ‘Gar the TL. owell | a ececees Jack Cassidy t andstrom adeeee Robert Spmpson. Webber. wit boda e eee ee Dan. Grayam Out of the nije leading: charac| ‘ters “in “Look In Any Window,” seven: are. thoroughly . unsavory. ” ty: pes. Included ‘in this . unpleasiunt. ‘east of characters in this’ extremely . unpleasant: picture are an emotion— ‘atly-disturbed teenager. who is a peeping .Tom.-on ‘the side, a shift-: ‘Jess .. alcoholic, ‘an: “unserupulously | opportunistic widower, ‘faithful .wives:.. a wealthy and decadent businessman. and a right+. I eous, sadistic cop. In’ other words, ‘not exactly. wholesame, bring-the: wholefamily -to-the-theatre entertainment: ¢ ‘Obviously. a “film peopled with: characters. of. such -a_ setisational“ tation. about.it, the kind that might,” ,eniiee 2 thri'l-seeker: to the neigh« ‘ borhood ovoner. .But the Allied Artists. retease ‘amounts. to. film-" making at its most distasteful level. and the. hulk. of. the. general public . is: discer ning ‘enough, not. to-sup-! part such tare. Sueh pictures are; a diseredit to Hollywood ahd ‘a gross. distortion of -the American wav o€ life. The ‘film was produced by. Wil ‘ian’ and ‘Laurence. E. Mascott. writ-. ‘bombshell with the culinary-sound-. ten by the latter and directed by! ‘tthe farmer. vorite Paul Anka essays the pivotal role, ster “from” a. hrokeii. home. who as-: serts ° His. latent masculinity’ by donning. a. riusk and: spying on. the ‘ladies ot. the.-sub-hourbon. com: munity, | orhe picture. sets tangled ly in irrelevant: issues but) -uiti-mately. gets ‘to the crux. OF. the! matter and suggests’. a eventu; lity when. the bay's’ parents. agree. to make a. fresh go of it-and ‘the lad, caught in the act’ and-un. nrasked: is tic keted for psychiatric care. No* novel .peint. is “ made “throught: allthis. melodramatic: ‘fuss. excenr. _perkapy. that: people. wha Hive in veins houses shouldn't get: stoned’ Jbut had better . draw “their | blind» at. night: Anka, a. ‘nitery. petforiver. anal composer of some ‘nate, ‘does not} seem ‘well-suited to. the business : ‘af acting,. but gives it a valiant try. ‘He sings: the lacklustre. title ditty’; which. he wrote. Ruth Roman’ contributes a sultry, sexy. performance ' ‘as Anka’'s “naughty mama. . Alex; Nicol turns in an‘effectiv of his alcoholic papa. Others in-; ‘volved are Gigi Perreau, Carole “Mathews, ‘George Dolenz, Jack: ‘Other = Tube | tit emerges a ludicrous, -{ unintentional parody ‘of dozens of cloak-and-dagger pictures that have . Filmed ; “Car ile Mathews, George Dolens. : Alex Nicol. {Wo tin-"e Teenage : singing. fa-: that of the. demented’ young-" happy’ The. Secret Ways Outmoded cloak and dagger _ meller. Weak wicket candidate. Hollywood, March 10. Universal release of Richard Widmark production. Stars Widmark;: features Sonia . Ziemann, Charles Regnier, Walter Rilla. . Directed. by. Phil Karlson. Screenpliy, i Jean Hazlewood, based on novel bv: * Alistair “MacLean: camera, Max Greene; leditor, Aaren Stell;-art directors, Werner and‘ Isabella Schlichting: music, Joon ‘Williams: sound, Kurt Schwarz; assistant . directors, Andre Farsch. Erich von. Stro |scenarist or director. It seems @ heim Jr. Reviewed .at Westwood Village ; ae March 10, 61. Running timie;: 2 MINS. isnehael Reynolds. peer Richard Widmark ‘Julia = = «1. ee eeses-. SOnja Ziemann ° i The. Count ....... eeeeses Charles Regnier ‘Janset >... Walter Rilla. ! Colonel Hidas* oceee . Howard Vernon: Ela. © | cw ewe cee ewe ee Senta Bercer ; .. Heinz Moog Hubert von Veverine § “Oskar Werostek Vinisear Sihenev . Hernionn Sherfler The Fat: Van Bauder Olficis!. . Stefan Sehnehel Olea... Elisabeth Newmann-Viertet Janos ssw _ Helmuth Jdanatseh ; ‘ton, Sainbr wee eee John Horsley : ‘Peter: “Special Agent : Laneuage Professor . ~.. Raonl BRetver Genre Kaos are. Sander 5s se Adt Berbe., lop Commandant | eeee Joe hen Brockmnn Waitress Brigitte Brunmuller ; : Reinhar 4. Kollderoft, Rudolf Rosnér The. Count’s Men . l ~The Secret Ways” is a serious ‘film at which, regrettably. discern‘ine audiences are Jlike!v. to laugir. |Cause ef ‘the unscheduled merri| ment is its thoroughly. outmoded: style and a pack of visual: cliches. imitative. preceded it. to the screen, in Eurone by producer-star Richard Widmark, ‘the’ Heath” production *moun's to.a sort of -_poor man’s \“Third. Man.” Totally lacking in appeal outside. of the Widmark “name,:-.the Universal-International ‘release is a depressingly weak box office contender and, additionally, : his . much too jong for comfortable pairing as a ‘supporting attraction. The undistinguished, astonish{ingly uninformativé screenplay was ,adapted by Jean Hazelwood from. ‘the’ novel by Alistair MacLean. { i:Widmark stars as.an American ad-. ; venturer-for-hire who ‘hires. out. to rescue a noted scholar from be “hind the Iron Curtain in ‘Hungary. . (He :shas a running skirmish. with: the Budapestiferous AVO tliuagar. but. ultimately. gets-his man. As directed by Phil: tions of the country and their im-: ian. Secret Police), «Karlson, there are-a few lively ‘chase sequences but most of te film is burdened with ‘suspicious. 4 HS ; -in this courtry with an Academy . -o-balling and unrealistically’ theaitical behavior. tral. character—with a sort of ' smugly, ugly Americanese swaaser —one: never becomes concer ned . Jabout:: liis ‘chances for . survival. 1T here’ is, however, some good. ‘character w ork by. Charies Regnier vand eapable enough ‘sapport by; , Walter Rita, Howard Vernon, i Heinz Maoz. Hubert van Meyerrinck | and Oskar Weegrostek, * al, though | each of these people and iinost of the. bit plasers have been encourazed. to ‘behave like classic sp\ picture, strictly-from-Hungary itypes: The film brings ‘a ‘pair of delizhtfuHy good-looking young ‘European’ ladies to the American. .screen: handsame Sonja Ziemann ‘and a Well-proportioned bionde ing name. of Senta Berger, latter in a preposterously iIncarporated ‘into the -film ap : sons; Max Greene's photography has san. enereectic bent in ‘the run-run-’ Tun passages that .camprise seem. , -inely a good half of the dgilm.. That ; the pictur>. ssems overly long. and | repetitious is not a fayorabie com-. mentary on, Aaron Stell’s: editing. Art. direclors Werner. and Isabella Schlichting have imported the. or-hate ‘style of European: architec ‘ture. Jounns Willian theing Inbisie. adds. ‘hole. aul "appropriately ominous Tube. << ‘Cuando Regree Marna. ‘(When Mother: Returns) ~ {MEXICAN) ©. Mexico -City, March ‘14. Péliculas. Nac ionales release of Alam ‘4a : Films (Cesar Santos Galinds) production. iStars Ofeha Montesco, Maria Duval, Ratuel . Bertrand. Pedro de Aguillon; features ‘Hortensia Santovena,. Aleiandro Chiau1 guerotts. Jr. Lucero Taboads, Rocis Rosales, Rafaelito Banqueils, Enrique Edwards. Duected) by Rafael Baledon. Se ‘reenplas, “Ramon. Obon. At Vareedades. e portrait ' Theatre, Meaico City. Ruming. time, 90. tanals, * MINS. [ : I Ty. Walter Wilt { The way Widmaik plays the cen-. irreleyant role ; parently: for. purely decorative rea . Boverty too, sity humor FILM REVIEWS their parents. The ultimate acceptance of this fact is rather ingeni ‘|ously presented ‘by the. . youngest child. Lueero Taborda, Rocio Rosales, Rafaelito .Banquells and Enrique Edwar ds, the quartet ‘around ‘@hom film revolves, do; quite well in their roles. And with! ‘action taking place around Christmas time, there are many festive ‘scenes likely to be appreciated by : kiddies ‘in the audience. Picture is about evenly divided ; t between laughter and tears. Thanks to the sure direction of Rafael. -Baledon, the. transition never gets Tout of -hand. While the script is i conventional, ‘acting is on the iwhole convincing. This one will have a long life of many years in nabe houses in reruns, and is fit ting fere for Spanish speaking area ‘ markets. brill, Macario ‘(MEXICAN) Mexico’s “Best Foreign Film” Osear nominee, a moving and illuminating allegory about a posr woodsman’s spiritual bout . with Death and material bout With hunger. On heels of romination, a favorable ariy prospect. | Hollywood, March 18. Avteca Films release of Aviaando Ore Alba: pioduction, Stars Ignace Lapes Tard, 2na Pellcer: with Enrque Lucie. ‘Ince Galvez. Jose Lui Jimines. Mani Alberta) Rodriguez. Directed bv Roberto Givaldon. Screenplays, Emiho Cardallicd, Galycadon. from starve by Bruno Traven. camera, Gabriel Figueroa: ait director. AIantel. Fontanals; music. Raul Lavist) -Revicwed et Avteca studio projection room, Maich 16, ‘61. Kunning time, ?1 MINS. , Macarin. ca aes ‘Ignacio Lopez Tars: Macario’s: W ife weseee Pina Pellicer Death —ss wae eevee . Enrique Lucero The. Devil. .... eeeeeee Jose Galvez God sis eee Jose Luis Jimenez Dun Ramuo ... ‘Mario Alberto Rodrigues In “Macario.” _industry has produced one of the “finest films of 1960. A charming, itouching aHegory expressed with primitive power and spiritual significance. the Clasa Films Mun‘diales production, produced by Armando Orive Alba. is also a film ‘of ethnic value, providing as it dee an insight ‘into the cultural tradi. pact on its people. Since, additionally, its arti~try has been rewarded Award nomination for “Best Foreign Film.” “Macario” to altract a good deal of attention in the art house circuit, where it should be most favorably received. 1 Ignacio Lopez Farso contribute~ a memorable performance as “MMacario.” . kind.’ decent. but everhungry woodman whose Wisi to he we; for once in his life, one thing all to hiniself «a turkey which he will not snare with hfs impoverished famulvi Jeads to his desiruc.tion when he shares his feast, stead, with Death, receiving in re!turn the power to cure. In a syne bolic chain of events te becomes renowned tor his magical abilities to determine the life or death of his patients, uwitil he is contronted With an ullimatum from the Inquisition to cure aioviceroy’s “tahich he cannot? or pay with his own lle. His wite «Pina Pellice.s finds him expired in the foresi, lin half of tke symbolic turkey ‘representative’ of all the, hunzer. of his life. intact, suggesting the, consequences of refusal to share. no matter the extent of personal | i moti ation. Within this complicated but com“peHing framework theie are sev eral passages of gieat emotional : force and indelible beauty... The early ‘scenes of the family’s utter y amidst a ceremony in Which rich foodstuffs are oftered to tus dead has great impact. Then, has been instilled into the passages in whieh Deatii [dcterinines often to Macario’s suevive and Which shall perish. The film is. masterfully directed ‘hy Roberto Gavaidon. Tre moving -sereenplay by Gavaldon and E milio. Carbaliidg was adapted from a! :story by Bruno Traven. It benefits | ‘from the. adept photography of G2-j briel Figueroa, aware and meticulous ‘art. direction of Manuel Fon-' capable special effects of; i; Juan Munoz Ravelo, and expressive ‘music of Raul Lavista. In addition “This is ‘an unabashed. sentimen-: to Yarso’s exceptional portrayal, }editing of Howard Smith is espe ‘Cassidy; ‘Robert Sampson and Dan.ital. tear-jerker centering ‘about four; Miss Pellicer is luminous and com Grayaim. Wop si” Vay, art director by" Hilyard Browh. Tu be. jchildrenwho become: orphans and | Passionate as his wife, Enrique ! technique — conveying ‘Editing is haphazard, ‘even to [ have the truth hidden from them! Lucero. cominanding and impresthe extent that sound: from one! for .a. long time. Plot concerns a‘sive as Death. scene overlaps into the next. ‘There: pious older. brother who remains , Galvez -as the Devil. is journeyman ‘camera work. by W. !silent,. attempting te withhold the Jimenez as God, and Mario Alberta. a trath from the children The-e i gradually learn of tie deatt. of) Also fine are Jose Jose Luis Rodriguez as a wealthy tawnsman. Trude, of kids; an! the Mexican fil’n is certain ' -in-; son astonishment, which patients shiudl “35 All In A Night's Work (COLOR) Periodically witty script. keen direction and a merry fperformance by Shirley Mac Laine, | i Hollywood. March 14. Paramount release of Hal Wallts production. Stars Dean Martin. Shirtes “eLaine; features ClHIEf Robertson. Char Ruggles; Norma Crane. Directed hv Joseph Anthonys. Screenplay, E.-lmaiad Beloin, Maurice Richlin. Sidnes Sheldon. ' based on story by Margit Ves7i and pliv by Owen Elford; camera [Techricus ‘Joseph LaShelle: editor, Howard Smith: art directors, Hal Pereira, Walter Ts les; music, Andre Previn; sound, Gene VWerrritt. Charles Gren7zbach. assistant daivwtor, Daniel J. MeCauley. Reviewed at Grauman’s Chinese Theatre, March 14, 61. Running time, 94 MINS Tony Ryder Katie Robbins “Dr. Warren Kingsles Sr. Warren Kingsles J: . : Marge Coombs Dean Mart-2 Shirley MacLa:ne Charlie Rugs! +s . Clff Roberteoa Norma Cr ne Oliver Dunning ..... eee. Gate Gorton ~Sam Weaver ....2....Jerame Cov oa jLaskes ks ca eee Jack Weston O'MNaa ge wee lan Wate Als. Kingsley Sr. .... Mabel Athertson Miss Schuster = ........Mars Treo Carter oc eecceneaes Bex Evong Albiuieht ewww eee Ro.)6 6 Gordan 'Colorel Ryder .......00. Curssteg Evang Baker ka cence Zatoh Dumke Harry Lane ........0.5---Johan Hudson | ee . ; A surorisingly hish reading on “the L.ueh meter is recorded in thes -essentially predictable, featherweight comedy. , The Hal Wallis proviuetion never really soars io anv sustained comic crescendos and ‘has plenty of barren patehes between the fun but. tharks to tne flashes of wit in the screenplay asd the surzes of zany merriment for Which director Joseph Anthony ard costar Shirley MacLaine are chietty responsible, there is a presentapie degree of humor and diversion 10 be found. With Dean Martin and Miss MacLaine as potent marquee bait, the Paramount release should prove to be a fairly respectable, though not dynamic, boxoffice attraction. Other than a vague comment on how the most irnmocent circaumstance can spur suspicion of foul play in todas‘’s complex, impersonal business world, there is ro saliri¢ profundity in sereenplay by “Edinund Beloin. Maurice Richlin and Sidney Sheldon. Consolidated from a story bs Margit Ves7i and a s play by Owen Elford, their scenario ‘describes with disarming = disregard for reality the development of a romantic attachment between the heir to a publishing dynasiy ‘Martins, and a virl (Miss Mace Laine. She’s suspected of having enjoved intimate relations with his uncle-benefactor just prior ta the latter’s smiling death in bed. Ti.e entire varn is fabricated on the ‘false notion shared by Martin aad his board of directors that Mi-3 MacLaine is blackmailing tire firm, Which is seexing an iniportant bank loan dependent on the good nume of its deceased leader, Ag expected, eversthing comes clean in the end. Mi-s MacLaine is still plasinz the sveet, naive, tanglefooted ko-vc she began a few years back in “Some Came Running,” bat see Dias it with such innocent sincerits and comic gusto that she thurouehly succeeds in winning over tue audience and gives the film a much-needed shot in the funimnshone. Never for one moment. Mart:n believable in the role of the youth{iul publishing tycoon, but his Carve soing manner and knack for supiphing the comedy reaction Kets ihim bs. Then. too, there is a smentible Shoriage in Hollywood {Of sounser romantic leading men who can play it for laughs. CHM Robertson, tn an “other gun" role, is miscast. A fine di: amatic. actor, he seems ill-at-ei-.e iin this lightaweight environme:.t. Tne film benefits from a number uf exce; ional supporting comic Del fen Mantes, Prominent among which a. those of ‘Norma Crane, Jack Wee ton ‘es-ecially good', Charles Rut: 2les, Gale Gordon = and. Jero.e Couran. Anthons’s direction is o1lsiunaime—beautifully timed to st the mext out of a punch line or ~itht vag and unusually perceptr.e in as incorporation of exura littie ‘bit. of funny business to spank , over a joke. Joseph LaShelie’s Teennicolor photography is vivid and alert. Credit art directors Hal Pere:ta ‘and Waiter Tyier with a number of attractive,’ colorful sets. Siar p 'cially rewarding ih its fla. hbevk the at ‘ quality of a swift revolving stage i ‘isolate past from present. Most of Andre Previn’s listenable score « .3 classical air a:out it, nolabiy tce os ‘vohingly different theme mei1G. 3. Pee,