Variety (November 1963)

AT ao RETIN TES EL TE RTT PE TOPE PT Gay Wednesday, November £7, Indie film producer Frank Perry takes issue with recent criticism of eastern union practices. The producer-director of “David & Lisa,” which was filmed outside Philadelphia, and the recentlycompleted “Ladybug, Ladybug,” also made In the Philly ares, feels that the eastern labor force is highly skilled and, if properly handied, is as devoted to a picture as any ‘workers, regardless of cost. In recent months, raps have been taken at eastern labor practices by Ely A, Landau and others who claim, among other things, that the east coast film setup is geared to serve ty commercials and industrials rather than features. This is primarily because of the daily rate system now in effect as opposed | to weekly scale arrangements which | would better facilitate feature filming, it is claimed. Perry agrees that some adjust-| ments are desirable. All the same, he concurs with the union’s point of view which says that there must be “guarantees of production” in the east before any concessions can be made. He feels that there definitely should be scale reductions for guaranteed terms of employment for labor. All things considered, however, | the producer-director sees only; one change as being mandatory, from his standpoint at least. He would like to see the shooting day changed from the present 8 a.m. to 5 p.m. sked to a 12 noon to % p.m, arrangement. This, he says, is a “more civilized” schedule and points out that it is the one used! in Europe. Perry savs he found the labor situation otherwise quite manageable when making “Lisa” and “Ladybug,” both of which employed crews from International Alliance of Theatrical Stage Em | ployees studio mechanics local 52, at which Landau had leveled most | of his criticism. It is a matter of proper handling of the manpower. If this is done .well, they will be as devoted and cooperative as any group there is, Perry says. ° No Principal On Role Longer Than 3 Weeks; Key to Budget Control As a result of careful preplanning, “Man in The Middle” was brought in for $50,000 less than its blueprinted $1,350,000 budget, exec producer Max Youngstein told a zO0th-Fox trade press conference in New York Friday (22). According to Youngstein, he, producer Walter Seltzer and director Guy Hamilton worked out the shooting sked in such a way that no principals, except star Robert Mitchum, were on the payroll for more than three weeks. Thus there was no expensive overtime, either during principal shooting in England or on location in India. Youngstein, who now headquarters in the home office of United Artists with whom he has a non-exclusive pact, says he has “a number of future properties” in mind, including a film version of John Updike’s “Rabbit Run,” but which will go first for UA, he doesn’t know. He’s also talking further deals with 20th, he says. “Man in The Middle” preems in January in Los Angeles. Bronston Gathers 200 Madrid, Nov. 26. More than’ 200 exhibition and distribution executives from 22 nations were here Friday (22) and Saturday for a series of Samuel Bronston-hosted meetings concerning the ad-pub and marketing plans for the producer's “Fall of the Roman Empire.” Overall promotional presentation was made by Paul N. Lazarus Jr., exec v.p. of the Bronston company. Howard Newman, studio publicity chief, led a seminar on the publicity approaches. Visitors also attended § screenings and toured the studio. Advocates Noon-to7 PM. Rule 1968 IRA GERSHWIN whe knows hew te turn a werd er phrese discourses en Euterpe and the Lucky Lyric Writer e¢ # another lafermative Feature In the pecoming 58th Anniversary Number of VARIETY Pine ether statistical ead deta-filled charts ond erticies Critic to Public: ‘Exhibs Pan Pix Worse'n We Do ” Minneapolis, Nov. 26. Morning Tribune's tough critic Will Jones informed his readers “there are no tougher critics than the theatre men themselves.” As evidence, Jones lifted whole a review of “Of Love and Desire” (20th) (which recently had a firstrun here) from the current North Central Allled bulletin. NCA is ithis territory’s national Allied States unit. “In this woman’s drama, laid in Mexico, Merle Oberon plays an over-sexed .wench who spreads cheer all over,” read the NCA review appearing in the Jones column. “Curt Jergens is her brother, i mean as the devil because he’s not getting any, and Steve Cochran, a young man who thinks he can bottle it up for private use. Otherwise it’s a clean picture. With a big campaign this round-heel rodeo may do great business in nymphomaniac neighborhoods.” The same NCA bulletin contains four other capsuled reviews of current releases, .all of them, including that of “Of Love and Desire,” credited to exhibitor-member. Sol Horwitz. Faults are found with “Wives and Lovers” (Par), “The Caretakers” (UA), “The V3.P.s%” (MGM) and “Rampage” (WB), but none is lambasted hard and good points in each receive mention. CAST ROBERTA PETERS FOR MUNICH BIOPIC Metropolitan Opera coloratura soprano Roberta Peters has been of Richard Strauss,” which is to be filmed in Munich next summer. At the same time, Miss Peters will be participating in the Munich festival dedicated to the 100th anniversary of Strauss’ birth, singing the part of Zerbinetta in “Ariadne auf Naxos.” Last summer Miss Peters starred in a film version of “The Barber of Seville,” produced by | World Music. Her only other motion picture appearance was in “Tonight We Sing,” 20th-Fox’s biofilm of Sol Hurok, made in Hollywood in 1953. RHONDA FLEMING COLLECTS Gets Full 10G From AA Plus $6,000 Interest Los Angeles, Nov. 26. Rhonda Fleming’s suit for $10,000 against Allied Artists Pictures, for her appearance in “The Big Circus,” has been settled outof court with payment of full amount plus 7% interest of $6,00 Superior Court action evolved around her claim she was to receive this amount upon the film, produced in 1961, grossing $5,000,000. signed for a key role in “The Life : as amount allegedly due as a bonus. ‘Tm confident it will be done.” Goldwyn still is béing coy in ‘mein, he added, By VINCENT CANBY For decades, motion picture dis | tributors have, from time to time. and for one reason and another, | “reedited” already gone into firstrun release.) films after they've Until now, the practice hasn't caused much of a stir outside trade || circles, but there are indications. currently that an increasing num-j] ber of lay critics are becoming hip || to the bit and may be in a position to stir up some unpleasant patron reaction. Typical was a column by New York Post film critic Archer Wins ten several weeks ago, calling at-| tention to the fact that the Italo import, “The Conjunal Bed,” had —after its local premiere—been nicked and clipped in the interests | of escaping Legion of Decency condemnation. Winsten’s beef: the picture is no longer the one for which he wrote such a complimentary review (but the public doesn’t kyow it). More recently it was learned that 20th-Fox has all but made the decision to reedit its “Cleopatra,” which opened at 245 minutes and. was subsequently cut to 219 minutes, down to a final 184] minutes. Reason stated for the new cuts was the unwieldy length of the original version; and while many critics would agree to the need, this 184-minute pic, with} almost 25% of its original footage lost, cannot still be picture on which so many reviews (mostly favorable) were based. It may even be a better picture. It is: certainly a different one.. Hard on the heels of the “Cleopatra” ports that Stanley Kramer is considering some further cuts in his highly praised, but generally} agreed-to-be overlong comedy, “It’s A Mad, Mad, Mad, Mad World.” The running time of “Mad World,” has, in fact, been something of a mystery ever since the press pre miere in Hollywood several weeks ago. 198 ‘Cut To’ 192 Reviewers at that time were told it ran 190 minutes. When it opened in New York, newsmen were told privately that Kramer had _ sub sequently been working to “tighten. it,” that he had cut the running time from 194 minutes to 192 minutes! One of the most ironic of the post-premiere editing jobs was that done on Sam _ Spiegel’s “Lawrence of Arabia,” which preemed in‘at 222 minutes (and to ecstatic reviews) and was later cut to 202 minutes, and went on to win an Oscar for its editor. Whichever of the two principal reasons for such _ post-opening editing (length or decency), would seem to behoove distribs to make up their minds what they. want to do prior to showing the pix to the critics and launching. Otherwise their firstrundates. (Continued on page 6) By THOMAS M. PRYOR | Hollywood, Nov. 26. This time Samuel Goldwyn isn’t hedging, or playing coy, about putting his feature picture. library on television. Asked last week in the course of a periodic check, which now has‘a history. of several years, if a ty deal was imminent, the} producer said: “I believe I’m going to put my |. pictures on television next. year” (meaning during the 1964-65 sea-. son, starting. next fall). “I.can tell you. since you raised the question that as negotiations are going now one respect. He won’t say which of the three webs comes closest to meeting his terms. In fact,. he’ re-: marked with.a broad grin, “Pm not talking to anybody. . People are} talking to me.”’. Then, in serious ‘Tm TER ENEWS) the same news come unconfirmed re it ; ably: beginning in Goldwyn Nears TV S ‘Will Work Closely On Editing Problem is wiser to. wait’ ‘until the traffic. ‘thirts. out.”” Goldwyn, who ‘was : the. first. im | not being |} Showmon-Critie ; JOHN SYRAM recalls the eva of — “five youag men of Manhatten" in a historical harkback te The Broadway That Was 58th Anniversary Number. of Plas other vatisticel ond deta-filled charts end articles New Aftican Pic By Baker-Endfield For Jos. E. Levine “Sands of Kalihari, ” a novel ‘by. James Mulverhill to which Joseph E. Levine owns the screen. rights, will be made in 1964. . for some time and. completed. a deal with Diamond Films, British. | indie company helmed by actor Stanley Baker and _ director Cy Endfield, to. make the ‘pic in Africa in the coming year. Pictures. will distribute it in the U.S. and Canada and Paramount: ‘will do so abroad. ‘Baker costarred and Endfield directed: .the film ‘which is skedded to world preem | Jan. 22 in London and then open South Africa,} ~ near where it was filmed, Jan. 25. in J ohannesburg, It Ae begin US. engagements in u y. “Xalihari” multi million dollar adventure ] epic built along the. lines of “Zulu.” Baker will be in its cast Films execs have also talked other ‘projects, one to be made in Cyprus. and the other in England but “Kalihari” has now. taken over first place on the production schedule. In connection with “Zulu,” the Embassy prez is planning to stomp. the country plugging it personally. He will definitely make: ap-| pearances: in connection with the} Chicago, | film’s 70m showings in Los Angeles and jew York, prob_Sanuary. | cation Deal: {represented by an ‘agent or. any ~'tother kind of: representative... I am | dealing” directly with ‘the: “prin cipals. me Goldwyn, library ‘consists of. ap-. proximately 50 features. This is not}! his complete’ backlog, but -_ only. those: features, including .. “Guys and: Dolls,”. ‘which he. regards: as being most: suitable for:tv’s: needs. “if you. want.to cross.the street it portant film‘industry: Jeader, to’ (Continued. OD: Page: 8) ) tures— Baker and Endfield made “Zulu”. for Levine. The latter's Embassy. is envisioned ‘BS a but Levine plans the pic to. have some big boxoffice. names toplining. Endfield will. direct and a} screenplay is currently being de-. .veloped.. Levine and the Diamond Pix which no. one else wo: -and get. “ ‘satisfaction’” iF mm. that ‘alone. The. producer asserted that: tele-| vision’ 'Srequirement for entertain‘ment,now: that. the bulk of the Hollywood °: feature. reservoir has: been used up, ‘has ereated.a better market. for his films ‘than. had*ex. | isted. when’ there. was :compétition from’ a major studio with ‘700. films to‘ sell.’” Goldwyn * observed; By MORRY ROTH Chicago, Nov. 8 The. pay-now-play-later. sales. technique : pioneered by 20th-Fox.” |{ for “Cleopatra” and now proposed {) for Warners’.“My Fair Lady” -has| ‘been a way of life for Chicago subruns for several years. As a | matter of fact, ‘the practice of re. quiring substantial : “front: money” ; | for hotter pictures at.Chi nabe and outlying houses has. come nearly. | full cycle—from early. resentment || to grudging .acceptance. and now to renewed -resistance. Peculiarly, it is a highly: successful ‘picture that the exhibs are”. basing their current round of beefs on— “Lawrence of Arabia,” which is in its third week of A-run, | The Chi office of Columbia‘ nego-: tiated: advance guarantees as: high as $30,000 with a minimum of four | weeks ‘and stiff: percentages. “De‘spite a limited: number nf houses ‘in . the. first outlying run,. this . amounts:'to. an estimated $250,000. ° Early nabe ‘returns on “Lawrence”. have been. good. However. jone unhappy exhibitor explains his complaint this way: “I paid enough advance money to get..a. ‘sensational. picture and this one is ‘doing only great.” As perverse as this may sound, if the final “Law rence” tallies are not “sensation-‘Levine: has been tinkering with the property. al” the exhibs intend to use: it as a wedge in staving off. future. cash advance demands. “Other . Facets The. exhibitors’: attribute -thehigher guarantees to the recent smash. nabe success of two pic-. on. hardticket . ‘at: the downtown: ‘Roosevek ‘Theatre ‘and then: ex-* ploded at the. neighborhoods... “Irma La Douce” was hot. both at’ ‘the mainstem. United Artists and also in-subruns.. _Backgrounding: the current. diss {Continued on ontinued on page | 6) Importers Trade Bod Trade Body Aims For $1-Mil Fund To Aid Young Producers Independent: Film Importers. & Distributors . of: America has. announced plans to set ‘up .a revolv‘ing fund for. the financing of quality, low-budget.film production ‘in‘the States. A, whose members’ rep. the indie | distributors and ~ importers: in N-Y., ns fora $1,000,000 fund, “out of. which ams of between $150,000 to. $200. wo made to 0-" ducer-directors.. young me IFIDA hopes to get one or more cultural foun foundations to back the fund, though: it’s understood. that : preliminary. feelers to the. Ford ” | Foundation were not successful. : TFIDA’s idea is to.spur. the pro-. 4 duction. in the U.S, of the kind. | of. low-cost quality: product which © {now © comes: principally Ioans out’ of the. . “producer’s share”: -of receipts and would own the pix in. toto. . Talent: ‘gets. ne participation. | ‘That ‘means’ that talent, which ‘would “be. Tequired to. ‘work. for ‘Minimum, ‘would not Participate in:’ jnet returns, which would: instead. — “go to increase the fund. Idea, ap~ parently, is to persuade talent ta. use the ‘fund: to make’ the-kind of voild back IFIDA member companies would: guarantee: release of fund pictures, ‘which would be selected by an un-. . paid: board ‘of experienced production people from Hollywood as well as. ‘New. York.. Acting: as fund co . directors now are IFEDA: exec di-. -tector Mike Mayer: and “David: and Lisa” producer’ Paul Heller. -Accordirig ‘to-‘a. press handout from Mayer, the fund has received the ‘| encouragement .. of George Stevens Jr.; -ehiéf: of the U.S. Informa tion Agency’ Ss. motion Picture ; Uservi ices. mgest . Day”: and “Irma--. La Douce." “Day” did. fairly well- from: ~ “| abroad. Fund ; would be repaid ‘its